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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/15290-8.txt b/15290-8.txt new file mode 100644 index 0000000..320d102 --- /dev/null +++ b/15290-8.txt @@ -0,0 +1,2235 @@ +The Project Gutenberg EBook of Why the Chimes Rang: A Play in One Act +by Elizabeth Apthorp McFadden + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Why the Chimes Rang: A Play in One Act + +Author: Elizabeth Apthorp McFadden + +Release Date: March 8, 2005 [EBook #15290] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + + + + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + + + + + +Why The Chimes Rang: A Play in One Act: +by Elizabeth Apthorp McFadden: + +Adapted from the story of the same name: +by Raymond McDonald Alden + + + +Samuel French: Publisher +25 West Forty-fifth Street: New York +LONDON + +Samuel French, Ltd. +26 SOUTHAMPTON STREET, STRAND + + + + +COPYRIGHT, 1915, +BY E.A. MCFADDEN + + + + +WHY THE CHIMES RANG. + + +This play is fully protected by copyright. + +Permission to act, read publicly or make any use of it must be obtained +of Samuel French, 25 West 45th Street, New York. It may be presented by +amateurs upon payment of the following royalties: + +1. This play may be presented by amateurs upon payment of a royalty of +Five Dollars for each performance, payable to Samuel French, at 25 West +45th Street, New York, or at 811 West 7th Street, Los Angeles, Calif., +one week before the date when the play is given. + +2. Professional rates quoted on application. + +3. Whenever this play is to be produced the following note must appear +on all programs, printing and advertising for the play: + +This play is a dramatization of the story by Raymond MacDonald Alden +entitled "WHY THE CHIMES RANG," published by The Bobbs-Merrill Company. + +This version of Raymond MacDonald Alden's story is published with +permission of the Bobbs-Merrill Company of Indianapolis, Indiana, the +publishers of Professor Alden's story and the holders of the copyright. + + +_WARNING_ + +The copying, either of separate parts or the whole of this work by any +process whatsoever, is forbidden by law and subject to the penalties +prescribed by Section 28 of the Copyright Law, in force July 1, 1909. + + + + +PREFACE. + + +This little play is prentice work done in Professor George P. Baker's +class, English 47 at Radcliffe College in the fall of 1908. Several +years later it was staged by Professor Baker in the "47 Workshop," his +laboratory for trying out plays written in the Harvard and Radcliffe +courses in dramatic technique. + +I am glad to acknowledge here my indebtedness to the "Shop" and its +workers for this chance of seeing the play in action. Of the various +advantages which a "Workshop" performance secures to the author none is +more helpful than the mass of written criticism handed in by the +audience, and representing some two or three hundred frank and widely +varying views of the work in question. I am especially grateful for this +constructive criticism, much of which has been of real service in the +subsequent rewriting of the piece. + +"Why the Chimes Rang" was again tried out the next year in seven +performances by the "Workshop" company in various Boston settlements. +Other groups of amateurs have given it in Arlington, Massachusetts, Los +Angeles, California and in Honolulu. These performances have proved that +while its setting may seem to call for the equipment of a theatre, the +play can be acceptably given in any hall or Sunday school room. + +Suggestions for the simplest possible staging have been added to the +present publication in an appendix which contains data on the scenery, +music, lighting, costumes and properties for the piece. + +ELIZABETH APTHORP McFADDEN. + + + + +WHY THE CHIMES RANG. + + +CHARACTERS. + + +HOLGER......................._A peasant boy_ +STEEN........................_His younger brother_ +BERTEL......................._Their uncle_ +AN OLD WOMAN +LORDS, LADIES, _etc._-- + + +TIME:--_Dusk of a day of long ago_. + + * * * * * + + +SCENE:--_The interior of a wood-chopper's hut on the edge of a forest_. + + + + +Why the Chimes Rang. + + +The scene is laid in a peasant's hut on the edge of a forest near a +cathedral town. It is a dark low-raftered room lit only by the glowing +wood fire in the great fireplace in the wall to the right, and by a +faint moonlight that steals in through the little window high in the +left wall. This window commands a view of the cathedral and of the road +leading down into the town. The only entrance into the hut is the front +door near the window. + +The furnishings are few: two substantial stools, one near the window, +the other before the fire, logs piled up near the hearth, and on the +chimney shelf above a few dishes, three little bowls, three spoons and a +great iron porridge pot. A wooden peg to the right of the chimney holds +Steen's cap and cape, one to the left an old shawl. Near the door +Holger's cap and cape hang from a third peg. + +Despite its poverty the room is full of beautiful coloring as it lies +half hidden in deep shadow save where the light of the fire falls on the +brown of the wood and the warmer shades of the children's garments, +illuminates their faces and gleams on their bright hair. + +When the curtain is raised Steen is sitting disconsolately on the stool +near the fire. He is a handsome sturdy little lad of nine or ten, +dressed in rough but warm garments of a dark red. Holger a slender boy +some four years older, bends over Steen patting him comfortingly on the +shoulder. + +There is petulance and revolt in the expression of the younger boy but +Holger's face is full of a blended character and spirituality that makes +him beautiful. He is clad like his brother in comfortable but worn +jerkin and hose of a dark leaf green. His manner to the little boy is +full of affection, though occasionally he is superior after the manner +of big brothers. Throughout the play, two moods alternate in Holger, a +certain grave, half-mystical dreaminess and bubbling through it, the +high spirits of his natural boyish self. + + +HOLGER. Take heart, Steen, perhaps we can go next year. + +STEEN. Next year! Next year I'll be so old I won't want to go. + +HOLGER. Oh, quite old folks go to the Christmas service. Come, let's watch +the people going down to town. + +STEEN. No. + +HOLGER. The road'll be full, grand folk! (_He crosses to the window_) +Come watch, Steen. + +STEEN. No! + +HOLGER. (_Looking out_) Why the road's all empty again! + +STEEN. (_In a wailing tone_) Everybody's gone! + +HOLGER. (_Trying to be brave_) They're lighting the cathedral! + +STEEN. I don't care! + +HOLGER. Oh, Steen, come see,--like the stars coming out! + +STEEN. I won't see! Mother said way last summer that we could go to-night, +and now--(_His voice breaks in a sob_) + +HOLGER. She meant it! She didn't know that the grandmother would be ill, +and she and father'ud have to go to _her_. Be fair, Steen! + +STEEN. They might let us go alone. "Too little!" Bah! + +HOLGER. (_In a low almost frightened tone_) Steen, come here! + + (_The tone, rather than the words, take_ STEEN _quickly to_ HOLGER'S + _side_.) + +STEEN. What? + +HOLGER. (_Pointing out the window_) Look, by the dead pine yonder, +an old woman facing us, kneeling in the snow, see? praying! + +STEEN. (_In an awed tone_) She's looking at us! + +HOLGER. She's raising her hand to us! + +STEEN. She's beckoning! + +HOLGER. No, she's making the Sign of the Cross. + + (_Both boys drop their heads devoutly._) + +STEEN. Who is she, Holger? + +HOLGER. I don't know. + +STEEN. (_Drawing back from the window and crossing the room to the +fire_) Oh, Holger, I'm afraid! + +HOLGER. No, no! Look, she has turned away,--she's deeper in the +shadow,--why, she's gone! (_Following_ STEEN _with all his bright +courage bubbling high again, and speaks in a bantering tone_) Just some +old granny going down to town, and thou afraid! + +STEEN. (_Recovering also_) And _thou_ afraid! + +HOLGER. I was not! + +STEEN. (_Derisively_) Oh-h-h-h! + +HOLGER. Well, I was just a little bit afraid--lest she might frighten +thee. (_Steps are heard outside the house. Both boys start and look +frightened again_) Hush,--steps--coming here! + +STEEN. (_Backing from the door_) The old woman! + +HOLGER. (_Crosses the room, looks cautiously out of the window, then +cries joyously_) No,--Uncle Bertel! + +BERTEL. (_Off stage_) Hullo, there,--open, Holger! + + (STEEN _and_ HOLGER _make a dash for the door, fling it open and_ + BERTEL _enters. He is a jolly robust peasant uncle of early middle + life, clad in rough gray jerkin and hose, with a dark gray cloak + wrapped about him. He so radiates cheer that the room seems warmer + for his presence in it. Nothing to be afraid of about him, the + children adore him._) + +STEEN. (_Clinging to him, happily_) Oh, Uncle, Uncle, Uncle Bertel! + +HOLGER. (_Seizing_ BERTEL _on his other side_) Uncle Bertel, +welcome! + +BERTEL. (_Tousling their hair and shaking himself loose in pretended +dismay_) Help, help!--Robbers!--I'm beset!--Gently, youngsters!--(_He +goes over to the fire and stands warming himself_) Brrrrr! It's cold in +the forest to-night!--Well, (_He faces them genially_) why am I +come?--Tell me that! + +STEEN. (_Exultantly_) To take us to the Christmas Service? + +HOLGER. Uncle! How didst thou know we were not going? + +BERTEL. I met a fox--who said-- + +HOLGER. Oh-h!--Thou hast seen mother and father! + +BERTEL. (_Draws the stool nearer the fire and sits, the children +promptly drop on the floor beside him_) By our Lady, yes!--and walking +so fast they had only time to throw me a word from the sides of their +mouths. "Go up," cried Mother,--"I wist my boys are deep in tears!"--and +I, not wishing to see you drown in so much water-- + +HOLGER. (_Patting his arm_) Dear Uncle Bertel! + +STEEN. (_Rising on his knees_) Come, let's go quick! + +BERTEL. Patience, patience, young colt, plenty of time, mother said +something else. + +STEEN. What? + +BERTEL. (_His eye on the shelf above the fire_) That I should find some +warm porridge for my pains. + +HOLGER. (_Springing to his feet_) Why, of course, there _is_ +porridge! (_He goes to the shelf_) Nice and warm it is! All ready +for supper. (_He hands the first bowl to_ BERTEL, STEEN _capers +nimbly across the intervening space and seats himself on the side of the +hearth, facing_ BERTEL, _his back to the audience_) + +STEEN. Supper! How could we forget supper?--Give me a _big_ bowlful, +Holger. + +HOLGER. (_Handing_ STEEN _his porridge_) There isn't a _big_ +bowlful here. + +STEEN. (_Taking the bowl and hugging it_) Nice kind good supper, umh! +(_Begins to eat eagerly_) + +HOLGER. (_Suddenly looking toward the door_) Listen! + +BERTEL. To what? + +HOLGER. (_Awed, hesitant_) Someone--sobbing--at the door! (_He goes +to it, the others watching him startled, he opens the door, finds nothing, +closes it and comes back_) Nothing there! + +BERTEL. The wind!--Thy old tricks, Holger,--always dreaming some strange +thing. + +HOLGER. (_Recalled by_ BERTEL'S _words to something else_) Didst +thou pass an old woman on the road--near here? + +BERTEL. Not a soul nearer than the town gate. (HOLGER _stands thinking, +absorbed_) Come, boy, eat,--_eat_! See how Steen eats! + +HOLGER. (_Breaks through his abstraction and reverts to his bright +self_) Oh, Uncle Bertel,--I'm too glad to eat! + +BERTEL. (_More seriously_) Thou art right, lad,--fasting were better +than feasting this day in Tralsund!--they say,--do you know what they +say in the town? + +HOLGER. What? + +BERTEL. They say--that to-night in the great church--when the offerings +are laid upon the altar for the Christ child,--_something will happen_! + + (STEEN _has finished his porridge, puts the bowl on the shelf near + him, seizes his cloak and cap from the peg near the hearth and + stands eager to be gone._) + +HOLGER. What? + +BERTEL. Who can say? All day the folk have been pouring into the town as +never before. The market place is crowded, every inn is full. No church +but the cathedral could hold such a multitude. Never have I seen such +excitement, such fervor! + +HOLGER. There will be many gifts! + +BERTEL. --the rich are bringing their treasure, gold and jewels, king's +ransoms, aye and the King comes. (BERTEL _finishes his porridge and +hands the bowl to_ STEEN) + +HOLGER. The King? + +BERTEL. The King Himself! + +STEEN. Oh, and shall we see Him, Uncle, and the fine gifts and +everything? + +BERTEL. Why not?--Even the poorest may go up and give--what hast thou to +offer? + +STEEN. (_Abashed_) I?--Nothing! (_Puts his porridge bowl and_ +BERTEL'S _on the shelf then goes restlessly to the door_) + +HOLGER. (_Breaking in with eagerness_) Oh, I have, see, Uncle? +(_Feels in his pocket and brings out two pennies_) See!--Last week +I was gathering sticks in the forest and a fine gentleman rode past and +asked the way of me. I showed him the path and he gave me these! +(_Holds up the pennies_) + +BERTEL. (_Rising and going to_ HOLGER _who is in the middle of the +room_) Faith, real money in the family. (_Stoops and looks at the +pennies as though they were a rare sight_) + +STEEN. Oh, I thought we were going to buy cakes with those, Holger. + +HOLGER. But it's better to give it to the Christ Child. You see He is a +little child, smaller than even you,--and I think He would like a little +gift,--a little bright gift that would buy cakes for Him. (HOLGER _goes +toward the window and stands looking dreamily out at the lights of the +church_) + +BERTEL. Aye, to-night we must think of Him,--there in His Holy Church. + +HOLGER. It _is_ a holy place, the church!--I feel it every time I +go,--it's like God's forest,--the pillars like old oaks and the great +windows all colors like sunsets through the trees. + +BERTEL. _'Tis_ like the forest. + +HOLGER. And when the organ plays that's like a storm gathering in the +mountains. + +BERTEL. A storm?--Aye!--"The Lord hath His way in the whirlwind and in +the storm and the clouds are the dust of His feet!"--Why should He not +do a wonder as of old? Perhaps the great miracle will come again! + +HOLGER. Oh, which, Uncle?--There are so many in the Bible! + +STEEN. Yes, which?--Would there be a whale now to swallow a priest? + +BERTEL. Thou goosey! This was no Bible miracle,--it happened there, +_there_, where we see the lights,--hundreds of years ago. (BERTEL +_has followed_ HOLGER _to the window and_ STEEN _joins them. +As he speaks_ BERTEL _slips his arms affectionately round both +children and the three stand looking out. At this moment something stirs +in the dim shadows that shroud the corner up above the fire-place. +Suddenly out of the dark the_ OLD WOMAN _emerges. A tall figure, +if she were not so bent, wrapped in a black cloak. There is nothing +grotesque or sinister in her appearance, she might have stood for a +statue of old age, impressive in its pathos. As she sits on the stool +near the fire she throws back the cloak disclosing the plain straight +dress of gray beneath. The light of the fire reveals her crouched, +swaying back and forth praying silently, her face still shaded by the +heavy hood of her cloak. The others gazing intently out at the church +do not see her._ BERTEL _continues speaking_) Surely thou hast +heard of the Miracle of the Chimes? + +HOLGER. I've heard folks speak of it,--but I never knew just what +happened. + +STEEN. Oh, tell us, Uncle Bertel. + +BERTEL. Aye, listen then!--You see the great tower there?--(_Both +children nod emphatically_) It goes so high into the clouds that no one +can see it's top!--No one even knows how high it is for the men who +built it have been dead for hundreds of years. + +STEEN. But what has that to do with the chimes? + +HOLGER. Hush, Steen, let uncle speak! + +BERTEL. The chimes are up at the top of the tower--and they are holy +bells,--miraculous bells, placed there by sainted hands,--and when they +rang 'twas said that angels' voices echoed through them. + +STEEN. Why doesn't someone ring them _now_? + +BERTEL. Ah, that is not so easy!--They are said to ring on Christmas Eve +when the gifts are laid on the altar for the Christ-child,--but not +every offering will ring them, it must be a perfect gift. And for all +these years not one thing has been laid upon the altar good enough to +make the chimes ring out. + +HOLGER. Oh, that's what the priest was talking about to mother, then. He +said it mustn't be just a fine gift for show but something full of love +for the Christ-child. + +STEEN. Oh, I want to hear them! + +BERTEL. _We shall!_--The very air is full of holy mystery! The Spirit +of Christ will be there in the church to-night! (_To_ HOLGER) Thy cap, +boy! + + (HOLGER _stands wrapt in thought gazing out at the cathedral._) + +STEEN. (_Taking the cap and cloak from the peg near the door and +bringing them down and piling them into_ HOLGER'S _arms_) Here +they are, old dreamer!--(_He turns back up toward the door in such a +way that he does not see the silent figure in the corner_) _And +hurry!_ + + (BERTEL _too turns toward his left hand and does not see the + woman._) + +HOLGER. (_In a tone of bright happiness, roused from his dreaming_) I'm +coming!--Nothing can happen to stop us now, can it? (_As he says this he +wheels to his right in a way that brings the chimney corner in his line +of vision. He starts, bends forward staring as the others open the door, +then he speaks in a tone that is little more than a gasp_) _Steen!_ + + (_The others stop and stare at him, then in the direction of his + look._) + +STEEN. Oh!--The Old Woman! + +BERTEL. (_Looking to_ STEEN) When did she come in? + +STEEN. I didn't see her! + + (HOLGER _crosses timidly towards her. As he approaches the_ OLD + WOMAN _turns her eyes on him and holds out her hands in pitiful + appeal._) + +HOLGER. What dost thou want, dame? + +OLD WOMAN. (_In a voice that is harsh and broken_) Refuge--from the +storm of the world! + +HOLGER. Surely thou shalt rest here. + +OLD WOMAN. (_Half rises stiffly as_ HOLGER _draws nearer_) Oh, +son, I am so weary and so heavy laden. (_She sways and_ HOLGER +_runs forward, catching her in his arms and supporting her on the stool. +The others stand watching. She sits huddled forward in a position that +suggests collapse_) + +HOLGER. She's faint! (_He touches her hands_) She's so cold! Quick, +Steen, build up the fire! (STEEN _goes to the fire and puts on another +log, the flames blase up_. HOLGER _busies himself chafing the woman's +hands and covering her with the old cloak that has dropped back from her +shoulders_) She must have lost her way in the forest. + +BERTEL. (_Stands watching the woman rather suspiciously, now comes to_ +HOLGER _taps him on the arm and draws him a little apart, speaking in an +undertone_) We have scant time to lose with that old beggar. + +HOLGER. What'll I do with her? + +BERTEL. Leave her and come on. + +STEEN. And _come_--before it is to-morrow! (_He is back by the door, his +hand on the latch_) + +HOLGER. (_Turns and looks at the old woman and then back to_ BERTEL) Oh, +I--ought we to go and leave her? + +STEEN. Not go? + +BERTEL. Go, of course we'll go, she'll warm herself and march along. + +HOLGER. But she is ill. (_Turns to_ STEEN _with new decision in his +manner_) Thou shalt go with Uncle but I--must stay with her. + +BERTEL. Nonsense, Holger! + +HOLGER. No, it isn't!--If we should all go now, the fire would go out +and the light,--and she would wake up in the cold darkness and not know +where to turn for help. + +BERTEL. Na, by Saint Christopher!--Miss a miracle to keep company with +a beggar!--Who held her hand before thou camest along? Send her packing +and make haste, Holger. + +STEEN. Oh, do, Holger! + +HOLGER. If there were some place near that we could take her. + +BERTEL. There isn't a place on the road,--they've all gone to town long +ago. Bid her fare there also! + +HOLGER. (_Looks at the_ OLD WOMAN, _then at_ BERTEL, _then back to the_ +OLD WOMAN, _then he shakes his head_) Mother wouldn't treat her +so,--she'd be good to her. + +BERTEL. Think of what you'll miss! (_An expression of anguish passes +over_ HOLGER'S _face, but he shakes his head and turns toward the old +woman_) Well, this is idle talk, thou and I will go, Steen. + +STEEN. Oh, come,--let's go! + +BERTEL. (_To_ STEEN, _but for_ HOLGER'S _benefit_) Thou +and I will see the King, perchance--The Christ! Thou art stubborn, Holger, +I who am older tell thee what to do! (HOLGER _shakes his head again_) +Come, Steen! (_He opens the door and goes out_) + +STEEN. (_Following him_) Good-bye, Holger. + +HOLGER. Good-bye! (STEEN _goes out and shuts the door. There is a +moment's pause while_ HOLGER _stands staring at the closed door, then he +suddenly runs toward it_) Oh, wait, wait for me, Uncle, I will go! (_He +opens the door, starts to go through it, then stops, turns and looks at +the Woman, is drawn slowly backward by his gaze and comes in closing the +door_) No! + +WOMAN. (_Moaning_) The path--is so--steep! + +HOLGER. (_Goes to her and bends over her_) Didst thou speak, dame? +(_The_ WOMAN _does not answer_) Thou art like Grandmother, and +I know what Mother would do for _her_! (_Feeling her hands_) +Art warmer, dame?--still cold!--The covers aren't very thick. (_He looks +about the bare room, sees the old shawl hanging from the peg near the fire, +takes it down and spreads it over the woman_) Thou must get warm! +(_Goes to the fire and builds it higher_) + +WOMAN. (_Still wandering in her mind_) Berries,--yes, find berries. + +HOLGER. Oh, thou art hungry! (_He turns to the shelf, takes his own +untasted bowl of porridge, brings it to her_) Dame, here is food! + +WOMAN. (_Rousing_) Food, give it to me, child, I am dying for food! + + (HOLGER _gives her the porridge and sits down on the floor beside + her._) + +HOLGER. (_Watching her as she devours the porridge_) _Ah, poor +soul!_--Why, thou wert starving!--Na, just see!--Mother says that's what +makes my little brother so round and rosy, because he eats so much +porridge,--you like it, don't you? + +WOMAN. It is life itself! (_Her voice has grown young and strong. Sinks +back again as she has eaten it all_) Bless thee, Child! + + (HOLGER _sets the empty dish aside on the hearth and turns to feel + her hands._) + +HOLGER. Oh, thou art warm! + +WOMAN. Aye, warm! (_In a voice increasingly rich and sweet. At this +moment there comes the distant sound of organ music._ HOLGER +_straightens suddenly in a listening attitude_) Listen,--is that music? + +HOLGER. From the Cathedral!--Aye, it must be,--last summer we could hear +it plain, and now with so many thousands there! (_Leaves the woman and +stands in the center of the room listening attentively_) It's +beginning!--(_Pause_) Everyone is there! + +WOMAN. Why are they there. + +HOLGER. It's the great service! (_He goes toward the window and stands +looking out. He talks on half to her, half to himself_) All the world is +there, the village folk, and strangers from afar, great court folk, +too,--aye, and the King,--our King! And He will give a gift,--a King's +gift! (_She rises erectly and follows him across the room. There is the +strength and poise of youth in her walk. The heavy black hood has fallen +back revealing a head covering of white linen that suggests a sister of +Charity and gives her face a look of austerity and sweetness. She is +strong, maternal, beautiful. Intuitively,_ HOLGER, _in his +disappointment begins to lean upon her sympathy. The music grows a +little louder and floats into the room_) Look, dame, you can even see +the windows gleam! It is so near! It's all beginning and--I--am not +there! (_A sob creeps into his voice_) + +WOMAN. Son! + +HOLGER. Aye, dame? (_He turns and comes toward her, she seats herself on +the stool near the window, reaches out a hand and draws him down beside +her_) + +WOMAN. Thou, too, wouldst go? (HOLGER, _too moved by her sympathy to +speak, nods silently and puts up a hand to hide the trembling of his +lips. She slips her hand to his shoulder_) Another time thou'll go! + +HOLGER. (_Fighting back his tears_) It'll never be the same again! +To-night the Christ comes. Bertel said--"The Christ!" + +WOMAN. Nay, son, pray to the Christ-child, pray that He does not pass +thee by! (_She sits facing the back wall of the hut._ HOLGER _kneels +before her, and drops his head in her lap. She lays her hand gently upon +his hair and makes the sign of the cross above him_) + + (_As they have been talking together, the fire on the hearth has + burned itself out and the shadows in the room have crept forward and + closed around them till only a faint outline of_ HOLGER _and the_ + WOMAN _can be distinguished in the glimmer of moonlight shining + through the window nearby. There is a long pause broken only by the + boy's sobbing which gradually sinks to silence. As he prays, a faint + light begins to grow behind him. The smoke-grimed back wall of the + hut has vanished and in its place appears a vision of the cathedral + chancel.--One by one objects emerge from the darkness. The light + touches the golden altar, the gleaming appointments upon it, the + jewel-like tones of the stained glass window above, and the rich + carpet under foot; it shows the marble arches at the sides and + shines softly on the robe of the kneeling_ PRIEST. _As the dim + vision grows to clearness, so the music comes nearer and swells + forth softly into the Christmas processional. Unconscious of it all_ + HOLGER _looks up at the_ WOMAN, _his face swept with despair_.) + +HOLGER. Oh, it's no use! I'd rather be all blind and never see than miss +the vision that the Christ will send! + +WOMAN. (_Gazing at the vision_) Look, look what comes! + +HOLGER. (_Staring at the woman's face illuminated by the light from the +chancel_) Dame! (_He turns to see where the light comes from and the +vision meets his eye_) Oh-h-h-h! (_He crouches back at the_ WOMAN'S +_feet, held spell-bound by the sight. As the music changes the_ PRIEST +_rises slowly to his feet, faces the congregation and makes a gesture of +approach. The voices of the choir join the music, and from the left side +of the chancel, people begin to enter carrying their gifts_) + + (_An imperious looking man, richly dressed in black and gold comes + first, bearing a heavy box. He approaches the altar, kneels and puts + the chest in the_ PRIEST'S _hands, and, that the full value of his + gift may be publicly recognised, he throws back the lid, heaping up + the gold coin with which the box is filled. The_ PRIEST _turns, goes + up the steps to the altar and raises the chest as high as its weight + will permit. The man still kneeling awaits the chimes with superb + selfconfidence. The bells do not ring. Slowly the_ PRIEST _lowers + the gold to the altar, turns, raises his hand in blessing and + dismissal. The rich man rises, looking bewildered at his failure, + crosses to the right and stands near the altar as the pageant moves + on._) + + (_The_ PRIEST _turns to the next comer_, A COURTIER _brave in green + and gold, who enters with an air of great elegance, bearing daintily + a gilded jewel casket. He kneels, lays it in the_ PRIEST'S _hands. + The latter turns to go but the_ COURTIER _detains him a second, + raises the lid of the box and holds up string after string of rich + gems. The_ PRIEST _carries the jewels to the altar and offers them. + The bells do not ring. The_ PRIEST _dismisses the_ COURTIER, _and + the young man rises, turns back with assumed lightness of manner and + stands at the left of the chancel, watching with great interest._) + + (_A beautiful_ WOMAN _clad in flame colored velvet sweeps proudly up + to the steps of the altar, kneels, takes from her neck a long strand + of pearls and offers it to the_ PRIEST. _The_ PRIEST _receives the + necklace, ascends to the altar and offers the jewels. The woman + smiling listens tensely for the chimes. They do not ring. The smile + fades as the_ PRIEST _turns and blesses her. She rises trying to + hide her chagrin in a look of great hauteur, crosses to the right + and stands near the man in black and gold with whom she exchanges + disdainful smiles over the next arrival._) + + (_An old white haired man clad in a scholar's robes totters on, + bearing with difficulty a large vellum bound book. The_ PRIEST + _takes a step forward to relieve the Old Man of his burden, and as + he goes up the altar steps the Sage sinks exhausted to his knees, + listening with straining senses for the bells.--They do not ring. + The_ PRIEST _blesses the old man and helps him to rise. He turns + back and stands near the_ COURTIER _at the left._) + + (_A lovely young girl enters, dressed in pale green satin, her arms + filled with a sheaf of white lilies. The very way she carries them + and bends her head to catch their fragrance shows that to her they + are the most beautiful things in the world. Kneeling she gives them + into the hands of the_ PRIEST, _and as he offers them, she listens + with childish confidence for the ringing of the bells.--Still there + is no sound save the organ music and the singing of the choir, + subdued almost to a breath as the gifts are offered. Abashed as the_ + PRIEST _blesses and dismisses her, the young girl steps back and + stands near the old Sage._) + + (_There is a stir in the chancel, even the_ PRIEST _turning to + watch. The_ KING _enters. He is a man of forty with tall + distinguished figure and a proud face. His purple robes, richly + jeweled, trail far behind him and on his head he wears his crown. + Everyone leans forward watching with the greatest tension. The_ + KING, _exalted with his mood of selfsacrifice kneels, removes his + crown and lays it in the hands of the_ PRIEST. HOLGER _crouching in + the shadow quivers with anticipation. Again the pantomime of hope + and failure. The_ PRIEST _turns back to the_ KING _and raises his + arm in the customary gesture. The_ KING _starts to rise then + suddenly as though overcome at this spiritual defeat sinks again to + his knees before the altar and buries his face in his hands, + praying. The_ PRIEST _stands with arms crossed upon his breast, + regarding him sorrowfully._) + +HOLGER. (_Overwhelmed with disappointment, softly to the woman_) Perhaps +there are no chimes, perhaps the Christ hears us not! + +WOMAN. Have faith,--have faith in God. + +HOLGER. I would that I could give my pennies to the Child. + + (_The_ KING _rises from his prayer and goes sadly to the right, + standing near the lady in red._) + +WOMAN. (_In a low ringing voice that thrills like the call of a +trumpet_) Go up, my son,--fear not--The Christ-Child waits for all! + + (HOLGER _breathless with the adventure rises and goes timidly + forward out of the gloom of the hut into the splendor of the + chancel, looking very small and poorly dressed beside all the great + ones. He holds out his pennies to the_ PRIEST _who bends and takes + them with a tender little smile, and_ HOLGER, _crossing himself, too + abashed to stand and wait, shrinks back into the darkness and the + sheltering arms of the Woman._) + + (_The_ PRIEST _goes up the steps of the altar and holds the pennies + high above his head in consecrating gesture, and as he does so, the + organ music breaks off with an amazed suddenness for from above + there comes the far triumphant ringing of the chimes, mingled with + ethereal voices singing The Alleluia._) + + (_A wave of awe sweeps over everyone in the chancel and as the_ + PRIEST _wheels and gestures them to their knees, they prostrate + themselves quickly._ HOLGER, _too, kneels awe-struck but the woman + rises to her full height and stands watching. From this time on, she + withdraws gradually into the deeper shadows of the hut and is seen + no more._) + + (_As they all kneel the Angel enters from the right, ascends the + steps of the altar and stands beside the huddled figure of the_ + PRIEST. _As she stands there, a single pencil of light shines down + upon her from above, a ray of light so brilliant that everything + around seems dull in comparision, and while she gives her message, + the light above grows till it floods her hair and garments with a + miraculous radiance. The_ ANGEL _smiles at_ HOLGER _and chants in a + lovely voice._) + +ANGEL. Verily, verily, I say unto you, it is not gold nor silver nor +rich pearls but love and selfsacrifice that please the Lord. The +Christ-Child was hungered and you gave him meat,--a stranger and you +took Him in. + +HOLGER. (_In an awed tone_) But I--I have not seen the Christ-Child. + +ANGEL. Inasmuch as you have done it unto one of the least of these His +Brethern, you have done it unto Him! (_The_ ANGEL _stands with one hand +uplifted, as the music rises in a great crescendo of triumph_. HOLGER, +_quite overcome, drops his face in his hands and as the climax of the +singing is reached, the whole tableau is held for a moment, then blotted +out in darkness_.) + + (_There is a pause, then the light on the hearth flares up revealing + the boy alone, still on his knees, looking up bewildered at the back + wall of the hut, where the vision had been. Swiftly he rises to his + feet and turns to face the Woman._) + +HOLGER. Dame,--dame!--The Chimes,--the star--did you see? (_She is gone, +he stares about him looking for her_) Gone! Gone! (_The music still +rings softly_) But the Chimes! (_He turns, runs to the window, and +flings open the casement. A soft light, half moonlight, half something +more luminous pours in upon him. He speaks in a tone of infinite +happiness, looking upward_) The stars!--God's Chimes! + + +THE CURTAIN FALLS SLOWLY. + + + + +THE APPENDIX + + + + +[Illustration: Sketch of hut scene for "Why the Chimes Rang," before the +backing of the gauze drop is raised. (Everything back of the fireplace +on the left, and the window on the right, is painted on the gauze, +including the stool and the supporting pillar.)] + +[Illustration: Sketch of chancel scene for "Why the Chimes Rang," after +the backing of the gauze drop is raised. (For simplified setting made of +screens, see diagram on page 34 of appendix.)] + + + + +The accompanying scenery plates are not intended to be followed in all +their elaborate detail but merely to give an idea of the effect to be +worked toward in planning the scenery. + + + + +APPENDIX. + + +The following suggestions for a simplified staging of "Why The Chimes +Rang" are offered, not to college dramatic societies or other expert +amateurs but to the many young people in the secondary schools, Sunday +schools and country districts, who would enjoy staging short plays if it +could be done without elaborate scenery or lighting equipment and +without previous experience in stage management. + +Simplicity aided by imagination goes far upon the stage, and it should +always be remembered that the real aim is the creation of a given +emotion in the minds of the audience rather than the creation of a given +thing upon the stage. If a circle of gilt paper on the head of a fine +looking lad can create a vivid impression of kingly dignity, all the +crown jewels of Europe cannot better the paper for stage purposes. + +In producing a play, it should first be carefully read to see what main +impression is to be conveyed, and what chief elements are to be +emphasized to make up this impression. The details can then be worked +out in harmony with the more important factors. + +In "Why The Chimes Rang," religious exaltation is the mood to be +created, and the divine beauty of charity is the main theme. + +Three sharply contrasted effects are called for: the wood-chopper's hut, +dark and humble; and, set against this, the earthly splendor of the +cathedral chancel, which in its turn is dimmed by the miraculous +presence of the angel. + +It is expected that this play will be adapted, by those giving it, to +the form and degree of ritual desired. Censers and candles may be used +or not, altar appointments and priestly vestments may be chosen to suit +the taste of those concerned. Indeed, in all respects, a play must be +suited to the conditions under which it is presented and the audience +before whom it is given; and while the text may not be altered or added +to, lines may be omitted if desired. + +The information here given has been gathered from frequent working over +of the material but at best it can only help in a general way. Any one +producing a play must work out his own problems in detail. One of the +things that makes the staging of plays such fascinating work is the +exercise it affords the imagination in overcoming obstacles. + + + + +SCENERY + + + + +[Illustration: Diagram showing the arrangement of screens for simplified +staging of "Why the Chimes Rang."] + + + + +SCENERY. + + +For the sake of facing the most difficult form of the problem of amateur +staging, let us suppose that this play is to be given in a parlor or +hall, without platform, without proscenium arch or curtains, with the +walls, floor and ceiling of such material and finish that no nails may +be driven into them, and that the depth of the stage is only nine feet. +It looks hopeless but it can be done. + +Under such conditions the only possible form of scenery is the screen. +If the "scenery-man" is a bit of a carpenter, he can build the screens +himself, making them as strong and as light as possible, with four +leaves a few inches shorter than the height of the room in which they +are to be used, and proportionately wide.--The framework should be +braced by cross pieces in the middle of each leaf, and should have stout +leather handles nailed to them for convenience in lifting the screen. +The right side should be covered with canvas such as is used for +scenery, and the screens can then be easily repainted or recovered for +later plays. + +If it is not possible to have the screens made to order, ordinary +Japanese screens may be borrowed or rented, and made to serve as front +curtain, and framework for scenery. + +Those indicated in the plan as A A and B B serve as the front curtains, +the center sections (marked B B) being drawn aside by persons stationed +behind them to show the interior of the hut when the play begins. The +four screens marked C D and E E form the walls of the hut. In using +screens it will be necessary to do without the window and the actual +door unless the person in charge of the scenery is clever enough to +paint in a window on one panel of the screen and make a door in another. +If not, turn the end panel of the screen marked C to run at right angles +with the other part, giving the impression of a passage with an imagined +door at the unseen end, and wherever in the business of the parts, the +children are said to look out of the window, let them instead look down +this passage, as though they were looking through the open doorway. + +On the right side of the room in the screen marked D, a fire-place may +be constructed by cutting away a portion of the screen to suggest the +line of the fire-place, putting back of this opening a box painted black +inside to represent the blackened chimney, and finishing with a rough +mantel stained brown to match the wall tint. Of course if the screens +are borrowed the fire-place will have to be dispensed with. + +At the moment when the vision of the cathedral is to appear, the screens +marked E E are parted and folded back disclosing the chancel. Perhaps +some church nearby has stored in its basement an old stained glass +window, which may be borrowed and used as background for the church +scene. Such a window was used in a performance of "Much Ado About +Nothing" given some years ago at one of the Eastern colleges. It was +dimly lit from behind by electric globes and proved very successful in +creating a churchly atmosphere. If this can not be done, cover two of +the tallest possible screens with any rich sombre colored drapery and +stand them against the back wall. In the Los Angeles production, the +chancel was represented by a curtain of black velvet, flanked by two +silver pillars, between them the altar. Black makes an exceedingly rich +and effective foil for bright colored costumes. Whatever is used for +backing in the chancel can be masked if unsatisfactory by Christmas +greens, which should be arranged in long vertical lines that carry the +eye up as high as possible and give a sense of dignity, or in the Gothic +curves suggestive of church architecture. + +Against this background, and in the center of the space, place the +altar. This can be made of a packing box painted gold or covered with +suitable hangings. In one performance of this play a sectional bookcase +which stood in the room was hung with purple cheese cloth and served as +an altar. Should the stage space be deep enough broad steps before the +shrine will give an added height to the priest and the angel. + +If it is possible to have real scenery the most illusive method of +revealing and hiding the chancel is to have the back of the hut painted +on a gauze drop, which is backed by a black curtain. At the cue for +showing the chancel the lights in front of the gauze go out leaving the +stage dark, then the black opaque curtain is rolled up or drawn aside +and as the light is slowly turned on the chancel, the vision begins to +take form through the gauze, the latter becoming invisible and +transparent when there is no light in front of it. The gauze prevents +Holger from actually placing the pennies in the priest's hand but if the +two approach the gauze as though it were not there, and stretch out +their hands so that they seem to touch, the priest being provided with +additional pennies which he holds up at the altar, no one in the +audience would guess that the coins had not been given him by the child. + +Very few halls ostensibly built to house amateur play-giving are +adequate for the purpose.--Often the stage is merely a shallow platform +without curtains to separate the actors from the audience, and the +ceiling and walls surrounding the stage are so finished that the +necessary screws for hanging curtains, may not be driven into them. The +amateur manager reaches the depths of despair when he finds that even +the floor of the shallow platform offered him, is of polished hardwood +and may not be marred by the screws of stage braces. + +Amateurs who have any voice in the preparation of the stage being built +for them, should urge the following specifications: + +1. The ceiling of the stage to be at least twice as high as the +proscenium arch. + +2. The depth of the stage to be at least fifteen feet, deeper if the +size of the place permits. + +3. The flooring, walls and ceiling of the stage to be of soft wood, into +which nails and screws may be driven; or if the main construction is of +brick, concrete or metal, some inner wooden scaffolding or other +overhead rigging capable of supporting scenery should be provided. + +4. There should be some space on both sides of the stage for keeping +scenery and properties to be used later in the play, and as a waiting +place for actors temporarily off the stage. The platform forming the +stage proper should be continued over these wings so that actors leaving +the scene may walk off on a level and not seem to plunge cellarward in +making their exits. + + + + +LIGHTING. + + +The important thing to be remembered about the lighting is the crescendo +of light which occurs as the play runs its course. First the dim little +hut so lit by the firelight, that the expressions on the faces of the +actors can just be seen without straining the eyes of the audience. Then +the rich but subdued lighting of the chancel and finally the brilliant +radiance shining on the angel. + +Experiments with electricity should not be attempted by persons who do +not understand its use, but if there is a competent electrician in the +group putting on the play, use electric lighting by all means. No other +form of light is so easily controlled or begins to give such effects for +stage purposes. + +The problems of theater lighting differ with each set of conditions and +the best results can only be obtained by actual experiment with the +means at hand. Do not feel that because you are an amateur, working with +limited equipment, real beauty is beyond you. I have seen a stage +picture approaching a Rembrandt in its charm of coloring and skilful use +of shadows, created on a tiny stage with few appliances by an amateur +who understood his lights. + +If electricity is to be had, use three or four incandescent globes for +the fire on the hearth, arranging logs of wood around them to simulate a +fire. Additional lights as needed can be placed at the side off stage, +or in the footlights; or better, if the stage has a real proscenium +these supplementary lights can be put in a "trough" that protects and +intensifies them and hung overhead in the center against the back of the +proscenium arch. + +As all these lights are to give a firelight effect, the incandescent +globes should be dipped in a rich amber shade of coloring medium which +may be bought at any electrical supply house for sixty cents per half +pint. If gas or oil is used a firelight effect can be obtained by +slipping amber gelatine screens in front of the lamps. These "gelatines" +are about two feet square and cost only ten cents apiece. + +If the fire-place cannot be made, then a charcoal brazier will serve as +an excuse for light and give a sense of warmth to the scene. The brazier +can easily be made by any tinsmith from a piece of sheet iron supported +on three legs, and there is an illustration of it in the right hand +corner of the accompanying scenery plate.--An electric torch or even an +ordinary lantern can be slipped inside the little stove to give out a +faint glow. A piece of one of the amber screens put over the torch or +lantern will warm the light and the brazier can be placed anywhere in +the hut. + +The chancel may be lighted by a number of incandescent bulbs hidden at +the sides of the scene, with the light so shielded that it shines on the +altar and not into the hut. An especially effective place to put a +strong light is inside the box representing the altar, with a hole cut +in the top of the box so that the light shines up, giving a central +radiance to the appointments of the altar and throwing into prominence +the face and costume of each person who approaches it. If any of this +light seems glaring it can be softened and diffused by masking it with +amber or straw colored cheesecloth. + +Some form of search light is practically a necessity for producing the +heavenly radiance that shines upon the angel. If procurable, a "baby +spot light" is the best appliance, but lacking this, an automobile lamp +and its battery can be used. + +It is important that all light in the hut should go out when the vision +of the chancel appears so that the hut becomes merely an inner +proscenium or dark frame around the rich picture of the altar. This of +course does not mean that the lantern in the brazier need be +extinguished as the light given by that is negligible. + +After the angel ceases speaking the tableau of the altar scene should be +held as the music grows louder and louder through the final crescendo; +then, when the final note has been sung, blot out the stage by +extinguishing all lights. Give a moment of darkness during which the +back wall of the hut is replaced, and the old woman slips out of the +nearest opening in the scenery. Then turn on the front lights which +illuminated the hut during the first part of the play. + + + + +MUSIC. + + +The three pieces of music required for this play are as follows: + +"The Sleep of the Child Jesus" part song for mixed voices by F.A. +Gevaert. + +Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee +Atherton. + +These two pieces come published together in a special edition for use +with this play by The Boston Music Company. Price 15 cents per copy, +postpaid. + +The bell movement (in five flats) (Postlude) by J. Guy Ropartz. +Published by The Boston Music Company. Price 30 cents per copy, +postpaid. + +For all the music, address The Boston Music Company, 116 Boylston +Street, Boston, Mass. + +The pieces by Ropartz and Gevaert were chosen for the Workshop +production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard +University, and are admirably fitted to the play. Mr. Atherton's +Alleluia is also just what is needed, both in length and in the +triumphant crescendo which carries the piece fittingly and dramatically +to its close. It would be difficult to replace this finale except by +other music written for the purpose. + +The music is perhaps the most important single element in the play. In +the original version the scene in the chancel was carried by dialogue +but production showed the mistake. From the time that the music begins, +it, with the pantomimic action of the actors is all sufficient to +interpret the mood and meaning of the scene. + +A small parlor organ is practically a necessity and can probably be +procured for the cost of the cartage. + +A choir of men's and women's voices is best for the singing but a good +quartette will serve. + +For the bells, the long tubular chimes which are suspended by one end +and struck with a wooden hammer are the most satisfactory. If they seem +too metallic, try covering the head of the hammer with folds of chamois +skin. If such a set of chimes is not to be had a substitute can be found +in the phonograph, for which there are a number of chimes records.--The +tune played on the phonograph must not be a modern one; Luther's Hymn +"Great God, what do I see and hear?" (A Columbia record) is the best. +The tune can be disguised by lifting the needle occasionally and setting +it down gently on another part of the record. As far as I know, no +phonograph record presents chimes pure and simple. It should be +remembered however that the phonograph record lacks the vitality of tone +and the note of jubilant triumph which a good musician can bring from +the bells themselves. + +With the exception of the crescendo at the end of the Alleluia, the +music is kept soft and dreamy throughout. It is a temptation to try to +achieve this effect by placing singers and organ back, off stage, so +that the sound may come from a distance but it has been found that the +whole performance gains immeasurably if the organist is in front where +he can watch every movement of the actors and interpret them in his +playing. + +The music begins on Holger's speech: "Oh thou art warm" and continues in +one form or another throughout the play.--The organist commences in the +middle of the Ropartz "Sortie," at the top of page 6 and continues this +until the back of the hut is withdrawn when he drifts into the +accompaniment of the Gevaert song, and plays it through once without the +voices. As Holger cries "Dame!"--and sinks back against the woman's +knee, this verse should end, and the voices of the choir take up the +song with the organ. + +From this point on every movement in the chancel is paced to the rhythm +of the music. It has been found that a verse of the Gevaert song is just +long enough to fit the following action. + +A person in the procession enters the chancel, walks to the center +before the altar, kneels and presents his gift to the priest. The priest +accepts the gift, turns, goes up the steps to the altar, and raises the +offering high above his head holding it there a moment waiting for the +chimes to ring, then brings his arms down, lays the gift on the altar, +turns back to the kneeling figure, and raises his hand in blessing. The +person then rises, and steps back to his appointed place to the left or +right of the altar, coming to a standstill just as the music ends. As +the next verse begins, the next person enters the chancel. The movements +should be made with deliberation and dignity and so thoroughly rehearsed +that keeping time to the music becomes instinctive, that the actor's +mind may be on the expressing of the emotions of assurances that his +gift will ring the chimes, and later disappointment that the chimes do +not ring. + +When it comes Holger's turn to offer the pennies, the music begins again +as with the others and accompanies the action through to the moment when +the priest holds the pennies high above his head,--here the organ and +singing break off abruptly, the chimes ring out and keep pealing for a +moment, without other music. + +On the first note of the chimes the priest wheels swiftly and with a +commanding gesture signals the people grouped about the altar to their +knees. He kneels also. The organ begins again, softly playing the final +Alleluia. The angel enters from the right side, stands on the step of +the altar, the central figure,--all about still kneeling awestruck. As +the music continues the angel half sings, half chants the speeches, and +underneath her voice, which should be as lovely as possible, come in the +voices of the other singers very softly at first, like an echo from +afar. As the angel's voice stops, those of the other singers grow into +the great triumphant crescendo of the finale. Do not be afraid of +holding this tableau while the music finishes.--Indeed none of the +chancel scene should be hurried. Take it with great deliberation and +give whatever element is holding the scene at the moment, (whether the +action or the music) plenty of time to make its effect. The Alleluia is +played through twice, once softly during the angel's singing the second +time in the triumphant climax. As this second singing ends, the lights +on the chancel are blotted out, the back wall of the hut is replaced, +the old woman disappears, the lights in the hut go up again revealing +Holger standing spellbound staring at the wall where the vision had +been. As he turns to speak to the woman and during his final speeches, +the organ plays softly as though from a great distance and the chimes +ring again but not so loudly as before. This music continues till the +front screens are brought together and the play is over. + + + + +COSTUMES + + + + +[Illustration] + +[Illustration] + +[Illustration] + + + + +COSTUMES. + + +The costumes of this play are mediaeval, picturesque and easily +constructed.--The accompanying plates will give the best idea of their +general appearance. The amounts of goods required for each are noted +below. + +First of all, in planning the costuming for a play a definite color +scheme should be decided on with due regard for the scenery against +which the colors are to stand out and for the lights which will greatly +affect all values. Here is an opportunity for delightful study and the +exercise of the highest artistic ability. Skilful lighting and a well +chosen background will make cheesecloth as effective as cloth of gold. +Taste and careful experimentation not money secure the best results. + +Family ragbags will often yield excellent material for theatrical +costumes, and of much better quality than would be bought new for the +purpose. But if the stuff is to be purchased, two materials will be +found especially suitable and inexpensive. For the peasants' costumes +canton flannel is recommended as it has body and comes in beautiful dark +reds, browns and other shades which light up well. For the dresses of +the richer group in the chancel, sateen is best. It, too, comes in +lovely colors and has a very rich glossy finish, though to give variety +an occasional piece of cheap velvet or upholstery brocade is very +effective. For trimming these richer garments, bits of fur or +passementerie can be used, or the material may be stencilled or even +painted freehand. Large gold beads sewed on in a simple design gives the +appearance of rich embroidery, as do also flowers cut out of chintz and +carefully pasted on. + +All of the men's jerkins or tunics are made on the simple lines of a +man's shirt, opened a little at the neck and belted in at the waist. + +The most inexpensive tights for amateurs are well-fitting cotton +underwear, dyed the desired color. The children and Bertel can wear +their own plain soft low-heeled slippers. The rich folk in the chancel +wear their own slippers and draw on over them, socks dyed to match the +tights; these socks if rolled down at the top make a very passable +substitute for the Romeo shoe of the period desired. + +The following notes refer to the costumes of "Why the Chimes Rang" as +shown in the plates, the numbers corresponding to those given the +figures therein. The estimates of the amount of goods required are all +calculated on the basis of yard wide goods for an adult of average size, +except in the case of the two children, the costume of the older being +planned for a fourteen year old boy that of the younger for a child of +ten. + +1. The old Woman: underrobe, cut in straight simple lines, gracefully +belted, 5-1/2 yards, cloak and hood, 6 yards. If this cloak is black or +nearly so it will help to conceal her entrance and exit, as black +against black is practically invisible on the stage. + +2. Bertel: jerkin, gaiters and cap (all of same material), 3 yards; +shirt, (under jerkin) 2-1/2 yards; cloak, 2-1/2 yards. If preferred +Bertel's jerkin can be made with sleeves of the same goods instead of +the white shirt showing as in the picture. + +3. Holger: jerkin and cap, 1-1/2 yards; cape, 2 yards. + +4. Steen: jerkin and cap, 1-1/2 yards; cape, 2 yards. + +It may be easier to lengthen the skirts of the boys' jerkins almost to +the knee and let them wear regular stockings and bloomers instead of +tights. If long sleeves are preferred for them, a pair of stockings cut +off at the ankle are easily attached at the arm hole and make very good +sleeves. + +5. The Angel: outer robe, 7 yards; under robe, 5 yards. + +This costume is best made of creamy cheesecloth over an under robe of +the same, as cheesecloth is faintly luminous in an intense light. It +should be long enough to lie on the floor two or three inches all round +as a trailing effect is desirable. + +6. Rich Woman: dress, 6 yards. + +Her head dress is easily made of stiff white paper rolled up in +cornucopia shape and sewed securely, over this a long white veil or +scarf is draped. + +7. The Rich Man: tunic, 2 yards; shirt, 2-1/2 yards; or 1-1/2 yards if +the sleeves and neckpiece can be sewed right into the tunic, doing away +with the under garment. If the costumes are to have repeated wear, it +will be better to have the shirts made separate and of a washable +material, they can then be cleansed more frequently than will be +necessary for the tunics. The Rich Man's chain can be made of the heavy +brass chain that comes for draping back curtains. + +8. The Priest: under robe, 4-1/2 yards; outer robe 6-1/2 yards. This +costume will of course be greatly modified by the custom of the church +of which he is supposed to be a representative. + +9. The King: tunic, 2 yards; shirt, 2-1/2 yards; robe of office, 4-1/2 +yards. The King's tunic in general cut is exactly like that of the other +two courtiers (nos. 7 and 12) but handsomer in material and trimming. +The robe is just a straight piece that hangs from the shoulder and +trails on the ground. + +10. Sage: robe, 6 yards. + +11. Young Girl: dress, 6 yards. + +12. Courtier: tunic, 2 yards; shirt, 2-1/2 yards. + + + + +PROPERTIES. + + +The following list gives the properties needed in the play.-- + +In the hut: + +1. A porridge pot. + +2. Three small bowls. + +3. Three spoons. If pewter spoons are not to be had, wooden spoons can +be bought cheaply. + +4. Porridge. Custard or Spanish cream looks like porridge and is more +easily eaten on the stage, but hot cream of wheat is also palatable if +sweetened and the steam from it will lend a touch of realism to the +scene.--It will save time to have it put in the three small bowls before +the rise of the curtain, and the bowls can be covered with three little +plates to keep the steam in till the food is wanted. + +5. Two roughly made but substantial stools, one near the window, the +other before the fire. Stools are better than chairs with backs because +they do not obstruct the view of the audience during the chancel scene. + +6. Three large nails or wooden pegs in the walls strong enough to hold +things, one on each side of the fire-place and one near the door. These +would be impracticable with scenery made of screens as any weight on the +screen would pull it over. A solid wooden chest, as a carpenter's tool +chest, could be substituted to hold the children's wraps and the extra +shawl for the old woman. The chest could be placed against the screen on +the left or right as convenient. + +7. Steen's cap and cape. + +8. Holger's cap and cape. + +9. The extra shawl Holger puts around the old woman. + +10. Two bright pennies for Holger's gift. + +11. Logs of firewood on the hearth. Not needed of course if the brazier +is used instead of the fireplace. + +In the chancel: + +12. An altar cloth. This is properly a piece of fine linen edged with +deep real lace. It should not be so wide as to cover the top of the +altar, lest it obscure the light shining up through the hole. It should +hang down in front of the altar and at the sides about eighteen inches. +A very handsome looking lace altar cloth can be cut from white paper. + +13. Candle-sticks. + +14. Candles. + +15. Two censers: Very passable censers can be made by swinging brass +cups on the brass chains that come for looping back curtains. + +16. Incense. + +17. Charcoal to burn the incense. (This comes in the box with the +incense.) + +18. Matches to light the incense. + +19. The chimes (or the phonograph and record.) + +20. The organ. + +Gifts to be put on the altar. + +21. A chest full of gold coins for the rich man. (This chest should be +about six by twelve inches, made of some polished wood. If difficult to +find, substitute a money-bag of stout canvas for it.) + +22. Gold coin for the rich man. These coins may be made of cardboard +with gold paper pasted over them. + +23. A gilded jewel box for the courtier (this can be made from a +cardboard box covered with gold paper.) + +24. Jewels to fill the gilded box. The smaller things that come for +Christmas tree decorations make very acceptable stage jewels. + +25. A great book bound in vellum for the sage to give. A heavy book can +be covered with wrapping paper the color of vellum. + +26. A pearl necklace. + +27. A great sheaf of fresh lilies. These can be made at home of tissue +paper or very beautiful ones can be bought from the Dennison +Manufacturing Company. + +28. A golden crown. Made of cardboard coated with gold paper and set +with Christmas tree jewels. A more substantial crown can be made of thin +sheet brass with all the edges turned like a hem, and trimmed with the +inexpensive jewels which come for brass work. + + + + +BIG-HEARTED HERBERT + +Farce-comedy. 3 acts. By Sophie Kerr & Anna Steese Richardson. 7 males, +6 females. Interior. Modern costumes. + +Herbert Kalness, the leading character, is a selfmade man. His success +and his belief in himself have unwittingly turned him into a domestic +autocrat. Moreover he prides himself on being a plain man and imagines +that he lives plainly, though his devoted and charming wife has +modernized and decorated their home quite successfully. The day arrives +when the daughter of the house becomes engaged, and at a dinner to +celebrate the event, Herbert, who has been upset and worried all day +about business, has a great big tantrum which even his wife can't +excuse. So, the next day, when he proposes to bring his best customer +and wife home to dinner--assuring them that he is a plain man--his wife +turns the house plain to the nth degree and serves them a plain dinner +in the plainest of ways. In a final riotous scene Herbert realizes that +he is not so plain, and that his life will be happier if he is more of a +father and less of a tyrant. + +(Royalty, $25.00.) Price, 75 cents. + + + + +FLY AWAY HOME + +Comedy. 3 acts. By Dorothy Bennett & Irving White. 7 males, 6 females. +Interior. Modern costumes. + +A comedy hit on Broadway. The four Masters children, ranging in age from +14 to 19, are enjoying their usual summer sojourn at Provincetown. +Without much enthusiasm they are looking forward to the imminent +marriage of their mother to the professor who has summered next door. +Then word comes that their mother, who is just completing the last two +weeks of her contract as dress designer in a Hollywood motion picture +studio, has invited their own father to visit them and make arrangements +for a divorce. They haven't seen him for twelve years and they are +determined he shan't treat them like children. James Masters, the +father, comes. Although he has a sense of humor and would sincerely like +to make friends with his children, he antagonizes them at once. For a +week the father struggles against the professor and his influence. After +the various problems have been more or less solved the children suddenly +decide that they prefer their own father as a member of the family and +set to work in a businesslike way to help him win their mother back. + +(Royalty, $25.00.) Price, 75 cents. + + + + +ANNE OF GREEN GABLES + +L.M. Montgomery's most popular novel, dramatized into a tender and +amusing play in 3 acts by Alice Chadwicke. 4 males, 10 females, 1 +interior set. Modern costumes. + +Mark Twain, the celebrated humorist, was so taken with the quaint charm +of L.M. Montgomery's tremendously popular novel that upon reading it for +the first time he said: "In 'Anne of Green Gables' you will find the +dearest and most moving and delightful girl since the immortal Alice." +[Anne is played by a girl in her middle teens.] And for years this +fascinating book has headed the list of best sellers. It has been made +twice as a movie, once a silent picture and only recently as a talkie, +but it has remained for the distinguished dramatist, Alice Chadwicke, to +make the first and only dramatization of this magically beautiful story. +Green Gables is the home of lovable Matthew Cuthbert and his stern +sister, Marilla Cuthbert. Nobody suspects that beneath her hard exterior +there lurks a soft and tender heart. When Matthew, after a great deal of +reflection, finally decides to adopt an orphan boy to help with his farm +work, Marilla grudgingly consents. Through a rattlebrained friend of +theirs, one Nancy Spencer, they agree to take a boy from the Hopeton +Orphanage. Marilla makes ready to receive the boy and Matthew drives to +the station to get him. Fancy his consternation when he finds little +Anne Shirley waiting for him! There has been a mistake and Anne has been +sent to Green Gables in lieu of a boy whom the Cuthberts plan to adopt. +From the instant Anne and Matthew meet a strong attachment grows up +between the little orphan and the man who has been starving for +affection without realizing it. Anne, with her vivid imagination, her +charitable viewpoint, her refreshing simplicity, touches the old +bachelor's heart. But not so with Marilla. She determines to send Anne +back to the orphanage the following day. But she reckons without Anne +who is so enchanted by everything at Green Gables and who cries and begs +and pleads so hard to remain that even Marilla finally gives in and +consents. Anne is the sort of part that every young girl will adore +playing, and the other parts offer splendid opportunities to the various +members of the cast. The play breathes of youth, is thoroughly modern in +spirit, very simple to prepare and present and Miss Chadwicke has +written into it such an abundance of warmth, wit, and motion that it +becomes an endless delight. + +(Royalty, $25.00.) Price, 75 cents. + + + + +GROWING PAINS + +Comedy. 3 acts. By Aurania Rouverol. 7 males, 8 females, 1 set (patio). +Modern costumes. + +Produced originally at the Ambassador Theatre in New York. George and +Terry are the son and daughter of Professor and Mrs. McIntyre who +struggle valiantly to lead their children through the difficult phases +of adolescence, so familiar to us all. Terry is shown outgrowing the +tomboy stage, and unable to play with the boys on an equal status. She +finds herself thrown back on her feminine resources; and how she tries +out her "resources," makes this play an illuminating study of feminine +psychology. George McIntyre, the boy adolescent, goes through the +customary symptoms of his age--begging his parents for a car--and +falling victim of the wiles of Prudence, a successful "vamp" in the +neighborhood. At a party George is sent out for some more ice cream. In +his rush to get back for his dance with Prudence, he passes a traffic +light, and is pursued home by an officer, subsequently is hauled off to +jail, loses Prudence, but discovers a new blue-eyed blonde in the +neighborhood. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE BISHOP MISBEHAVES + +Farce-comedy. 3 acts. By Frederick Jackson. 7 males, 3 females. 2 +interiors. Modern costumes. + +Produced originally by John Golden at the Court Theatre, New York, with +Walter Connolly in the leading role. Here is the story of the Bishop, an +elderly and saintly dignitary, who stops by accident with his charming +and quaint sister at a roadside inn just after there has been a hold-up +and robbery. The Bishop has always had a secret love for detective +stories and here is a chance to apply some of his choicest solutions. +His sister, thrilled with the excitement of it all, eagerly joins in. +The Bishop, now playing policeman, gobbles up clews and discovers the +stolen jewels. Deftly removing them from a mug on the wall he leaves in +their stead, one of his calling cards, and proceeds to his home to await +developments. The developments arrive in the form of three ruffians, the +masked hero in evening clothes, and the attractive heroine who had +engineered the robbery. From now on it is a game of outguessing, turning +tables, turning out lights, knife-brandishing, and gun-play, until the +Bishop finally emerges triumphant to bestow his blessing on the young +hero and charming heroine. + +(Royalty, $25.00.) Price, 75 cents. + + + + +CHARITY BEGINS + +Comedy. 3 acts. By Ireland Wood. 3 males, 7 females. Interior. Modern +costumes. + +First produced at the Aldwych Theatre in London. The Deveral household +consists of old Mrs. Deveral, her middle-aged children--Agnes who is +efficient, Emily who is muddle-headed, and Henry who is fussy--and Judy +Deveral, her granddaughter. Rodney Walter, Henry's agent, is making love +to Judy, and she prefers him to the young and unsophisticated Bobbie +Forrester, who also loves her. It is Judy's eighteenth birthday, and her +relations feel that it is time to tell her about Aunt Catherine, the +black sheep of the family, who is supposed to have run off with another +woman's husband. It is the day of the village bazaar, and amid a lot of +hustle and bustle Catherine enters--the prodigal daughter most +inopportunely returned! As the day progresses Old Mrs. Deveral becomes +fractious, the Fête entertainment falls through and Judy decides to run +away with the unpleasant Rodney. Things are going from bad to worse when +Catherine steps in. She pacifies her mother, gives a talk on her +experiences to the Village audience, and convinces Judy that Bobbie is +nicer than Rodney. We hear, incidentally, that she never actually eloped +with her Philip after all. + +(Royalty, $15.00.) Price, 75 cents. + + + + +THE GHOST FLIES SOUTH + +Comedy. 3 acts. By Frederick Jackson. 4 males, 7 females. Interior. +Modern costumes. + +Anita and Diana, who have been reared to regard gambling as something of +a major vice, decide to gamble on the stock market regardless, and with +beginner's luck they win four hundred thousand dollars. In order to keep +Morgan, an anti-gambling addict and Anita's fiancé, from discovering the +situation they tell him that the money was left Anita by an Uncle +William who died in the west. The little lies grow beyond the control of +the two girls in an amusing series of climaxes. Most amusing and +concerned is Grandma, who has to be convinced that she had a son +William. Morgan finally sees a flaw and hires a cowboy and an Indian +squaw--actors--to come and blackmail Anita for half the money. They are +to represent William's partner and wife. Anita realizes what Morgan has +done, so she scares the two with threats and they leave. She then tells +Morgan that she gave them the money, but he can't find them. Finally the +situation is cleared, and Anita is conceded to be very clever indeed. + +(Royalty, $25.00.) Price, 75 cents. + + + + +SPRING DANCE + +Comedy. 3 acts. By Philip Barry. Adapted from an original play by +Eleanor Golden and Eloise Barrangon. 6 males, 7 females. 2 interiors. +Modern costumes. + +This gay, light, frothy comedy was first produced by Jed Harris at the +Empire Theatre in New York where it found a ready audience. The story +concerns a number of New England college girls in general and one, +Alexandra--called Alex--Benson in particular, who finds it very +difficult to attract young men of any description; primarily because she +feels that she looks very much like a horse with a fly up its nose, +which as a matter of fact, she doesn't at all. Alex sets her heart on +Sam Thatcher, a Yale man who has turned against college and +regimentation to set off for Russia with a free-thinking, free-living, +rebellious companion oddly called "The Lippincott," who knows everything +about women except how to get along without them. When Alex can't seem +to get very far with the courtship by herself, her girl friends decide +to take the matter into their own hands to secure Sam for the sad and +bewildered Alex. They conspire to make Sam jealous as well as interested +in things other than communism, Russia, and candid cameras, and to raise +Alex to the rank of belle of the ball. Sam, a sad funny figure the world +over, finally capitulates under the ministrations of the many females, +and he and Alex elope to the great delight of Alex's gang. + +"_Spring Dance_ is a bright and amusing comedy, splendidly adapted, in +cast, subject matter, and its collegiate background to students of high +school and college."--American Academy of Dramatic Arts. + +"I recommend _Spring Dance_ to any theatre that is still selling +entertainment."--H. Miles Heberer, Director, The Manhattan Theatre, +Kansas State College. + +"Its youthful spirit and gay wit made it more than just good +entertainment. Other Little Theatres will doubtless find, as we did, +that the casting will give them a chance to capitalize on the natural +popularity of young and enthusiastic actors."--Gordon Giffen, Director, +Little Theatre of Duluth. + +_Spring Dance_, when offered by colleges, high schools, or Little +Theatres, draws extremely enthusiastic audiences. + +(Royalty, $35.00.) Price, 75 cents. + + + + +CRAB APPLE + +Comedy. 3 acts. By Theodore Packard. 4 males, 3 females. Interior. +Modern costumes. + +First done at Yale and several summer theatres, _Crab Apple_ is a light +and amusing play of contemporary American life enlivened with +up-to-the-minute allusions. "She's got a good mind," is said of one +character, "she's read 'Anthony Adverse.'" The play gives a brief +glimpse of everyday life in the Hunter family, with Mr. Hunter grown +crotchety and weary with business cares, making life miserable instead +of pleasant for the family he has toiled for. His wife meekly accepts +his grumblings and his tyranny. His children frequently threaten +rebellion, but their feelings smolder until the situation is brought +into sharp focus by the arrival of son Jim from college with a bride. +This overt act of Jim's gives courage to his brother George to bring +home a radio, banned as a nuisance by the head of the family, and to +sister Amy to blossom out in a low-backed evening gown and plan to step +out dancing. Mr. Hunter is only brought to reason by a conspiracy which +makes him believe he is seriously ill. The family coddles him into a +change of heart, and then finds it impossible to believe that their jest +has become earnest and that their father's health is really in danger. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE LATE CHRISTOPHER BEAN + +Comedy. 3 acts. By Sidney Howard. 5 males, 4 females. Interior. Modern +costumes. + +Produced by Gilbert Miller in New York and elsewhere, this is one of the +outstanding successes of the theater season of 1932-33. The comedy has +to do with a family of New Englanders who have, years before, given +refuge to a great artist. The play opens some years after Bean's death, +with an excited world in pursuit of his work and any details they can +gather as to his life and character. Dr. Haggett and his family, who +have some of Bean's canvases, suddenly realize their value, and become +hard, selfish, and ill-tempered. It is, however, Abby, the family +servant, who ultimately holds them all in her power: she has one of his +greatest paintings, which she cannot be persuaded into selling or giving +away; it turns out that she is the only one who really understood and +appreciated the artist--besides, she had been married to him! An ideal +play for colleges and Little Theaters. + +(Royalty, $25.00.) Price, 75 cents. + + + + +LADY PRECIOUS STREAM + +Chinese play. 4 acts. By S.I. Hsiung. 5 males, 5 females (extras). +Conventional Chinese scene for all sets. Chinese costumes. + +This Chinese play by S.I. Hsiung, was produced successfully in New York, +and in London, where it was performed more than 500 times. It is in +every respect an authentic play written and performed in the Chinese +manner with the delightful and charming conventions of that ancient +institution. This beautiful romantic drama of love, fidelity, treachery +and poetry is a decidedly colorful fantasy that appeals to all classes +of theater goers. It tells, in varied scenes, of the devotion of a wife +for her adventurous husband, of his prowess as a warrior and his +ultimate return. (Not available for amateur production at present, but +if interested in producing let us know and we shall notify you +immediately it is released for your locality.) + +Price, 75 cents. + + + + +CHARLEY'S AUNT + +Farcical comedy. 3 acts. By Brandon Thomas. 7 males, 5 females. +Interior, exterior. Modern costumes. + +The first act introduces us to Jack Chesney's rooms in college. He is +violently in love with Kitty Verdun. A chum of his, Charles Wykeham, is +in the same quandary, loving Miss Spettigue. The young men at once lay +their plans and ask the objects of their affections to join them at +their rooms for luncheon--in order to meet Donna Lucia D'Alvadorez, +Charley's aunt, who is expected to arrive from Brazil. Miss Spettigue +and Miss Verdun accept the invitation, but the millionaire Donna from +the antipodes sends a telegram saying that she will have to defer her +visit for a few days. The problem is solved at once by forcing another +undergraduate of the name of Lord Fancourt Babberley into a black satin +skirt, a lace fichu, a pair of mitts, an old-fashioned cap and wig. As +Charley's Aunt, then, this old frump is introduced to the sweethearts, +to Jack Chesney's father, and to Stephen Spettigue. Unexpectedly the +real aunt turns up, but she assumes the name of Mrs. Smith or Smythe. To +attain his object,--viz., the rich widow's hand--the solicitor invites +everybody to dinner. She gets his consent to the marriage of his ward to +young Chesney, and eventually everybody but the avaricious solicitor is +rendered overwhelmingly happy. + +(Royalty, $25.00.) Price, 75 cents. + + + + +DOUBLE DOOR + +Drama. 3 acts. By Elizabeth McFadden. 7 males, 5 females. Interior. +Costumes, 1910. + +An outstanding success on Broadway. Its theme is the battle for power +that goes on in an old New York family and culminates on the verge of +murder. "This one deserves especial thanks and hearty praises. It +returns us to expertness and fascination and fine mood in the theater." +Gilbert Gabriel, in _New York American_. "At last a play has come to +town that can be heartily recommended. Sturdy theater, compelling. Once +you are within the radius of _Double Door_ you will remain transfixed +until you know what's behind it." Bernard Sobel, _Daily Mirror_. +"_Double Door_ is a thriller of a new kind, beautifully written, +superbly played, clean as a whistle, and arousing in its spectators a +tenseness of interest I have rarely seen equaled in a playhouse." +E. Jordan, _America_. Leading part acted by Mary Morris in America and +by Sybil Thorndike in London. A play that will challenge the best acting +talent of Little Theatres and colleges. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE DISTAFF SIDE + +Play. 3 acts. By John Van Druten. 5 males, 8 females. 2 interiors. +Modern costumes. + +Produced with preeminent success in London and New York. Mr. Van +Druten's new play deals with the women of one family, women so unlike +that they set one another off startlingly. There is the tart, querulous +old Mrs. Venables, and there are her three daughters--Nellie who is +married and whose life has slipped away from her in the provinces; Liz +who is divorced and whose life has been brilliant and unconventional on +the Continent; and Evie who is a widow and whose life has been spent +being happy through others--her husband, her children, her friends. +Evie's young daughter Alex is the fifth woman in the family, and the +drama of _The Distaff Side_ centers chiefly in her and her two suitors +who represent such different things. But if the plot belongs to Alex, +the honors of the play go to her mother--for seldom has a modern +playwright drawn so warm and womanly and endearing a character as Evie. +The family life of these people is extraordinarily human, but it is Evie +that it revolves around, Evie who lights it up. + +(Royalty, $35.00.) Price, 75 cents. + + + + + + +End of the Project Gutenberg EBook of Why the Chimes Rang: A Play in One Act +by Elizabeth Apthorp McFadden + +*** END OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + +***** This file should be named 15290-8.txt or 15290-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/2/9/15290/ + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Why the Chimes Rang: A Play in One Act + +Author: Elizabeth Apthorp McFadden + +Release Date: March 8, 2005 [EBook #15290] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + + + + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + + + + + +</pre> + + +<div id="titlepages"> + +<a name="page1" id="page1"></a> +<h1>Why The Chimes Rang<br />A Play in One Act</h1> +<h2>by Elizabeth Apthorp McFadden</h2> + +<h3>Adapted from the story of the same name</h3> +<h3>by Raymond McDonald Alden</h3> + +<br /><br /> + +<p>Samuel French: Publisher<br /> +25 West Forty-fifth Street: New York<br /> +<span class="small">LONDON</span></p> + +<p>Samuel French, Ltd.<br /> +26 <span class="small">SOUTHAMPTON STREET, STRAND</span></p> + +<br /><br /> + +<p class="small">COPYRIGHT, 1915<br /> +BY E.A. MCFADDEN</p> + +<hr class="long" /> + +</div> + +<div id="preface"> + +<a name="page2" id="page2"></a> +<h2>WHY THE CHIMES RANG.</h2> + +<hr class="short" /> + +<p>This play is fully protected by copyright.</p> + +<p>Permission to act, read publicly or make any use of it must be obtained +of Samuel French, 25 West 45th Street, New York. It may be presented by +amateurs upon payment of the following royalties:</p> + +<p>1. This play may be presented by amateurs upon payment of a royalty of +Five Dollars for each performance, payable to Samuel French, at 25 West +45th Street, New York, or at 811 West 7th Street, Los Angeles, Calif., +one week before the date when the play is given.</p> + +<p>2. Professional rates quoted on application.</p> + +<p>3. Whenever this play is to be produced the following note must appear +on all programs, printing and advertising for the play:</p> + +<p>This play is a dramatization of the story by Raymond MacDonald Alden +entitled "<span class="small">WHY THE CHIMES RANG</span>," published by +The Bobbs-Merrill Company.</p> + +<p>This version of Raymond MacDonald Alden's story is published with +permission of the Bobbs-Merrill Company of Indianapolis, Indiana, the +publishers of Professor Alden's story and the holders of the copyright.</p> + +<h3><i>WARNING</i></h3> + +<p>The copying, either of separate parts or the whole of this work by any +process whatsoever, is forbidden by law and subject to the penalties +prescribed by Section 28 of the Copyright Law, in force July 1, 1909.</p> + +<hr class="long" /> + +<br /><br /> + +<a name="page3" id="page3"></a> +<h2>PREFACE.</h2> + +<p>This little play is prentice work done in Professor George P. Baker's +class, English 47 at Radcliffe College in the fall of 1908. Several +years later it was staged by Professor Baker in the "47 Workshop," his +laboratory for trying out plays written in the Harvard and Radcliffe +courses in dramatic technique.</p> + +<p>I am glad to acknowledge here my indebtedness to the "Shop" and its +workers for this chance of seeing the play in action. Of the various +advantages which a "Workshop" performance secures to the author none is +more helpful than the mass of written criticism handed in by the +audience, and representing some two or three hundred frank and widely +varying views of the work in question. I am especially grateful for this +constructive criticism, much of which has been of real service in the +subsequent rewriting of the piece.</p> + +<p>"Why the Chimes Rang" was again tried out the next year in seven +performances by the "Workshop" company in various Boston settlements. +Other groups of amateurs have given it in Arlington, Massachusetts, Los +Angeles, California and in Honolulu. These performances have proved that +while its setting may seem to call for the equipment of a theatre, the +play can be acceptably given in any hall or Sunday school room.</p> + +<p>Suggestions for the simplest possible staging have been added to the +present publication in an appendix which contains data on the scenery, +music, lighting, costumes and properties for the piece.</p> + +<p class="right">ELIZABETH APTHORP McFADDEN.</p> + +<hr class="long" /> + +</div> + +<div id="content"> + +<a name="page4" id="page4"></a> +<h2>WHY THE CHIMES RANG.</h2> + +<hr class="tiny" /> + +<h3>CHARACTERS.</h3> + +<br /> + +<ul> +<li>HOLGER ........................... <i>A peasant boy</i></li> +<li>STEEN .............................. <i>His younger brother</i></li> +<li>BERTEL ........................... <i>Their uncle</i></li> +<li>AN OLD WOMAN</li> +<li>LORDS, LADIES, <i>etc.</i>—</li> +</ul> + +<br /> + +<p class="center">TIME:—<i>Dusk of a day of long ago</i>.</p> + +<hr class="tiny" /> + + +<p class="center">SCENE:—<i>The interior of a wood-chopper's hut on +the edge of a forest</i>.</p> + +<hr class="long" /> + +<a name="page5" id="page5"></a> +<h2>Why the Chimes Rang.</h2> + +<hr class="tiny" /> + +<p>The scene is laid in a peasant's hut on the edge of a forest near a +cathedral town. It is a dark low-raftered room lit only by the glowing +wood fire in the great fireplace in the wall to the right, and by a +faint moonlight that steals in through the little window high in the +left wall. This window commands a view of the cathedral and of the road +leading down into the town. The only entrance into the hut is the front +door near the window.</p> + +<p>The furnishings are few: two substantial stools, one near the window, +the other before the fire, logs piled up near the hearth, and on the +chimney shelf above a few dishes, three little bowls, three spoons and a +great iron porridge pot. A wooden peg to the right of the chimney holds +Steen's cap and cape, one to the left an old shawl. Near the door +Holger's cap and cape hang from a third peg.</p> + +<p>Despite its poverty the room is full of beautiful coloring as it lies +half hidden in deep shadow save where the light of the fire falls on the +brown of the wood and the warmer shades of the children's garments, +illuminates their faces and gleams on their bright hair.</p> + +<p>When the curtain is raised Steen is sitting disconsolately on the stool +near the fire. He is a handsome sturdy little lad of nine or ten, +dressed in rough but warm garments of a dark red. Holger a slender boy +some four years older, bends over Steen patting him comfortingly on the +shoulder.</p> + +<p>There is petulance and revolt in the expression of <a name="page6" +id="page6"></a>the younger boy but Holger's face is full of a blended +character and spirituality that makes him beautiful. He is clad like his +brother in comfortable but worn jerkin and hose of a dark leaf green. His +manner to the little boy is full of affection, though occasionally he is +superior after the manner of big brothers. Throughout the play, two moods +alternate in Holger, a certain grave, half-mystical dreaminess and bubbling +through it, the high spirits of his natural boyish self.</p> + +<br /> + +<p>HOLGER. Take heart, Steen, perhaps we can go next year.</p> + +<p>STEEN. <span class="in1">Next year! Next year I'll be so old I won't want +to go.</span></p> + +<p>HOLGER. Oh, quite old folks go to the Christmas service. Come, let's watch +the people going down to town.</p> + +<p>STEEN. <span class="in1">No.</span></p> + +<p>HOLGER. The road'll be full, grand folk! (<i>He crosses to the window</i>) +Come watch, Steen.</p> + +<p>STEEN. <span class="in1">No!</span></p> + +<p>HOLGER. (<i>Looking out</i>) Why the road's all empty again!</p> + +<p>STEEN. <span class="in1">(<i>In a wailing tone</i>) Everybody's +gone!</span></p> + +<p>HOLGER. (<i>Trying to be brave</i>) They're lighting the cathedral!</p> + +<p>STEEN. <span class="in1">I don't care!</span></p> + +<p>HOLGER. Oh, Steen, come see,—like the stars coming out!</p> + +<p>STEEN. <span class="in1">I won't see! Mother said way last summer +that we could go to-night, and now—(<i>His voice breaks in a +sob</i>)</span></p> + +<p>HOLGER. She meant it! She didn't know that the grandmother would be ill, +and she and father'ud have to go to <i>her</i>. Be fair, Steen!</p> + +<p>STEEN. <span class="in1">They might let us go alone. "Too little!" +Bah!</span></p> + +<a name="page7" id="page7"></a> +<p>HOLGER. (<i>In a low almost frightened tone</i>) Steen, come here!</p> + +<p class="center">(<i>The tone, rather than the words, take</i> STEEN +<i>quickly to</i> HOLGER'S <i>side</i>.)</p> + +<p>STEEN. <span class="in1">What?</span></p> + +<p>HOLGER. (<i>Pointing out the window</i>) Look, by the dead pine yonder, +an old woman facing us, kneeling in the snow, see? praying!</p> + +<p>STEEN. <span class="in1">(<i>In an awed tone</i>) She's looking at +us!</span></p> + +<p>HOLGER. She's raising her hand to us!</p> + +<p>STEEN. <span class="in1">She's beckoning!</span></p> + +<p>HOLGER. No, she's making the Sign of the Cross.</p> + +<p class="center">(<i>Both boys drop their heads devoutly.</i>)</p> + +<p>STEEN. <span class="in1">Who is she, Holger?</span></p> + +<p>HOLGER. I don't know.</p> + +<p>STEEN. <span class="in1">(<i>Drawing back from the window and crossing +the room to the fire</i>) Oh, Holger, I'm afraid!</span></p> + +<p>HOLGER. No, no! Look, she has turned away,—she's deeper in the +shadow,—why, she's gone! (<i>Following</i> STEEN <i>with all his bright +courage bubbling high again, and speaks in a bantering tone</i>) Just some +old granny going down to town, and thou afraid!</p> + +<p>STEEN. <span class="in1">(<i>Recovering also</i>) And <i>thou</i> +afraid!</span></p> + +<p>HOLGER. I was not!</p> + +<p>STEEN. <span class="in1">(<i>Derisively</i>) Oh-h-h-h!</span></p> + +<p>HOLGER. Well, I was just a little bit afraid—lest she might frighten +thee. (<i>Steps are heard outside the house. Both boys start and look +frightened again</i>) Hush,—steps—coming here!</p> + +<p>STEEN. <span class="in1">(<i>Backing from the door</i>) The old +woman!</span></p> + +<p>HOLGER. (<i>Crosses the room, looks cautiously out of the window, then +cries joyously</i>) No,—Uncle Bertel!</p> + +<a name="page8" id="page8"></a> +<p>BERTEL. <span class="inhalf">(<i>Off stage</i>) Hullo, +there,—open, Holger!</span></p> + +<p class="dir">(STEEN <i>and</i> HOLGER <i>make a dash for the door, fling +it open and</i> BERTEL <i>enters. He is a jolly robust peasant uncle of +early middle life, clad in rough gray jerkin and hose, with a dark gray +cloak wrapped about him. He so radiates cheer that the room seems warmer +for his presence in it. Nothing to be afraid of about him, the children +adore him.</i>) +</p> + +<p>STEEN. <span class="in1">(<i>Clinging to him, happily</i>) Oh, Uncle, +Uncle, Uncle Bertel!</span></p> + +<p>HOLGER. (<i>Seizing</i> BERTEL <i>on his other side</i>) Uncle Bertel, +welcome!</p> + +<p>BERTEL. <span class="inhalf">(<i>Tousling their hair and shaking himself +loose in pretended dismay</i>) Help, help!—Robbers!—I'm +beset!—Gently, youngsters!—(<i>He goes over to the fire and +stands warming himself</i>) Brrrrr! It's cold in the forest +to-night!—Well, (<i>He faces them genially</i>) why am I +come?—Tell me that!</span></p> + +<p>STEEN. <span class="in1">(<i>Exultantly</i>) To take us to the Christmas +Service?</span></p> + +<p>HOLGER. Uncle! How didst thou know we were not going?</p> + +<p>BERTEL. <span class="inhalf">I met a fox—who said—</span></p> + +<p>HOLGER. Oh-h!—Thou hast seen mother and father!</p> + +<p>BERTEL. <span class="inhalf">(<i>Draws the stool nearer the fire and +sits, the children promptly drop on the floor beside him</i>) By our Lady, +yes!—and walking so fast they had only time to throw me a word from +the sides of their mouths. "Go up," cried Mother,—"I wist my boys are +deep in tears!"—and I, not wishing to see you drown in so much +water—</span></p> + +<p>HOLGER. (<i>Patting his arm</i>) Dear Uncle Bertel!</p> + +<p>STEEN. <span class="in1">(<i>Rising on his knees</i>) Come, let's go +quick!</span></p> + +<a name="page9" id="page9"></a> +<p>BERTEL. <span class="inhalf">Patience, patience, young colt, plenty of +time, mother said something else.</span></p> + +<p>STEEN. <span class="in1">What?</span></p> + +<p>BERTEL. <span class="inhalf">(<i>His eye on the shelf above the fire</i>) +That I should find some warm porridge for my pains.</span></p> + +<p>HOLGER. (<i>Springing to his feet</i>) Why, of course, there <i>is</i> +porridge! (<i>He goes to the shelf</i>) Nice and warm it is! All ready +for supper. (<i>He hands the first bowl to</i> BERTEL, STEEN <i>capers +nimbly across the intervening space and seats himself on the side of the +hearth, facing</i> BERTEL, <i>his back to the audience</i>)</p> + +<p>STEEN. <span class="in1">Supper! How could we forget supper?—Give +me a <i>big</i> bowlful, Holger.</span></p> + +<p>HOLGER. (<i>Handing</i> STEEN <i>his porridge</i>) There isn't a +<i>big</i> bowlful here.</p> + +<p>STEEN. <span class="in1">(<i>Taking the bowl and hugging it</i>) Nice +kind good supper, umh! (<i>Begins to eat eagerly</i>)</span></p> + +<p>HOLGER. (<i>Suddenly looking toward the door</i>) Listen!</p> + +<p>BERTEL. <span class="inhalf">To what?</span></p> + +<p>HOLGER. (<i>Awed, hesitant</i>) Someone—sobbing—at the door! +(<i>He goes to it, the others watching him startled, he opens the door, +finds nothing, closes it and comes back</i>) Nothing there!</p> + +<p>BERTEL. <span class="inhalf">The wind!—Thy old tricks, +Holger,—always dreaming some strange thing.</span></p> + +<p>HOLGER. (<i>Recalled by</i> BERTEL'S <i>words to something else</i>) Didst +thou pass an old woman on the road—near here?</p> + +<p>BERTEL. <span class="inhalf">Not a soul nearer than the town gate. +(HOLGER <i>stands thinking, absorbed</i>) Come, boy, eat,—<i>eat</i>! +See how Steen eats!</span></p> + +<p>HOLGER. (<i>Breaks through his abstraction and reverts to his bright +self</i>) Oh, Uncle Bertel,—I'm too glad to eat!</p> + +<p>BERTEL. <span class="inhalf">(<i>More seriously</i>) Thou art right, +lad,—fasting were better than feasting this day in <a name="page10" +id="page10"></a>Tralsund!—they say,—do you know what they +say in the town?</span></p> + +<p>HOLGER. What?</p> + +<p>BERTEL. <span class="inhalf">They say—that to-night in the great +church—when the offerings are laid upon the altar for the Christ +child,—<i>something will happen</i>!</span></p> + +<p class="dir">(STEEN <i>has finished his porridge, puts the bowl on the +shelf near him, seizes his cloak and cap from the peg near the hearth and +stands eager to be gone.</i>)</p> + +<p>HOLGER. What?</p> + +<p>BERTEL. <span class="inhalf">Who can say? All day the folk have been +pouring into the town as never before. The market place is crowded, every +inn is full. No church but the cathedral could hold such a multitude. Never +have I seen such excitement, such fervor!</span></p> + +<p>HOLGER. There will be many gifts!</p> + +<p>BERTEL. <span class="inhalf">—the rich are bringing their treasure, +gold and jewels, king's ransoms, aye and the King comes. (BERTEL <i>finishes +his porridge and hands the bowl to</i> STEEN)</span></p> + +<p>HOLGER. The King?</p> + +<p>BERTEL. <span class="inhalf">The King Himself!</span></p> + +<p>STEEN. <span class="in1">Oh, and shall we see Him, Uncle, and the fine +gifts and everything?</span></p> + +<p>BERTEL. <span class="inhalf">Why not?—Even the poorest may go up +and give—what hast thou to offer?</span></p> + +<p>STEEN. <span class="in1">(<i>Abashed</i>) I?—Nothing! (<i>Puts his +porridge bowl and</i> BERTEL'S <i>on the shelf then goes restlessly to the +door</i>)</span></p> + +<p>HOLGER. (<i>Breaking in with eagerness</i>) Oh, I have, see, Uncle? +(<i>Feels in his pocket and brings out two pennies</i>) See!—Last week +I was gathering sticks in the forest and a fine gentleman rode past and +asked the way of me. I showed him the path and he gave me these! +(<i>Holds up the pennies</i>)</p> + +<p>BERTEL. <span class="inhalf">(<i>Rising and going to</i> HOLGER <i>who is +in <a name="page11" id="page11"></a>the middle of the +room</i>) Faith, real money in the family. (<i>Stoops and looks at the +pennies as though they were a rare sight</i>)</span></p> + +<p>STEEN. <span class="in1">Oh, I thought we were going to buy cakes with +those, Holger.</span></p> + +<p>HOLGER. But it's better to give it to the Christ Child. You see He is a +little child, smaller than even you,—and I think He would like a little +gift,—a little bright gift that would buy cakes for Him. (HOLGER +<i>goes toward the window and stands looking dreamily out at the lights of +the church</i>)</p> + +<p>BERTEL. <span class="inhalf">Aye, to-night we must think of +Him,—there in His Holy Church.</span></p> + +<p>HOLGER. It <i>is</i> a holy place, the church!—I feel it every time +I go,—it's like God's forest,—the pillars like old oaks and the +great windows all colors like sunsets through the trees.</p> + +<p>BERTEL. <span class="inhalf"><i>'Tis</i> like the forest.</span></p> + +<p>HOLGER. And when the organ plays that's like a storm gathering in the +mountains.</p> + +<p>BERTEL. <span class="inhalf">A storm?—Aye!—"The Lord hath His +way in the whirlwind and in the storm and the clouds are the dust of His +feet!"—Why should He not do a wonder as of old? Perhaps the great +miracle will come again!</span></p> + +<p>HOLGER. Oh, which, Uncle?—There are so many in the Bible!</p> + +<p>STEEN. <span class="in1">Yes, which?—Would there be a whale now to +swallow a priest?</span></p> + +<p>BERTEL. <span class="inhalf">Thou goosey! This was no Bible +miracle,—it happened there, <i>there</i>, where we see the +lights,—hundreds of years ago. (BERTEL <i>has followed</i> HOLGER +<i>to the window and</i> STEEN <i>joins them. As he speaks</i> BERTEL +<i>slips his arms affectionately round both children and the three stand +looking out. At this moment something stirs in the dim shadows that shroud +the corner up above the fire-place. Suddenly out of the dark the</i> OLD +WOMAN <i>emerges. A tall figure, if she were not so bent, wrapped in a <a +name="page12" id="page12"></a>black cloak. There is nothing +grotesque or sinister in her appearance, she might have stood for a +statue of old age, impressive in its pathos. As she sits on the stool +near the fire she throws back the cloak disclosing the plain straight +dress of gray beneath. The light of the fire reveals her crouched, +swaying back and forth praying silently, her face still shaded by the +heavy hood of her cloak. The others gazing intently out at the church +do not see her.</i> BERTEL <i>continues speaking</i>) Surely thou hast +heard of the Miracle of the Chimes?</span></p> + +<p>HOLGER. I've heard folks speak of it,—but I never knew just what +happened.</p> + +<p>STEEN. <span class="in1">Oh, tell us, Uncle Bertel.</span></p> + +<p>BERTEL. <span class="inhalf">Aye, listen then!—You see the great +tower there?—(<i>Both children nod emphatically</i>) It goes so high +into the clouds that no one can see it's top!—No one even knows how +high it is for the men who built it have been dead for hundreds of +years.</span></p> + +<p>STEEN. <span class="in1">But what has that to do with the +chimes?</span></p> + +<p>HOLGER. Hush, Steen, let uncle speak!</p> + +<p>BERTEL. <span class="inhalf">The chimes are up at the top of the +tower—and they are holy bells,—miraculous bells, placed there by +sainted hands,—and when they rang 'twas said that angels' voices +echoed through them.</span></p> + +<p>STEEN. <span class="in1">Why doesn't someone ring them +<i>now</i>?</span></p> + +<p>BERTEL. <span class="inhalf">Ah, that is not so easy!—They are said +to ring on Christmas Eve when the gifts are laid on the altar for the +Christ-child,—but not every offering will ring them, it must be a +perfect gift. And for all these years not one thing has been laid upon the +altar good enough to make the chimes ring out.</span></p> + +<p>HOLGER. Oh, that's what the priest was talking about to mother, then. He +said it mustn't be just a fine gift for show but something full of love +for the Christ-child.</p> + +<p>STEEN. <span class="in1">Oh, I want to hear them!</span></p> + +<p>BERTEL. <span class="inhalf"><i>We shall!</i>—The very air is full +of holy <a name="page13" id="page13"></a>mystery! The Spirit +of Christ will be there in the church to-night! (<i>To</i> HOLGER) Thy cap, +boy!</span></p> + +<p class="center"> (HOLGER <i>stands wrapt in thought gazing out at the +cathedral.</i>)</p> + +<p>STEEN. <span class="in1">(<i>Taking the cap and cloak from the peg near +the door and bringing them down and piling them into</i> HOLGER'S +<i>arms</i>) Here they are, old dreamer!—(<i>He turns back up toward +the door in such a way that he does not see the silent figure in the +corner</i>) <i>And hurry!</i></span></p> + +<p class="center">(BERTEL <i>too turns toward his left hand and does not see +the woman.</i>)</p> + +<p>HOLGER. (<i>In a tone of bright happiness, roused from his dreaming</i>) +I'm coming!—Nothing can happen to stop us now, can it? (<i>As he says +this he wheels to his right in a way that brings the chimney corner in his +line of vision. He starts, bends forward staring as the others open the door, +then he speaks in a tone that is little more than a gasp</i>) <i>Steen!</i></p> + +<p class="center">(<i>The others stop and stare at him, then in the +direction of his look.</i>)</p> + +<p>STEEN. <span class="in1">Oh!—The Old Woman!</span></p> + +<p>BERTEL. <span class="inhalf">(<i>Looking to</i> STEEN) When did she come +in?</span></p> + +<p>STEEN. <span class="in1">I didn't see her!</span></p> + +<p class="dir">(HOLGER <i>crosses timidly towards her. As he approaches +the</i> OLD WOMAN <i>turns her eyes on him and holds out her hands in pitiful +appeal.</i>)</p> + +<p>HOLGER. What dost thou want, dame?</p> + +<p>OLD WOMAN. (<i>In a voice that is harsh and broken</i>) Refuge—from +the storm of the world!</p> + +<a name="page14" id="page14"></a> +<p>HOLGER. Surely thou shalt rest here.</p> + +<p>OLD WOMAN. (<i>Half rises stiffly as</i> HOLGER <i>draws nearer</i>) Oh, +son, I am so weary and so heavy laden. (<i>She sways and</i> HOLGER +<i>runs forward, catching her in his arms and supporting her on the stool. +The others stand watching. She sits huddled forward in a position that +suggests collapse</i>)</p> + +<p>HOLGER. She's faint! (<i>He touches her hands</i>) She's so cold! Quick, +Steen, build up the fire! (STEEN <i>goes to the fire and puts on another +log, the flames blase up</i>. HOLGER <i>busies himself chafing the woman's +hands and covering her with the old cloak that has dropped back from her +shoulders</i>) She must have lost her way in the forest.</p> + +<p>BERTEL. <span class="inhalf">(<i>Stands watching the woman rather +suspiciously, now comes to</i> HOLGER <i>taps him on the arm and draws him a +little apart, speaking in an undertone</i>) We have scant time to lose with +that old beggar.</span></p> + +<p>HOLGER. What'll I do with her?</p> + +<p>BERTEL. <span class="inhalf">Leave her and come on.</span></p> + +<p>STEEN. <span class="in1">And <i>come</i>—before it is to-morrow! +(<i>He is back by the door, his hand on the latch</i>)</span></p> + +<p>HOLGER. (<i>Turns and looks at the old woman and then back to</i> BERTEL) +Oh, I—ought we to go and leave her?</p> + +<p>STEEN. <span class="in1">Not go?</span></p> + +<p>BERTEL. <span class="inhalf">Go, of course we'll go, she'll warm herself +and march along.</span></p> + +<p>HOLGER. But she is ill. (<i>Turns to</i> STEEN <i>with new decision in his +manner</i>) Thou shalt go with Uncle but I—must stay with her.</p> + +<p>BERTEL. <span class="inhalf">Nonsense, Holger!</span></p> + +<p>HOLGER. No, it isn't!—If we should all go now, the fire would go out +and the light,—and she would wake up in the cold darkness and not know +where to turn for help.</p> + +<p>BERTEL. <span class="inhalf">Na, by Saint Christopher!—Miss a <a +name="page15" id="page15"></a>miracle to keep company with a +beggar!—Who held her hand before thou camest along? Send her packing +and make haste, Holger.</span></p> + +<p>STEEN. <span class="in1">Oh, do, Holger!</span></p> + +<p>HOLGER. If there were some place near that we could take her.</p> + +<p>BERTEL. <span class="inhalf">There isn't a place on the +road,—they've all gone to town long ago. Bid her fare there +also!</span></p> + +<p>HOLGER. (<i>Looks at the</i> OLD WOMAN, <i>then at</i> BERTEL, <i>then +back to the</i> OLD WOMAN, <i>then he shakes his head</i>) Mother wouldn't +treat her so,—she'd be good to her.</p> + +<p>BERTEL. <span class="inhalf">Think</span> of what you'll miss! (<i>An +expression of anguish passes over</i> HOLGER'S <i>face, but he shakes his +head and turns toward the old woman</i>) Well, this is idle talk, thou and I +will go, Steen.</p> + +<p>STEEN. <span class="in1">Oh, come,—let's go!</span></p> + +<p>BERTEL. <span class="inhalf">(<i>To</i> STEEN, <i>but for</i> HOLGER'S +<i>benefit</i>) Thou and I will see the King, perchance—The Christ! +Thou art stubborn, Holger, I who am older tell thee what to do! (HOLGER +<i>shakes his head again</i>) Come, Steen! (<i>He opens the door and goes +out</i>)</span></p> + +<p>STEEN. <span class="in1">(<i>Following him</i>) Good-bye, Holger.</span></p> + +<p>HOLGER. Good-bye! (STEEN <i>goes out and shuts the door. There is a +moment's pause while</i> HOLGER <i>stands staring at the closed door, then he +suddenly runs toward it</i>) Oh, wait, wait for me, Uncle, I will go! (<i>He +opens the door, starts to go through it, then stops, turns and looks at +the Woman, is drawn slowly backward by his gaze and comes in closing the +door</i>) No!</p> + +<p>WOMAN. (<i>Moaning</i>) The path—is so—steep!</p> + +<p>HOLGER. (<i>Goes to her and bends over her</i>) Didst thou speak, dame? +(<i>The</i> WOMAN <i>does not answer</i>) Thou art like Grandmother, and +I know what Mother would do for <i>her</i>! (<i>Feeling her hands</i>) +Art warmer, dame?—still cold!—The covers aren't very thick. +(<i>He looks about the bare <a name="page16" id="page16"></a>room, sees the +old shawl hanging from the peg near the fire, takes it down and spreads it +over the woman</i>) Thou must get warm! (<i>Goes to the fire and builds it +higher</i>)</p> + +<p>WOMAN. (<i>Still wandering in her mind</i>) Berries,—yes, find +berries.</p> + +<p>HOLGER. Oh, thou art hungry! (<i>He turns to the shelf, takes his own +untasted bowl of porridge, brings it to her</i>) Dame, here is food!</p> + +<p>WOMAN. (<i>Rousing</i>) Food, give it to me, child, I am dying for food!</p> + +<p class="center">(HOLGER <i>gives her the porridge and sits down on the +floor beside her.</i>)</p> + +<p>HOLGER. (<i>Watching her as she devours the porridge</i>) <i>Ah, poor +soul!</i>—Why, thou wert starving!—Na, just see!—Mother +says that's what makes my little brother so round and rosy, because he eats +so much porridge,—you like it, don't you?</p> + +<p>WOMAN. It is life itself! (<i>Her voice has grown young and strong. Sinks +back again as she has eaten it all</i>) Bless thee, Child!</p> + +<p class="center"> (HOLGER <i>sets the empty dish aside on the hearth and +turns to feel her hands.</i>)</p> + +<p>HOLGER. Oh, thou art warm!</p> + +<p>WOMAN. Aye, warm! (<i>In a voice increasingly rich and sweet. At this +moment there comes the distant sound of organ music.</i> HOLGER +<i>straightens suddenly in a listening attitude</i>) Listen,—is that +music?</p> + +<p>HOLGER. From the Cathedral!—Aye, it must be,—last summer we +could hear it plain, and now with so many thousands there! (<i>Leaves the +woman and stands in the center of the room listening attentively</i>) It's +beginning!—(<i>Pause</i>) Everyone is there!</p> + +<a name="page17" id="page17"></a> +<p>WOMAN. Why are they there.</p> + +<p>HOLGER. It's the great service! (<i>He goes toward the window and stands +looking out. He talks on half to her, half to himself</i>) All the world is +there, the village folk, and strangers from afar, great court folk, +too,—aye, and the King,—our King! And He will give a +gift,—a King's gift! (<i>She rises erectly and follows him across the +room. There is the strength and poise of youth in her walk. The heavy black +hood has fallen back revealing a head covering of white linen that suggests +a sister of Charity and gives her face a look of austerity and sweetness. +She is strong, maternal, beautiful. Intuitively,</i> HOLGER, <i>in his +disappointment begins to lean upon her sympathy. The music grows a +little louder and floats into the room</i>) Look, dame, you can even see +the windows gleam! It is so near! It's all beginning and—I—am not +there! (<i>A sob creeps into his voice</i>)</p> + +<p>WOMAN. Son!</p> + +<p>HOLGER. Aye, dame? (<i>He turns and comes toward her, she seats herself on +the stool near the window, reaches out a hand and draws him down beside +her</i>)</p> + +<p>WOMAN. Thou, too, wouldst go? (HOLGER, <i>too moved by her sympathy to +speak, nods silently and puts up a hand to hide the trembling of his +lips. She slips her hand to his shoulder</i>) Another time thou'll go!</p> + +<p>HOLGER. (<i>Fighting back his tears</i>) It'll never be the same again! +To-night the Christ comes. Bertel said—"The Christ!"</p> + +<p>WOMAN. Nay, son, pray to the Christ-child, pray that He does not pass +thee by! (<i>She sits facing the back wall of the hut.</i> HOLGER <i>kneels +before her, and drops his head in her lap. She lays her hand gently upon +his hair and makes the sign of the cross above him</i>)</p> + +<a name="page18" id="page18"></a> +<p class="dir">(<i>As they have been talking together, the fire on the +hearth has burned itself out and the shadows in the room have crept forward +and closed around them till only a faint outline of</i> HOLGER <i>and the</i> +WOMAN <i>can be distinguished in the glimmer of moonlight shining +through the window nearby. There is a long pause broken only by the +boy's sobbing which gradually sinks to silence. As he prays, a faint +light begins to grow behind him. The smoke-grimed back wall of the +hut has vanished and in its place appears a vision of the cathedral +chancel.—One by one objects emerge from the darkness. The light +touches the golden altar, the gleaming appointments upon it, the +jewel-like tones of the stained glass window above, and the rich +carpet under foot; it shows the marble arches at the sides and +shines softly on the robe of the kneeling</i> PRIEST. <i>As the dim +vision grows to clearness, so the music comes nearer and swells +forth softly into the Christmas processional. Unconscious of it all</i> +HOLGER <i>looks up at the</i> WOMAN, <i>his face swept with despair</i>.)</p> + +<p>HOLGER. Oh, it's no use! I'd rather be all blind and never see than miss +the vision that the Christ will send!</p> + +<p>WOMAN. (<i>Gazing at the vision</i>) Look, look what comes!</p> + +<p>HOLGER. (<i>Staring at the woman's face illuminated by the light from the +chancel</i>) Dame! (<i>He turns to see where the light comes from and the +vision meets his eye</i>) Oh-h-h-h! (<i>He crouches back at the</i> WOMAN'S +<i>feet, held spell-bound by the sight. As the music changes the</i> PRIEST +<i>rises slowly to his feet, faces the congregation and makes a gesture of +approach. The voices of the choir join the music, and from the left side +of the chancel, people begin to enter carrying their gifts</i>)</p> + +<a name="page19" id="page19"></a> +<p class="dir">(<i>An imperious looking man, richly dressed in black and +gold comes first, bearing a heavy box. He approaches the altar, kneels and +puts the chest in the</i> PRIEST'S <i>hands, and, that the full value of his +gift may be publicly recognised, he throws back the lid, heaping up +the gold coin with which the box is filled. The</i> PRIEST <i>turns, goes +up the steps to the altar and raises the chest as high as its weight +will permit. The man still kneeling awaits the chimes with superb +selfconfidence. The bells do not ring. Slowly the</i> PRIEST <i>lowers +the gold to the altar, turns, raises his hand in blessing and +dismissal. The rich man rises, looking bewildered at his failure, +crosses to the right and stands near the altar as the pageant moves +on.</i>)</p> + +<p class="dir">(<i>The</i> PRIEST <i>turns to the next comer</i>, A COURTIER +<i>brave in green and gold, who enters with an air of great elegance, +bearing daintily a gilded jewel casket. He kneels, lays it in the</i> +PRIEST'S <i>hands. The latter turns to go but the</i> COURTIER <i>detains +him a second, raises the lid of the box and holds up string after string of +rich gems. The</i> PRIEST <i>carries the jewels to the altar and offers them. +The bells do not ring. The</i> PRIEST <i>dismisses the</i> COURTIER, <i> and +the young man rises, turns back with assumed lightness of manner and +stands at the left of the chancel, watching with great interest.</i>)</p> + +<p class="dir">(<i>A beautiful</i> WOMAN <i>clad in flame colored velvet +sweeps proudly up to the steps of the altar, kneels, takes from her neck a +long strand of pearls and offers it to the</i> PRIEST. <i>The</i> PRIEST +<i>receives the necklace, ascends to the altar and offers the jewels. The +woman smiling listens tensely for the chimes. They do <a name="page20" +id="page20"></a>not ring. The smile fades as the</i> PRIEST <i>turns and +blesses her. She rises trying to hide her chagrin in a look of great +hauteur, crosses to the right and stands near the man in black and gold with +whom she exchanges disdainful smiles over the next arrival.</i>)</p> + +<p class="dir">(<i>An old white haired man clad in a scholar's robes totters +on, bearing with difficulty a large vellum bound book. The</i> PRIEST +<i>takes a step forward to relieve the Old Man of his burden, and as +he goes up the altar steps the Sage sinks exhausted to his knees, +listening with straining senses for the bells.—They do not ring. +The</i> PRIEST <i>blesses the old man and helps him to rise. He turns +back and stands near the</i> COURTIER <i>at the left.</i>)</p> + +<p class="dir">(<i>A lovely young girl enters, dressed in pale green satin, +her arms filled with a sheaf of white lilies. The very way she carries them +and bends her head to catch their fragrance shows that to her they +are the most beautiful things in the world. Kneeling she gives them +into the hands of the</i> PRIEST, <i>and as he offers them, she listens +with childish confidence for the ringing of the bells.—Still there +is no sound save the organ music and the singing of the choir, +subdued almost to a breath as the gifts are offered. Abashed as the</i> +PRIEST <i>blesses and dismisses her, the young girl steps back and +stands near the old Sage.</i>)</p> + +<p class="dir">(<i>There is a stir in the chancel, even the</i> PRIEST +<i>turning to watch. The</i> KING <i>enters. He is a man of forty with tall +distinguished figure and a proud face. His purple robes, richly +jeweled, trail far behind him and on his head he wears his crown. +Everyone leans forward watching <a name="page21" id="page21"></a>with the +greatest tension. The</i> KING, <i>exalted with his mood of selfsacrifice +kneels, removes his crown and lays it in the hands of the</i> PRIEST. HOLGER +<i>crouching in the shadow quivers with anticipation. Again the pantomime of +hope and failure. The</i> PRIEST <i>turns back to the</i> KING <i>and raises +his arm in the customary gesture. The</i> KING <i>starts to rise then +suddenly as though overcome at this spiritual defeat sinks again to +his knees before the altar and buries his face in his hands, +praying. The</i> PRIEST <i>stands with arms crossed upon his breast, +regarding him sorrowfully.</i>)</p> + +<p>HOLGER. (<i>Overwhelmed with disappointment, softly to the woman</i>) +Perhaps there are no chimes, perhaps the Christ hears us not!</p> + +<p>WOMAN. Have faith,—have faith in God.</p> + +<p>HOLGER. I would that I could give my pennies to the Child.</p> + +<p class="dir">(<i>The</i> KING <i>rises from his prayer and goes sadly to +the right, standing near the lady in red.</i>)</p> + +<p>WOMAN. (<i>In a low ringing voice that thrills like the call of a +trumpet</i>) Go up, my son,—fear not—The Christ-Child waits for +all!</p> + +<p class="dir">(HOLGER <i>breathless with the adventure rises and goes +timidly forward out of the gloom of the hut into the splendor of the +chancel, looking very small and poorly dressed beside all the great +ones. He holds out his pennies to the</i> PRIEST <i>who bends and takes +them with a tender little smile, and</i> HOLGER, <i>crossing himself, too +abashed to stand and wait, shrinks back into the darkness and the +sheltering arms of the Woman.</i>)</p> + +<a name="page22" id="page22"></a> +<p class="dir">(<i>The</i> PRIEST <i>goes up the steps of the altar and +holds the pennies high above his head in consecrating gesture, and as he +does so, the organ music breaks off with an amazed suddenness for from above +there comes the far triumphant ringing of the chimes, mingled with +ethereal voices singing The Alleluia.</i>)</p> + +<p class="dir">(<i>A wave of awe sweeps over everyone in the chancel and as +the</i> PRIEST <i>wheels and gestures them to their knees, they prostrate +themselves quickly.</i> HOLGER, <i>too, kneels awe-struck but the woman +rises to her full height and stands watching. From this time on, she +withdraws gradually into the deeper shadows of the hut and is seen +no more.</i>)</p> + +<p class="dir">(<i>As they all kneel the Angel enters from the right, +ascends the steps of the altar and stands beside the huddled figure of +the</i> PRIEST. <i>As she stands there, a single pencil of light shines down +upon her from above, a ray of light so brilliant that everything +around seems dull in comparision, and while she gives her message, +the light above grows till it floods her hair and garments with a +miraculous radiance. The</i> ANGEL <i>smiles at</i> HOLGER <i>and chants +in a lovely voice.</i>)</p> + +<p>ANGEL. Verily, verily, I say unto you, it is not gold nor silver nor +rich pearls but love and selfsacrifice that please the Lord. The +Christ-Child was hungered and you gave him meat,—a stranger and you +took Him in.</p> + +<p>HOLGER. (<i>In an awed tone</i>) But I—I have not seen the +Christ-Child.</p> + +<p>ANGEL. Inasmuch as you have done it unto one of the least of these His +Brethern, you have done it unto Him! (<i>The</i> ANGEL <i>stands with one +hand uplifted, as the music rises in a great crescendo of <a name="page23" +id="page23"></a>triumph</i>. HOLGER, <i>quite overcome, drops his face in +his hands and as the climax of the singing is reached, the whole tableau is +held for a moment, then blotted out in darkness</i>.)</p> + +<p class="dir">(<i>There is a pause, then the light on the hearth flares up +revealing the boy alone, still on his knees, looking up bewildered at the +back wall of the hut, where the vision had been. Swiftly he rises to his +feet and turns to face the Woman.</i>)</p> + +<p>HOLGER. Dame,—dame!—The Chimes,—the star—did you +see? (<i>She is gone, he stares about him looking for her</i>) Gone! Gone! +(<i>The music still rings softly</i>) But the Chimes! (<i>He turns, runs to +the window, and flings open the casement. A soft light, half moonlight, half +something more luminous pours in upon him. He speaks in a tone of infinite +happiness, looking upward</i>) The stars!—God's Chimes!</p> + +<p class="center">THE CURTAIN FALLS SLOWLY.</p> + +<hr class="long" /> + +<a name="page24" id="page24"></a> +<h2>THE APPENDIX</h2> +<br /><br /> +<hr class="long" /> + +<a name="page27" id="page27"></a> +<div class="center"> +<img src="images/image01.jpg" width="499" height="265" alt="Sketch of hut +scene..." title="Sketch of hut scene..." /> +<p class="caption">Sketch of hut scene for "Why the Chimes Rang," before the +backing of the gauze drop is raised. (Everything back of the fireplace +on the left, and the window on the right, is painted on the gauze, +including the stool and the supporting pillar.)</p> +</div> + +<hr class="long" /> + +<a name="page28" id="page28"></a> +<div class="center"> +<img src="images/image02.jpg" width="501" height="294" alt="Sketch of +chancel scene..." title="Sketch of chancel scene..." /> +<p class="caption">Sketch of chancel scene for "Why the Chimes Rang," after +the backing of the gauze drop is raised. (For simplified setting made of +screens, see diagram on page <a href="#page34">34</a> of appendix.)</p> +</div> + +<hr class="long" /> + +<a name="page29" id="page29"></a> +<p>The accompanying scenery plates are not intended to be followed in all +their elaborate detail but merely to give an idea of the effect to be worked +toward in planning the scenery.</p> + +<hr class="long" /> + +<a name="page31" id="page31"></a> +<h2>APPENDIX.</h2> + +<p>The following suggestions for a simplified staging of "Why The Chimes +Rang" are offered, not to college dramatic societies or other expert +amateurs but to the many young people in the secondary schools, Sunday +schools and country districts, who would enjoy staging short plays if it +could be done without elaborate scenery or lighting equipment and +without previous experience in stage management.</p> + +<p>Simplicity aided by imagination goes far upon the stage, and it should +always be remembered that the real aim is the creation of a given +emotion in the minds of the audience rather than the creation of a given +thing upon the stage. If a circle of gilt paper on the head of a fine +looking lad can create a vivid impression of kingly dignity, all the +crown jewels of Europe cannot better the paper for stage purposes.</p> + +<p>In producing a play, it should first be carefully read to see what main +impression is to be conveyed, and what chief elements are to be +emphasized to make up this impression. The details can then be worked +out in harmony with the more important factors.</p> + +<p>In "Why The Chimes Rang," religious exaltation is the mood to be +created, and the divine beauty of charity is the main theme.</p> + +<p>Three sharply contrasted effects are called for: the wood-chopper's hut, +dark and humble; and, set against this, the earthly splendor of the +cathedral chancel, which in its turn is dimmed by the miraculous +presence of the angel.</p> + +<p>It is expected that this play will be adapted, by <a name="page32" +id="page32"></a>those giving it, to the form and degree of ritual desired. +Censers and candles may be used or not, altar appointments and priestly +vestments may be chosen to suit the taste of those concerned. Indeed, in all +respects, a play must be suited to the conditions under which it is +presented and the audience before whom it is given; and while the text may +not be altered or added to, lines may be omitted if desired.</p> + +<p>The information here given has been gathered from frequent working over +of the material but at best it can only help in a general way. Any one +producing a play must work out his own problems in detail. One of the +things that makes the staging of plays such fascinating work is the +exercise it affords the imagination in overcoming obstacles.</p> + +<hr class="long" /> + +<a name="page33" id="page33"></a> +<h2>SCENERY</h2> +<br /><br /> +<hr class="long" /> + +<a name="page34" id="page34"></a> +<div class="center"> +<img src="images/image03.png" width="500" height="296" alt="Diagram showing +the arrangement of screens..." title="Diagram showing the arrangement of +screens..." /> +</div> + +<hr class="long" /> + +<a name="page35" id="page35"></a> +<h2>SCENERY.</h2> + +<hr class="tiny" /> + +<p>For the sake of facing the most difficult form of the problem of amateur +staging, let us suppose that this play is to be given in a parlor or +hall, without platform, without proscenium arch or curtains, with the +walls, floor and ceiling of such material and finish that no nails may +be driven into them, and that the depth of the stage is only nine feet. +It looks hopeless but it can be done.</p> + +<p>Under such conditions the only possible form of scenery is the screen. +If the "scenery-man" is a bit of a carpenter, he can build the screens +himself, making them as strong and as light as possible, with four +leaves a few inches shorter than the height of the room in which they +are to be used, and proportionately wide.—The framework should be +braced by cross pieces in the middle of each leaf, and should have stout +leather handles nailed to them for convenience in lifting the screen. +The right side should be covered with canvas such as is used for +scenery, and the screens can then be easily repainted or recovered for +later plays.</p> + +<p>If it is not possible to have the screens made to order, ordinary +Japanese screens may be borrowed or rented, and made to serve as front +curtain, and framework for scenery.</p> + +<p>Those indicated in the plan as A A and B B serve as the front curtains, +the center sections (marked B B) being drawn aside by persons stationed +behind them to show the interior of the hut when the play begins. The +four screens marked <a name="page36" id="page36"></a>C D and E E form the +walls of the hut. In using screens it will be necessary to do without the +window and the actual door unless the person in charge of the scenery is +clever enough to paint in a window on one panel of the screen and make a +door in another. If not, turn the end panel of the screen marked C to run at +right angles with the other part, giving the impression of a passage with an +imagined door at the unseen end, and wherever in the business of the parts, +the children are said to look out of the window, let them instead look down +this passage, as though they were looking through the open doorway.</p> + +<p>On the right side of the room in the screen marked D, a fire-place may +be constructed by cutting away a portion of the screen to suggest the +line of the fire-place, putting back of this opening a box painted black +inside to represent the blackened chimney, and finishing with a rough +mantel stained brown to match the wall tint. Of course if the screens +are borrowed the fire-place will have to be dispensed with.</p> + +<p>At the moment when the vision of the cathedral is to appear, the screens +marked E E are parted and folded back disclosing the chancel. Perhaps +some church nearby has stored in its basement an old stained glass +window, which may be borrowed and used as background for the church +scene. Such a window was used in a performance of "Much Ado About +Nothing" given some years ago at one of the Eastern colleges. It was +dimly lit from behind by electric globes and proved very successful in +creating a churchly atmosphere. If this can not be done, cover two of +the tallest possible screens with any rich sombre colored drapery and +stand them against the back wall. In the Los Angeles production, the +chancel was represented by a curtain of black velvet, flanked by two +silver pillars, between them the altar. Black makes an exceedingly rich +<a name="page37" id="page37"></a>and effective foil for bright colored +costumes. Whatever is used for backing in the chancel can be masked if +unsatisfactory by Christmas greens, which should be arranged in long +vertical lines that carry the eye up as high as possible and give a sense of +dignity, or in the Gothic curves suggestive of church architecture.</p> + +<p>Against this background, and in the center of the space, place the +altar. This can be made of a packing box painted gold or covered with +suitable hangings. In one performance of this play a sectional bookcase +which stood in the room was hung with purple cheese cloth and served as +an altar. Should the stage space be deep enough broad steps before the +shrine will give an added height to the priest and the angel.</p> + +<p>If it is possible to have real scenery the most illusive method of +revealing and hiding the chancel is to have the back of the hut painted +on a gauze drop, which is backed by a black curtain. At the cue for +showing the chancel the lights in front of the gauze go out leaving the +stage dark, then the black opaque curtain is rolled up or drawn aside +and as the light is slowly turned on the chancel, the vision begins to +take form through the gauze, the latter becoming invisible and +transparent when there is no light in front of it. The gauze prevents +Holger from actually placing the pennies in the priest's hand but if the +two approach the gauze as though it were not there, and stretch out +their hands so that they seem to touch, the priest being provided with +additional pennies which he holds up at the altar, no one in the +audience would guess that the coins had not been given him by the child.</p> + +<p>Very few halls ostensibly built to house amateur play-giving are +adequate for the purpose.—Often the stage is merely a shallow platform +without curtains to separate the actors from the audience, and the +ceiling and walls surrounding the stage are so <a name="page38" +id="page38"></a>finished that the necessary screws for hanging curtains, may +not be driven into them. The amateur manager reaches the depths of despair +when he finds that even the floor of the shallow platform offered him, is of +polished hardwood and may not be marred by the screws of stage braces.</p> + +<p>Amateurs who have any voice in the preparation of the stage being built +for them, should urge the following specifications:</p> + +<p>1. The ceiling of the stage to be at least twice as high as the +proscenium arch.</p> + +<p>2. The depth of the stage to be at least fifteen feet, deeper if the +size of the place permits.</p> + +<p>3. The flooring, walls and ceiling of the stage to be of soft wood, into +which nails and screws may be driven; or if the main construction is of +brick, concrete or metal, some inner wooden scaffolding or other +overhead rigging capable of supporting scenery should be provided.</p> + +<p>4. There should be some space on both sides of the stage for keeping +scenery and properties to be used later in the play, and as a waiting +place for actors temporarily off the stage. The platform forming the +stage proper should be continued over these wings so that actors leaving +the scene may walk off on a level and not seem to plunge cellarward in +making their exits.</p> + +<hr class="long" /> + +<a name="page39" id="page39"></a> +<h2>LIGHTING.</h2> + +<p>The important thing to be remembered about the lighting is the crescendo +of light which occurs as the play runs its course. First the dim little +hut so lit by the firelight, that the expressions on the faces of the +actors can just be seen without straining the eyes of the audience. Then +the rich but subdued lighting of the chancel and finally the brilliant +radiance shining on the angel.</p> + +<p>Experiments with electricity should not be attempted by persons who do +not understand its use, but if there is a competent electrician in the +group putting on the play, use electric lighting by all means. No other +form of light is so easily controlled or begins to give such effects for +stage purposes.</p> + +<p>The problems of theater lighting differ with each set of conditions and +the best results can only be obtained by actual experiment with the +means at hand. Do not feel that because you are an amateur, working with +limited equipment, real beauty is beyond you. I have seen a stage +picture approaching a Rembrandt in its charm of coloring and skilful use +of shadows, created on a tiny stage with few appliances by an amateur +who understood his lights.</p> + +<p>If electricity is to be had, use three or four incandescent globes for +the fire on the hearth, arranging logs of wood around them to simulate a +fire. Additional lights as needed can be placed at the side off stage, +or in the footlights; or better, if the stage has a real proscenium +these supplementary lights can be put in a "trough" that protects and +intensifies them and hung overhead in the center against the back of the +proscenium arch.</p> + +<p>As all these lights are to give a firelight effect, <a name="page40" +id="page40"></a>the incandescent globes should be dipped in a rich amber +shade of coloring medium which may be bought at any electrical supply house +for sixty cents per half pint. If gas or oil is used a firelight effect can +be obtained by slipping amber gelatine screens in front of the lamps. These +"gelatines" are about two feet square and cost only ten cents apiece.</p> + +<p>If the fire-place cannot be made, then a charcoal brazier will serve as +an excuse for light and give a sense of warmth to the scene. The brazier +can easily be made by any tinsmith from a piece of sheet iron supported +on three legs, and there is an illustration of it in the right hand +corner of the accompanying scenery plate.—An electric torch or even an +ordinary lantern can be slipped inside the little stove to give out a +faint glow. A piece of one of the amber screens put over the torch or +lantern will warm the light and the brazier can be placed anywhere in +the hut.</p> + +<p>The chancel may be lighted by a number of incandescent bulbs hidden at +the sides of the scene, with the light so shielded that it shines on the +altar and not into the hut. An especially effective place to put a +strong light is inside the box representing the altar, with a hole cut +in the top of the box so that the light shines up, giving a central +radiance to the appointments of the altar and throwing into prominence +the face and costume of each person who approaches it. If any of this +light seems glaring it can be softened and diffused by masking it with +amber or straw colored cheesecloth.</p> + +<p>Some form of search light is practically a necessity for producing the +heavenly radiance that shines upon the angel. If procurable, a "baby +spot light" is the best appliance, but lacking this, an automobile lamp +and its battery can be used.</p> + +<p>It is important that all light in the hut should go out when the vision +of the chancel appears so that the hut becomes merely an inner +proscenium or dark <a name="page41" id="page41"></a>frame around the rich +picture of the altar. This of course does not mean that the lantern in the +brazier need be extinguished as the light given by that is negligible.</p> + +<p>After the angel ceases speaking the tableau of the altar scene should be +held as the music grows louder and louder through the final crescendo; +then, when the final note has been sung, blot out the stage by +extinguishing all lights. Give a moment of darkness during which the +back wall of the hut is replaced, and the old woman slips out of the +nearest opening in the scenery. Then turn on the front lights which +illuminated the hut during the first part of the play.</p> + +<hr class="long" /> + +<a name="page42" id="page42"></a> +<h2>MUSIC.</h2> + +<p>The three pieces of music required for this play are as follows:</p> + +<p>"The Sleep of the Child Jesus" part song for mixed voices by F.A. +Gevaert.</p> + +<p>Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee +Atherton.</p> + +<p>These two pieces come published together in a special edition for use +with this play by The Boston Music Company. Price 15 cents per copy, +postpaid.</p> + +<p>The bell movement (in five flats) (Postlude) by J. Guy Ropartz. +Published by The Boston Music Company. Price 30 cents per copy, +postpaid.</p> + +<p>For all the music, address The Boston Music Company, 116 Boylston +Street, Boston, Mass.</p> + +<p>The pieces by Ropartz and Gevaert were chosen for the Workshop +production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard +University, and are admirably fitted to the play. Mr. Atherton's +Alleluia is also just what is needed, both in length and in the +triumphant crescendo which carries the piece fittingly and dramatically +to its close. It would be difficult to replace this finale except by +other music written for the purpose.</p> + +<p>The music is perhaps the most important single element in the play. In +the original version the scene in the chancel was carried by dialogue +but production showed the mistake. From the time that the music begins, +it, with the pantomimic action of the actors is all sufficient to +interpret the mood and meaning of the scene.</p> + +<a name="page43" id="page43"></a> +<p>A small parlor organ is practically a necessity and can probably be +procured for the cost of the cartage.</p> + +<p>A choir of men's and women's voices is best for the singing but a good +quartette will serve.</p> + +<p>For the bells, the long tubular chimes which are suspended by one end +and struck with a wooden hammer are the most satisfactory. If they seem +too metallic, try covering the head of the hammer with folds of chamois +skin. If such a set of chimes is not to be had a substitute can be found +in the phonograph, for which there are a number of chimes records.—The +tune played on the phonograph must not be a modern one; Luther's Hymn +"Great God, what do I see and hear?" (A Columbia record) is the best. +The tune can be disguised by lifting the needle occasionally and setting +it down gently on another part of the record. As far as I know, no +phonograph record presents chimes pure and simple. It should be +remembered however that the phonograph record lacks the vitality of tone +and the note of jubilant triumph which a good musician can bring from +the bells themselves.</p> + +<p>With the exception of the crescendo at the end of the Alleluia, the +music is kept soft and dreamy throughout. It is a temptation to try to +achieve this effect by placing singers and organ back, off stage, so +that the sound may come from a distance but it has been found that the +whole performance gains immeasurably if the organist is in front where +he can watch every movement of the actors and interpret them in his +playing.</p> + +<p>The music begins on Holger's speech: "Oh thou art warm" and continues in +one form or another throughout the play.—The organist commences in the +middle of the Ropartz "Sortie," at the top of page 6 and continues this +until the back of the hut is withdrawn when he drifts into the +accompaniment of the Gevaert song, and plays it through once without the +voices. As Holger cries "Dame!"—<a name="page44" id="page44"></a>and +sinks back against the woman's knee, this verse should end, and the voices +of the choir take up the song with the organ.</p> + +<p>From this point on every movement in the chancel is paced to the rhythm +of the music. It has been found that a verse of the Gevaert song is just +long enough to fit the following action.</p> + +<p>A person in the procession enters the chancel, walks to the center +before the altar, kneels and presents his gift to the priest. The priest +accepts the gift, turns, goes up the steps to the altar, and raises the +offering high above his head holding it there a moment waiting for the +chimes to ring, then brings his arms down, lays the gift on the altar, +turns back to the kneeling figure, and raises his hand in blessing. The +person then rises, and steps back to his appointed place to the left or +right of the altar, coming to a standstill just as the music ends. As +the next verse begins, the next person enters the chancel. The movements +should be made with deliberation and dignity and so thoroughly rehearsed +that keeping time to the music becomes instinctive, that the actor's +mind may be on the expressing of the emotions of assurances that his +gift will ring the chimes, and later disappointment that the chimes do +not ring.</p> + +<p>When it comes Holger's turn to offer the pennies, the music begins again +as with the others and accompanies the action through to the moment when +the priest holds the pennies high above his head,—here the organ and +singing break off abruptly, the chimes ring out and keep pealing for a +moment, without other music.</p> + +<p>On the first note of the chimes the priest wheels swiftly and with a +commanding gesture signals the people grouped about the altar to their +knees. He kneels also. The organ begins again, softly playing the final +Alleluia. The angel enters from the right side, stands on the step of +the altar, the central <a name="page45" id="page45"></a>figure,—all +about still kneeling awestruck. As the music continues the angel half sings, +half chants the speeches, and underneath her voice, which should be as +lovely as possible, come in the voices of the other singers very softly at +first, like an echo from afar. As the angel's voice stops, those of the +other singers grow into the great triumphant crescendo of the finale. Do not +be afraid of holding this tableau while the music finishes.—Indeed +none of the chancel scene should be hurried. Take it with great deliberation +and give whatever element is holding the scene at the moment, (whether the +action or the music) plenty of time to make its effect. The Alleluia is +played through twice, once softly during the angel's singing the second +time in the triumphant climax. As this second singing ends, the lights +on the chancel are blotted out, the back wall of the hut is replaced, +the old woman disappears, the lights in the hut go up again revealing +Holger standing spellbound staring at the wall where the vision had +been. As he turns to speak to the woman and during his final speeches, +the organ plays softly as though from a great distance and the chimes +ring again but not so loudly as before. This music continues till the +front screens are brought together and the play is over.</p> + +<hr class="long" /> + +<a name="page46" id="page46"></a> +<h2>COSTUMES</h2> +<br /><br /> +<hr class="long" /> + +<a name="page48" id="page48"></a> +<div class="center"> +<img src="images/image04.png" width="499" height="335" alt="Illustration of +costumes 1-4" title="Illustration of costumes 1-4" /> +</div> + +<a name="page49" id="page49"></a> +<div class="center"> +<img src="images/image05.png" width="216" height="350" alt="Illustration of +costume 5" title="Illustration of costume 5" /> +</div> + +<a name="page50" id="page50"></a> +<div class="center"> +<img src="images/image06.png" width="500" height="227" alt="Illustration of +costumes 6-12" title="Illustration of costumes 6-12" /> +</div> + +<hr class="long" /> + +<a name="page51" id="page51"></a> +<h2>COSTUMES.</h2> + +<p>The costumes of this play are mediaeval, picturesque and easily +constructed.—The accompanying plates will give the best idea of their +general appearance. The amounts of goods required for each are noted +below.</p> + +<p>First of all, in planning the costuming for a play a definite color +scheme should be decided on with due regard for the scenery against +which the colors are to stand out and for the lights which will greatly +affect all values. Here is an opportunity for delightful study and the +exercise of the highest artistic ability. Skilful lighting and a well +chosen background will make cheesecloth as effective as cloth of gold. +Taste and careful experimentation not money secure the best results.</p> + +<p>Family ragbags will often yield excellent material for theatrical +costumes, and of much better quality than would be bought new for the +purpose. But if the stuff is to be purchased, two materials will be +found especially suitable and inexpensive. For the peasants' costumes +canton flannel is recommended as it has body and comes in beautiful dark +reds, browns and other shades which light up well. For the dresses of +the richer group in the chancel, sateen is best. It, too, comes in +lovely colors and has a very rich glossy finish, though to give variety +an occasional piece of cheap velvet or upholstery brocade is very +effective. For trimming these richer garments, bits of fur or +passementerie can be used, or the material may be stencilled or even +painted freehand. Large gold beads sewed on in a simple design gives the +appearance of rich embroidery, as <a name="page52" id="page52"></a>do also +flowers cut out of chintz and carefully pasted on.</p> + +<p>All of the men's jerkins or tunics are made on the simple lines of a +man's shirt, opened a little at the neck and belted in at the waist.</p> + +<p>The most inexpensive tights for amateurs are well-fitting cotton +underwear, dyed the desired color. The children and Bertel can wear +their own plain soft low-heeled slippers. The rich folk in the chancel +wear their own slippers and draw on over them, socks dyed to match the +tights; these socks if rolled down at the top make a very passable +substitute for the Romeo shoe of the period desired.</p> + +<p>The following notes refer to the costumes of "Why the Chimes Rang" as +shown in the plates, the numbers corresponding to those given the +figures therein. The estimates of the amount of goods required are all +calculated on the basis of yard wide goods for an adult of average size, +except in the case of the two children, the costume of the older being +planned for a fourteen year old boy that of the younger for a child of +ten.</p> + +<p>1. The old Woman: underrobe, cut in straight simple lines, gracefully +belted, 5½ yards, cloak and hood, 6 yards. If this cloak is black or +nearly so it will help to conceal her entrance and exit, as black +against black is practically invisible on the stage.</p> + +<p>2. Bertel: jerkin, gaiters and cap (all of same material), 3 yards; +shirt, (under jerkin) 2½ yards; cloak, 2½ yards. If preferred +Bertel's jerkin can be made with sleeves of the same goods instead of +the white shirt showing as in the picture.</p> + +<p>3. Holger: jerkin and cap, 1½ yards; cape, 2 yards.</p> + +<p>4. Steen: jerkin and cap, 1½ yards; cape, 2 yards.</p> + +<p>It may be easier to lengthen the skirts of the boys' jerkins almost to +the knee and let them wear regular <a name="page53" +id="page53"></a>stockings and bloomers instead of +tights. If long sleeves are preferred for them, a pair of stockings cut +off at the ankle are easily attached at the arm hole and make very good +sleeves.</p> + +<p>5. The Angel: outer robe, 7 yards; under robe, 5 yards.</p> + +<p>This costume is best made of creamy cheesecloth over an under robe of +the same, as cheesecloth is faintly luminous in an intense light. It +should be long enough to lie on the floor two or three inches all round +as a trailing effect is desirable.</p> + +<p>6. Rich Woman: dress, 6 yards.</p> + +<p>Her head dress is easily made of stiff white paper rolled up in +cornucopia shape and sewed securely, over this a long white veil or +scarf is draped.</p> + +<p>7. The Rich Man: tunic, 2 yards; shirt, 2½ yards; or 1½ yards if +the sleeves and neckpiece can be sewed right into the tunic, doing away +with the under garment. If the costumes are to have repeated wear, it +will be better to have the shirts made separate and of a washable +material, they can then be cleansed more frequently than will be +necessary for the tunics. The Rich Man's chain can be made of the heavy +brass chain that comes for draping back curtains.</p> + +<p>8. The Priest: under robe, 4½ yards; outer robe 6½ yards. This +costume will of course be greatly modified by the custom of the church +of which he is supposed to be a representative.</p> + +<p>9. The King: tunic, 2 yards; shirt, 2½ yards; robe of office, 4½ +yards. The King's tunic in general cut is exactly like that of the other +two courtiers (nos. 7 and 12) but handsomer in material and trimming. +The robe is just a straight piece that hangs from the shoulder and +trails on the ground.</p> + +<p>10. Sage: robe, 6 yards.</p> + +<p>11. Young Girl: dress, 6 yards.</p> + +<p>12. Courtier: tunic, 2 yards; shirt, 2½ yards.</p> + +<hr class="long" /> + +<a name="page54" id="page54"></a> +<h2>PROPERTIES.</h2> + +<p>The following list gives the properties needed in the play.—</p> + +<p class="noindent">In the hut:</p> + +<p>1. A porridge pot.</p> + +<p>2. Three small bowls.</p> + +<p>3. Three spoons. If pewter spoons are not to be had, wooden spoons can +be bought cheaply.</p> + +<p>4. Porridge. Custard or Spanish cream looks like porridge and is more +easily eaten on the stage, but hot cream of wheat is also palatable if +sweetened and the steam from it will lend a touch of realism to the +scene.—It will save time to have it put in the three small bowls before +the rise of the curtain, and the bowls can be covered with three little +plates to keep the steam in till the food is wanted.</p> + +<p>5. Two roughly made but substantial stools, one near the window, the +other before the fire. Stools are better than chairs with backs because +they do not obstruct the view of the audience during the chancel scene.</p> + +<p>6. Three large nails or wooden pegs in the walls strong enough to hold +things, one on each side of the fire-place and one near the door. These +would be impracticable with scenery made of screens as any weight on the +screen would pull it over. A solid wooden chest, as a carpenter's tool +chest, could be substituted to hold the children's wraps and the extra +shawl for the old woman. The chest could be placed against the screen on +the left or right as convenient.</p> + +<p>7. Steen's cap and cape.</p> + +<p>8. Holger's cap and cape.</p> + +<a name="page55" id="page55"></a> +<p>9. The extra shawl Holger puts around the old woman.</p> + +<p>10. Two bright pennies for Holger's gift.</p> + +<p>11. Logs of firewood on the hearth. Not needed of course if the brazier +is used instead of the fireplace.</p> + +<p class="noindent">In the chancel:</p> + +<p>12. An altar cloth. This is properly a piece of fine linen edged with +deep real lace. It should not be so wide as to cover the top of the +altar, lest it obscure the light shining up through the hole. It should +hang down in front of the altar and at the sides about eighteen inches. +A very handsome looking lace altar cloth can be cut from white paper.</p> + +<p>13. Candle-sticks.</p> + +<p>14. Candles.</p> + +<p>15. Two censers: Very passable censers can be made by swinging brass +cups on the brass chains that come for looping back curtains.</p> + +<p>16. Incense.</p> + +<p>17. Charcoal to burn the incense. (This comes in the box with the +incense.)</p> + +<p>18. Matches to light the incense.</p> + +<p>19. The chimes (or the phonograph and record.)</p> + +<p>20. The organ.</p> + +<p>Gifts to be put on the altar.</p> + +<p>21. A chest full of gold coins for the rich man. (This chest should be +about six by twelve inches, made of some polished wood. If difficult to +find, substitute a money-bag of stout canvas for it.)</p> + +<p>22. Gold coin for the rich man. These coins may be made of cardboard +with gold paper pasted over them.</p> + +<p>23. A gilded jewel box for the courtier (this can be made from a +cardboard box covered with gold paper.)</p> + +<p>24. Jewels to fill the gilded box. The smaller things that come for +Christmas tree decorations make very acceptable stage jewels.</p> + +<a name="page56" id="page56"></a> +<p>25. A great book bound in vellum for the sage to give. A heavy book can +be covered with wrapping paper the color of vellum.</p> + +<p>26. A pearl necklace.</p> + +<p>27. A great sheaf of fresh lilies. These can be made at home of tissue +paper or very beautiful ones can be bought from the Dennison +Manufacturing Company.</p> + +<p>28. A golden crown. Made of cardboard coated with gold paper and set +with Christmas tree jewels. A more substantial crown can be made of thin +sheet brass with all the edges turned like a hem, and trimmed with the +inexpensive jewels which come for brass work.</p> + +<hr class="long" /> +<br /><br /> +</div> + +<div id="ads"> + +<h3><b>BIG-HEARTED HERBERT</b></h3> + +<p>Farce-comedy. 3 acts. By Sophie Kerr & Anna Steese Richardson. 7 +males, 6 females. Interior. Modern costumes.</p> + +<p>Herbert Kalness, the leading character, is a selfmade man. His success +and his belief in himself have unwittingly turned him into a domestic +autocrat. Moreover he prides himself on being a plain man and imagines +that he lives plainly, though his devoted and charming wife has +modernized and decorated their home quite successfully. The day arrives +when the daughter of the house becomes engaged, and at a dinner to +celebrate the event, Herbert, who has been upset and worried all day +about business, has a great big tantrum which even his wife can't +excuse. So, the next day, when he proposes to bring his best customer +and wife home to dinner—assuring them that he is a plain man—his +wife turns the house plain to the nth degree and serves them a plain dinner +in the plainest of ways. In a final riotous scene Herbert realizes that +he is not so plain, and that his life will be happier if he is more of a +father and less of a tyrant.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>FLY AWAY HOME</b></h3> + +<p>Comedy. 3 acts. By Dorothy Bennett & Irving White. 7 males, 6 females. +Interior. Modern costumes.</p> + +<p>A comedy hit on Broadway. The four Masters children, ranging in age from +14 to 19, are enjoying their usual summer sojourn at Provincetown. +Without much enthusiasm they are looking forward to the imminent +marriage of their mother to the professor who has summered next door. +Then word comes that their mother, who is just completing the last two +weeks of her contract as dress designer in a Hollywood motion picture +studio, has invited their own father to visit them and make arrangements +for a divorce. They haven't seen him for twelve years and they are +determined he shan't treat them like children. James Masters, the +father, comes. Although he has a sense of humor and would sincerely like +to make friends with his children, he antagonizes them at once. For a +week the father struggles against the professor and his influence. After +the various problems have been more or less solved the children suddenly +decide that they prefer their own father as a member of the family and +set to work in a businesslike way to help him win their mother back.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>ANNE OF GREEN GABLES</b></h3> + +<p>L.M. Montgomery's most popular novel, dramatized into a tender and +amusing play in 3 acts by Alice Chadwicke. 4 males, 10 females, 1 +interior set. Modern costumes.</p> + +<p>Mark Twain, the celebrated humorist, was so taken with the quaint charm +of L.M. Montgomery's tremendously popular novel that upon reading it for +the first time he said: "In 'Anne of Green Gables' you will find the +dearest and most moving and delightful girl since the immortal Alice." +[Anne is played by a girl in her middle teens.] And for years this +fascinating book has headed the list of best sellers. It has been made +twice as a movie, once a silent picture and only recently as a talkie, +but it has remained for the distinguished dramatist, Alice Chadwicke, to +make the first and only dramatization of this magically beautiful story. +Green Gables is the home of lovable Matthew Cuthbert and his stern +sister, Marilla Cuthbert. Nobody suspects that beneath her hard exterior +there lurks a soft and tender heart. When Matthew, after a great deal of +reflection, finally decides to adopt an orphan boy to help with his farm +work, Marilla grudgingly consents. Through a rattlebrained friend of +theirs, one Nancy Spencer, they agree to take a boy from the Hopeton +Orphanage. Marilla makes ready to receive the boy and Matthew drives to +the station to get him. Fancy his consternation when he finds little +Anne Shirley waiting for him! There has been a mistake and Anne has been +sent to Green Gables in lieu of a boy whom the Cuthberts plan to adopt. +From the instant Anne and Matthew meet a strong attachment grows up +between the little orphan and the man who has been starving for +affection without realizing it. Anne, with her vivid imagination, her +charitable viewpoint, her refreshing simplicity, touches the old +bachelor's heart. But not so with Marilla. She determines to send Anne +back to the orphanage the following day. But she reckons without Anne +who is so enchanted by everything at Green Gables and who cries and begs +and pleads so hard to remain that even Marilla finally gives in and +consents. Anne is the sort of part that every young girl will adore +playing, and the other parts offer splendid opportunities to the various +members of the cast. The play breathes of youth, is thoroughly modern in +spirit, very simple to prepare and present and Miss Chadwicke has +written into it such an abundance of warmth, wit, and motion that it +becomes an endless delight.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>GROWING PAINS</b></h3> + +<p>Comedy. 3 acts. By Aurania Rouverol. 7 males, 8 females, 1 set (patio). +Modern costumes.</p> + +<p>Produced originally at the Ambassador Theatre in New York. George and +Terry are the son and daughter of Professor and Mrs. McIntyre who +struggle valiantly to lead their children through the difficult phases +of adolescence, so familiar to us all. Terry is shown outgrowing the +tomboy stage, and unable to play with the boys on an equal status. She +finds herself thrown back on her feminine resources; and how she tries +out her "resources," makes this play an illuminating study of feminine +psychology. George McIntyre, the boy adolescent, goes through the +customary symptoms of his age—begging his parents for a car—and +falling victim of the wiles of Prudence, a successful "vamp" in the +neighborhood. At a party George is sent out for some more ice cream. In +his rush to get back for his dance with Prudence, he passes a traffic +light, and is pursued home by an officer, subsequently is hauled off to +jail, loses Prudence, but discovers a new blue-eyed blonde in the +neighborhood.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>THE BISHOP MISBEHAVES</b></h3> + +<p>Farce-comedy. 3 acts. By Frederick Jackson. 7 males, 3 females. 2 +interiors. Modern costumes.</p> + +<p>Produced originally by John Golden at the Court Theatre, New York, with +Walter Connolly in the leading role. Here is the story of the Bishop, an +elderly and saintly dignitary, who stops by accident with his charming +and quaint sister at a roadside inn just after there has been a hold-up +and robbery. The Bishop has always had a secret love for detective +stories and here is a chance to apply some of his choicest solutions. +His sister, thrilled with the excitement of it all, eagerly joins in. +The Bishop, now playing policeman, gobbles up clews and discovers the +stolen jewels. Deftly removing them from a mug on the wall he leaves in +their stead, one of his calling cards, and proceeds to his home to await +developments. The developments arrive in the form of three ruffians, the +masked hero in evening clothes, and the attractive heroine who had +engineered the robbery. From now on it is a game of outguessing, turning +tables, turning out lights, knife-brandishing, and gun-play, until the +Bishop finally emerges triumphant to bestow his blessing on the young +hero and charming heroine.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>CHARITY BEGINS</b></h3> + +<p>Comedy. 3 acts. By Ireland Wood. 3 males, 7 females. Interior. Modern +costumes.</p> + +<p>First produced at the Aldwych Theatre in London. The Deveral household +consists of old Mrs. Deveral, her middle-aged children—Agnes who is +efficient, Emily who is muddle-headed, and Henry who is fussy—and Judy +Deveral, her granddaughter. Rodney Walter, Henry's agent, is making love +to Judy, and she prefers him to the young and unsophisticated Bobbie +Forrester, who also loves her. It is Judy's eighteenth birthday, and her +relations feel that it is time to tell her about Aunt Catherine, the +black sheep of the family, who is supposed to have run off with another +woman's husband. It is the day of the village bazaar, and amid a lot of +hustle and bustle Catherine enters—the prodigal daughter most +inopportunely returned! As the day progresses Old Mrs. Deveral becomes +fractious, the Fête entertainment falls through and Judy decides to run +away with the unpleasant Rodney. Things are going from bad to worse when +Catherine steps in. She pacifies her mother, gives a talk on her +experiences to the Village audience, and convinces Judy that Bobbie is +nicer than Rodney. We hear, incidentally, that she never actually eloped +with her Philip after all.</p> + +<p>(Royalty, $15.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>THE GHOST FLIES SOUTH</b></h3> + +<p>Comedy. 3 acts. By Frederick Jackson. 4 males, 7 females. Interior. +Modern costumes.</p> + +<p>Anita and Diana, who have been reared to regard gambling as something of +a major vice, decide to gamble on the stock market regardless, and with +beginner's luck they win four hundred thousand dollars. In order to keep +Morgan, an anti-gambling addict and Anita's fiancé, from discovering the +situation they tell him that the money was left Anita by an Uncle +William who died in the west. The little lies grow beyond the control of +the two girls in an amusing series of climaxes. Most amusing and +concerned is Grandma, who has to be convinced that she had a son +William. Morgan finally sees a flaw and hires a cowboy and an Indian +squaw—actors—to come and blackmail Anita for half the money. +They are to represent William's partner and wife. Anita realizes what Morgan +has done, so she scares the two with threats and they leave. She then tells +Morgan that she gave them the money, but he can't find them. Finally the +situation is cleared, and Anita is conceded to be very clever indeed.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>SPRING DANCE</b></h3> + +<p>Comedy. 3 acts. By Philip Barry. Adapted from an original play by +Eleanor Golden and Eloise Barrangon. 6 males, 7 females. 2 interiors. +Modern costumes.</p> + +<p>This gay, light, frothy comedy was first produced by Jed Harris at the +Empire Theatre in New York where it found a ready audience. The story +concerns a number of New England college girls in general and one, +Alexandra—called Alex—Benson in particular, who finds it very +difficult to attract young men of any description; primarily because she +feels that she looks very much like a horse with a fly up its nose, +which as a matter of fact, she doesn't at all. Alex sets her heart on +Sam Thatcher, a Yale man who has turned against college and +regimentation to set off for Russia with a free-thinking, free-living, +rebellious companion oddly called "The Lippincott," who knows everything +about women except how to get along without them. When Alex can't seem +to get very far with the courtship by herself, her girl friends decide +to take the matter into their own hands to secure Sam for the sad and +bewildered Alex. They conspire to make Sam jealous as well as interested +in things other than communism, Russia, and candid cameras, and to raise +Alex to the rank of belle of the ball. Sam, a sad funny figure the world +over, finally capitulates under the ministrations of the many females, +and he and Alex elope to the great delight of Alex's gang.</p> + +<p>"<i>Spring Dance</i> is a bright and amusing comedy, splendidly adapted, in +cast, subject matter, and its collegiate background to students of high +school and college."—American Academy of Dramatic Arts.</p> + +<p>"I recommend <i>Spring Dance</i> to any theatre that is still selling +entertainment."—H. Miles Heberer, Director, The Manhattan Theatre, +Kansas State College.</p> + +<p>"Its youthful spirit and gay wit made it more than just good +entertainment. Other Little Theatres will doubtless find, as we did, +that the casting will give them a chance to capitalize on the natural +popularity of young and enthusiastic actors."—Gordon Giffen, Director, +Little Theatre of Duluth.</p> + +<p><i>Spring Dance</i>, when offered by colleges, high schools, or Little +Theatres, draws extremely enthusiastic audiences.</p> + +<p>(Royalty, $35.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>CRAB APPLE</b></h3> + +<p>Comedy. 3 acts. By Theodore Packard. 4 males, 3 females. Interior. +Modern costumes.</p> + +<p>First done at Yale and several summer theatres, <i>Crab Apple</i> is a +light and amusing play of contemporary American life enlivened with +up-to-the-minute allusions. "She's got a good mind," is said of one +character, "she's read 'Anthony Adverse.'" The play gives a brief +glimpse of everyday life in the Hunter family, with Mr. Hunter grown +crotchety and weary with business cares, making life miserable instead +of pleasant for the family he has toiled for. His wife meekly accepts +his grumblings and his tyranny. His children frequently threaten +rebellion, but their feelings smolder until the situation is brought +into sharp focus by the arrival of son Jim from college with a bride. +This overt act of Jim's gives courage to his brother George to bring +home a radio, banned as a nuisance by the head of the family, and to +sister Amy to blossom out in a low-backed evening gown and plan to step +out dancing. Mr. Hunter is only brought to reason by a conspiracy which +makes him believe he is seriously ill. The family coddles him into a +change of heart, and then finds it impossible to believe that their jest +has become earnest and that their father's health is really in danger.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>THE LATE CHRISTOPHER BEAN</b></h3> + +<p>Comedy. 3 acts. By Sidney Howard. 5 males, 4 females. Interior. Modern +costumes.</p> + +<p>Produced by Gilbert Miller in New York and elsewhere, this is one of the +outstanding successes of the theater season of 1932-33. The comedy has +to do with a family of New Englanders who have, years before, given +refuge to a great artist. The play opens some years after Bean's death, +with an excited world in pursuit of his work and any details they can +gather as to his life and character. Dr. Haggett and his family, who +have some of Bean's canvases, suddenly realize their value, and become +hard, selfish, and ill-tempered. It is, however, Abby, the family +servant, who ultimately holds them all in her power: she has one of his +greatest paintings, which she cannot be persuaded into selling or giving +away; it turns out that she is the only one who really understood and +appreciated the artist—besides, she had been married to him! An ideal +play for colleges and Little Theaters.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>LADY PRECIOUS STREAM</b></h3> + +<p>Chinese play. 4 acts. By S.I. Hsiung. 5 males, 5 females (extras). +Conventional Chinese scene for all sets. Chinese costumes.</p> + +<p>This Chinese play by S.I. Hsiung, was produced successfully in New York, +and in London, where it was performed more than 500 times. It is in +every respect an authentic play written and performed in the Chinese +manner with the delightful and charming conventions of that ancient +institution. This beautiful romantic drama of love, fidelity, treachery +and poetry is a decidedly colorful fantasy that appeals to all classes +of theater goers. It tells, in varied scenes, of the devotion of a wife +for her adventurous husband, of his prowess as a warrior and his +ultimate return. (Not available for amateur production at present, but +if interested in producing let us know and we shall notify you +immediately it is released for your locality.)</p> + +<p>Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>CHARLEY'S AUNT</b></h3> + +<p>Farcical comedy. 3 acts. By Brandon Thomas. 7 males, 5 females. +Interior, exterior. Modern costumes.</p> + +<p>The first act introduces us to Jack Chesney's rooms in college. He is +violently in love with Kitty Verdun. A chum of his, Charles Wykeham, is +in the same quandary, loving Miss Spettigue. The young men at once lay +their plans and ask the objects of their affections to join them at +their rooms for luncheon—in order to meet Donna Lucia D'Alvadorez, +Charley's aunt, who is expected to arrive from Brazil. Miss Spettigue +and Miss Verdun accept the invitation, but the millionaire Donna from +the antipodes sends a telegram saying that she will have to defer her +visit for a few days. The problem is solved at once by forcing another +undergraduate of the name of Lord Fancourt Babberley into a black satin +skirt, a lace fichu, a pair of mitts, an old-fashioned cap and wig. As +Charley's Aunt, then, this old frump is introduced to the sweethearts, +to Jack Chesney's father, and to Stephen Spettigue. Unexpectedly the +real aunt turns up, but she assumes the name of Mrs. Smith or Smythe. To +attain his object,—viz., the rich widow's hand—the solicitor +invites everybody to dinner. She gets his consent to the marriage of his +ward to young Chesney, and eventually everybody but the avaricious solicitor +is rendered overwhelmingly happy.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>DOUBLE DOOR</b></h3> + +<p>Drama. 3 acts. By Elizabeth McFadden. 7 males, 5 females. Interior. +Costumes, 1910.</p> + +<p>An outstanding success on Broadway. Its theme is the battle for power +that goes on in an old New York family and culminates on the verge of +murder. "This one deserves especial thanks and hearty praises. It +returns us to expertness and fascination and fine mood in the theater." +Gilbert Gabriel, in <i>New York American</i>. "At last a play has come to +town that can be heartily recommended. Sturdy theater, compelling. Once +you are within the radius of <i>Double Door</i> you will remain transfixed +until you know what's behind it." Bernard Sobel, <i>Daily Mirror</i>. +"<i>Double Door</i> is a thriller of a new kind, beautifully written, +superbly played, clean as a whistle, and arousing in its spectators a +tenseness of interest I have rarely seen equaled in a playhouse." E. +Jordan, <i>America</i>. Leading part acted by Mary Morris in America and by +Sybil Thorndike in London. A play that will challenge the best acting +talent of Little Theatres and colleges.</p> + +<p>(Royalty, $25.00.) Price, 75 cents.</p> + +<hr class="long" /> + +<h3><b>THE DISTAFF SIDE</b></h3> + +<p>Play. 3 acts. By John Van Druten. 5 males, 8 females. 2 interiors. +Modern costumes.</p> + +<p>Produced with preeminent success in London and New York. Mr. Van +Druten's new play deals with the women of one family, women so unlike +that they set one another off startlingly. There is the tart, querulous +old Mrs. Venables, and there are her three daughters—Nellie who is +married and whose life has slipped away from her in the provinces; Liz +who is divorced and whose life has been brilliant and unconventional on +the Continent; and Evie who is a widow and whose life has been spent +being happy through others—her husband, her children, her friends. +Evie's young daughter Alex is the fifth woman in the family, and the +drama of <i>The Distaff Side</i> centers chiefly in her and her two suitors +who represent such different things. But if the plot belongs to Alex, +the honors of the play go to her mother—for seldom has a modern +playwright drawn so warm and womanly and endearing a character as Evie. +The family life of these people is extraordinarily human, but it is Evie +that it revolves around, Evie who lights it up.</p> + +<p>(Royalty, $35.00.) Price, 75 cents.</p> + +</div> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Why the Chimes Rang: A Play in One Act +by Elizabeth Apthorp McFadden + +*** END OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + +***** This file should be named 15290-h.htm or 15290-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/2/9/15290/ + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Why the Chimes Rang: A Play in One Act + +Author: Elizabeth Apthorp McFadden + +Release Date: March 8, 2005 [EBook #15290] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + + + + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + + + + + +Why The Chimes Rang: A Play in One Act: +by Elizabeth Apthorp McFadden: + +Adapted from the story of the same name: +by Raymond McDonald Alden + + + +Samuel French: Publisher +25 West Forty-fifth Street: New York +LONDON + +Samuel French, Ltd. +26 SOUTHAMPTON STREET, STRAND + + + + +COPYRIGHT, 1915, +BY E.A. MCFADDEN + + + + +WHY THE CHIMES RANG. + + +This play is fully protected by copyright. + +Permission to act, read publicly or make any use of it must be obtained +of Samuel French, 25 West 45th Street, New York. It may be presented by +amateurs upon payment of the following royalties: + +1. This play may be presented by amateurs upon payment of a royalty of +Five Dollars for each performance, payable to Samuel French, at 25 West +45th Street, New York, or at 811 West 7th Street, Los Angeles, Calif., +one week before the date when the play is given. + +2. Professional rates quoted on application. + +3. Whenever this play is to be produced the following note must appear +on all programs, printing and advertising for the play: + +This play is a dramatization of the story by Raymond MacDonald Alden +entitled "WHY THE CHIMES RANG," published by The Bobbs-Merrill Company. + +This version of Raymond MacDonald Alden's story is published with +permission of the Bobbs-Merrill Company of Indianapolis, Indiana, the +publishers of Professor Alden's story and the holders of the copyright. + + +_WARNING_ + +The copying, either of separate parts or the whole of this work by any +process whatsoever, is forbidden by law and subject to the penalties +prescribed by Section 28 of the Copyright Law, in force July 1, 1909. + + + + +PREFACE. + + +This little play is prentice work done in Professor George P. Baker's +class, English 47 at Radcliffe College in the fall of 1908. Several +years later it was staged by Professor Baker in the "47 Workshop," his +laboratory for trying out plays written in the Harvard and Radcliffe +courses in dramatic technique. + +I am glad to acknowledge here my indebtedness to the "Shop" and its +workers for this chance of seeing the play in action. Of the various +advantages which a "Workshop" performance secures to the author none is +more helpful than the mass of written criticism handed in by the +audience, and representing some two or three hundred frank and widely +varying views of the work in question. I am especially grateful for this +constructive criticism, much of which has been of real service in the +subsequent rewriting of the piece. + +"Why the Chimes Rang" was again tried out the next year in seven +performances by the "Workshop" company in various Boston settlements. +Other groups of amateurs have given it in Arlington, Massachusetts, Los +Angeles, California and in Honolulu. These performances have proved that +while its setting may seem to call for the equipment of a theatre, the +play can be acceptably given in any hall or Sunday school room. + +Suggestions for the simplest possible staging have been added to the +present publication in an appendix which contains data on the scenery, +music, lighting, costumes and properties for the piece. + +ELIZABETH APTHORP McFADDEN. + + + + +WHY THE CHIMES RANG. + + +CHARACTERS. + + +HOLGER......................._A peasant boy_ +STEEN........................_His younger brother_ +BERTEL......................._Their uncle_ +AN OLD WOMAN +LORDS, LADIES, _etc._-- + + +TIME:--_Dusk of a day of long ago_. + + * * * * * + + +SCENE:--_The interior of a wood-chopper's hut on the edge of a forest_. + + + + +Why the Chimes Rang. + + +The scene is laid in a peasant's hut on the edge of a forest near a +cathedral town. It is a dark low-raftered room lit only by the glowing +wood fire in the great fireplace in the wall to the right, and by a +faint moonlight that steals in through the little window high in the +left wall. This window commands a view of the cathedral and of the road +leading down into the town. The only entrance into the hut is the front +door near the window. + +The furnishings are few: two substantial stools, one near the window, +the other before the fire, logs piled up near the hearth, and on the +chimney shelf above a few dishes, three little bowls, three spoons and a +great iron porridge pot. A wooden peg to the right of the chimney holds +Steen's cap and cape, one to the left an old shawl. Near the door +Holger's cap and cape hang from a third peg. + +Despite its poverty the room is full of beautiful coloring as it lies +half hidden in deep shadow save where the light of the fire falls on the +brown of the wood and the warmer shades of the children's garments, +illuminates their faces and gleams on their bright hair. + +When the curtain is raised Steen is sitting disconsolately on the stool +near the fire. He is a handsome sturdy little lad of nine or ten, +dressed in rough but warm garments of a dark red. Holger a slender boy +some four years older, bends over Steen patting him comfortingly on the +shoulder. + +There is petulance and revolt in the expression of the younger boy but +Holger's face is full of a blended character and spirituality that makes +him beautiful. He is clad like his brother in comfortable but worn +jerkin and hose of a dark leaf green. His manner to the little boy is +full of affection, though occasionally he is superior after the manner +of big brothers. Throughout the play, two moods alternate in Holger, a +certain grave, half-mystical dreaminess and bubbling through it, the +high spirits of his natural boyish self. + + +HOLGER. Take heart, Steen, perhaps we can go next year. + +STEEN. Next year! Next year I'll be so old I won't want to go. + +HOLGER. Oh, quite old folks go to the Christmas service. Come, let's watch +the people going down to town. + +STEEN. No. + +HOLGER. The road'll be full, grand folk! (_He crosses to the window_) +Come watch, Steen. + +STEEN. No! + +HOLGER. (_Looking out_) Why the road's all empty again! + +STEEN. (_In a wailing tone_) Everybody's gone! + +HOLGER. (_Trying to be brave_) They're lighting the cathedral! + +STEEN. I don't care! + +HOLGER. Oh, Steen, come see,--like the stars coming out! + +STEEN. I won't see! Mother said way last summer that we could go to-night, +and now--(_His voice breaks in a sob_) + +HOLGER. She meant it! She didn't know that the grandmother would be ill, +and she and father'ud have to go to _her_. Be fair, Steen! + +STEEN. They might let us go alone. "Too little!" Bah! + +HOLGER. (_In a low almost frightened tone_) Steen, come here! + + (_The tone, rather than the words, take_ STEEN _quickly to_ HOLGER'S + _side_.) + +STEEN. What? + +HOLGER. (_Pointing out the window_) Look, by the dead pine yonder, +an old woman facing us, kneeling in the snow, see? praying! + +STEEN. (_In an awed tone_) She's looking at us! + +HOLGER. She's raising her hand to us! + +STEEN. She's beckoning! + +HOLGER. No, she's making the Sign of the Cross. + + (_Both boys drop their heads devoutly._) + +STEEN. Who is she, Holger? + +HOLGER. I don't know. + +STEEN. (_Drawing back from the window and crossing the room to the +fire_) Oh, Holger, I'm afraid! + +HOLGER. No, no! Look, she has turned away,--she's deeper in the +shadow,--why, she's gone! (_Following_ STEEN _with all his bright +courage bubbling high again, and speaks in a bantering tone_) Just some +old granny going down to town, and thou afraid! + +STEEN. (_Recovering also_) And _thou_ afraid! + +HOLGER. I was not! + +STEEN. (_Derisively_) Oh-h-h-h! + +HOLGER. Well, I was just a little bit afraid--lest she might frighten +thee. (_Steps are heard outside the house. Both boys start and look +frightened again_) Hush,--steps--coming here! + +STEEN. (_Backing from the door_) The old woman! + +HOLGER. (_Crosses the room, looks cautiously out of the window, then +cries joyously_) No,--Uncle Bertel! + +BERTEL. (_Off stage_) Hullo, there,--open, Holger! + + (STEEN _and_ HOLGER _make a dash for the door, fling it open and_ + BERTEL _enters. He is a jolly robust peasant uncle of early middle + life, clad in rough gray jerkin and hose, with a dark gray cloak + wrapped about him. He so radiates cheer that the room seems warmer + for his presence in it. Nothing to be afraid of about him, the + children adore him._) + +STEEN. (_Clinging to him, happily_) Oh, Uncle, Uncle, Uncle Bertel! + +HOLGER. (_Seizing_ BERTEL _on his other side_) Uncle Bertel, +welcome! + +BERTEL. (_Tousling their hair and shaking himself loose in pretended +dismay_) Help, help!--Robbers!--I'm beset!--Gently, youngsters!--(_He +goes over to the fire and stands warming himself_) Brrrrr! It's cold in +the forest to-night!--Well, (_He faces them genially_) why am I +come?--Tell me that! + +STEEN. (_Exultantly_) To take us to the Christmas Service? + +HOLGER. Uncle! How didst thou know we were not going? + +BERTEL. I met a fox--who said-- + +HOLGER. Oh-h!--Thou hast seen mother and father! + +BERTEL. (_Draws the stool nearer the fire and sits, the children +promptly drop on the floor beside him_) By our Lady, yes!--and walking +so fast they had only time to throw me a word from the sides of their +mouths. "Go up," cried Mother,--"I wist my boys are deep in tears!"--and +I, not wishing to see you drown in so much water-- + +HOLGER. (_Patting his arm_) Dear Uncle Bertel! + +STEEN. (_Rising on his knees_) Come, let's go quick! + +BERTEL. Patience, patience, young colt, plenty of time, mother said +something else. + +STEEN. What? + +BERTEL. (_His eye on the shelf above the fire_) That I should find some +warm porridge for my pains. + +HOLGER. (_Springing to his feet_) Why, of course, there _is_ +porridge! (_He goes to the shelf_) Nice and warm it is! All ready +for supper. (_He hands the first bowl to_ BERTEL, STEEN _capers +nimbly across the intervening space and seats himself on the side of the +hearth, facing_ BERTEL, _his back to the audience_) + +STEEN. Supper! How could we forget supper?--Give me a _big_ bowlful, +Holger. + +HOLGER. (_Handing_ STEEN _his porridge_) There isn't a _big_ +bowlful here. + +STEEN. (_Taking the bowl and hugging it_) Nice kind good supper, umh! +(_Begins to eat eagerly_) + +HOLGER. (_Suddenly looking toward the door_) Listen! + +BERTEL. To what? + +HOLGER. (_Awed, hesitant_) Someone--sobbing--at the door! (_He goes +to it, the others watching him startled, he opens the door, finds nothing, +closes it and comes back_) Nothing there! + +BERTEL. The wind!--Thy old tricks, Holger,--always dreaming some strange +thing. + +HOLGER. (_Recalled by_ BERTEL'S _words to something else_) Didst +thou pass an old woman on the road--near here? + +BERTEL. Not a soul nearer than the town gate. (HOLGER _stands thinking, +absorbed_) Come, boy, eat,--_eat_! See how Steen eats! + +HOLGER. (_Breaks through his abstraction and reverts to his bright +self_) Oh, Uncle Bertel,--I'm too glad to eat! + +BERTEL. (_More seriously_) Thou art right, lad,--fasting were better +than feasting this day in Tralsund!--they say,--do you know what they +say in the town? + +HOLGER. What? + +BERTEL. They say--that to-night in the great church--when the offerings +are laid upon the altar for the Christ child,--_something will happen_! + + (STEEN _has finished his porridge, puts the bowl on the shelf near + him, seizes his cloak and cap from the peg near the hearth and + stands eager to be gone._) + +HOLGER. What? + +BERTEL. Who can say? All day the folk have been pouring into the town as +never before. The market place is crowded, every inn is full. No church +but the cathedral could hold such a multitude. Never have I seen such +excitement, such fervor! + +HOLGER. There will be many gifts! + +BERTEL. --the rich are bringing their treasure, gold and jewels, king's +ransoms, aye and the King comes. (BERTEL _finishes his porridge and +hands the bowl to_ STEEN) + +HOLGER. The King? + +BERTEL. The King Himself! + +STEEN. Oh, and shall we see Him, Uncle, and the fine gifts and +everything? + +BERTEL. Why not?--Even the poorest may go up and give--what hast thou to +offer? + +STEEN. (_Abashed_) I?--Nothing! (_Puts his porridge bowl and_ +BERTEL'S _on the shelf then goes restlessly to the door_) + +HOLGER. (_Breaking in with eagerness_) Oh, I have, see, Uncle? +(_Feels in his pocket and brings out two pennies_) See!--Last week +I was gathering sticks in the forest and a fine gentleman rode past and +asked the way of me. I showed him the path and he gave me these! +(_Holds up the pennies_) + +BERTEL. (_Rising and going to_ HOLGER _who is in the middle of the +room_) Faith, real money in the family. (_Stoops and looks at the +pennies as though they were a rare sight_) + +STEEN. Oh, I thought we were going to buy cakes with those, Holger. + +HOLGER. But it's better to give it to the Christ Child. You see He is a +little child, smaller than even you,--and I think He would like a little +gift,--a little bright gift that would buy cakes for Him. (HOLGER _goes +toward the window and stands looking dreamily out at the lights of the +church_) + +BERTEL. Aye, to-night we must think of Him,--there in His Holy Church. + +HOLGER. It _is_ a holy place, the church!--I feel it every time I +go,--it's like God's forest,--the pillars like old oaks and the great +windows all colors like sunsets through the trees. + +BERTEL. _'Tis_ like the forest. + +HOLGER. And when the organ plays that's like a storm gathering in the +mountains. + +BERTEL. A storm?--Aye!--"The Lord hath His way in the whirlwind and in +the storm and the clouds are the dust of His feet!"--Why should He not +do a wonder as of old? Perhaps the great miracle will come again! + +HOLGER. Oh, which, Uncle?--There are so many in the Bible! + +STEEN. Yes, which?--Would there be a whale now to swallow a priest? + +BERTEL. Thou goosey! This was no Bible miracle,--it happened there, +_there_, where we see the lights,--hundreds of years ago. (BERTEL +_has followed_ HOLGER _to the window and_ STEEN _joins them. +As he speaks_ BERTEL _slips his arms affectionately round both +children and the three stand looking out. At this moment something stirs +in the dim shadows that shroud the corner up above the fire-place. +Suddenly out of the dark the_ OLD WOMAN _emerges. A tall figure, +if she were not so bent, wrapped in a black cloak. There is nothing +grotesque or sinister in her appearance, she might have stood for a +statue of old age, impressive in its pathos. As she sits on the stool +near the fire she throws back the cloak disclosing the plain straight +dress of gray beneath. The light of the fire reveals her crouched, +swaying back and forth praying silently, her face still shaded by the +heavy hood of her cloak. The others gazing intently out at the church +do not see her._ BERTEL _continues speaking_) Surely thou hast +heard of the Miracle of the Chimes? + +HOLGER. I've heard folks speak of it,--but I never knew just what +happened. + +STEEN. Oh, tell us, Uncle Bertel. + +BERTEL. Aye, listen then!--You see the great tower there?--(_Both +children nod emphatically_) It goes so high into the clouds that no one +can see it's top!--No one even knows how high it is for the men who +built it have been dead for hundreds of years. + +STEEN. But what has that to do with the chimes? + +HOLGER. Hush, Steen, let uncle speak! + +BERTEL. The chimes are up at the top of the tower--and they are holy +bells,--miraculous bells, placed there by sainted hands,--and when they +rang 'twas said that angels' voices echoed through them. + +STEEN. Why doesn't someone ring them _now_? + +BERTEL. Ah, that is not so easy!--They are said to ring on Christmas Eve +when the gifts are laid on the altar for the Christ-child,--but not +every offering will ring them, it must be a perfect gift. And for all +these years not one thing has been laid upon the altar good enough to +make the chimes ring out. + +HOLGER. Oh, that's what the priest was talking about to mother, then. He +said it mustn't be just a fine gift for show but something full of love +for the Christ-child. + +STEEN. Oh, I want to hear them! + +BERTEL. _We shall!_--The very air is full of holy mystery! The Spirit +of Christ will be there in the church to-night! (_To_ HOLGER) Thy cap, +boy! + + (HOLGER _stands wrapt in thought gazing out at the cathedral._) + +STEEN. (_Taking the cap and cloak from the peg near the door and +bringing them down and piling them into_ HOLGER'S _arms_) Here +they are, old dreamer!--(_He turns back up toward the door in such a +way that he does not see the silent figure in the corner_) _And +hurry!_ + + (BERTEL _too turns toward his left hand and does not see the + woman._) + +HOLGER. (_In a tone of bright happiness, roused from his dreaming_) I'm +coming!--Nothing can happen to stop us now, can it? (_As he says this he +wheels to his right in a way that brings the chimney corner in his line +of vision. He starts, bends forward staring as the others open the door, +then he speaks in a tone that is little more than a gasp_) _Steen!_ + + (_The others stop and stare at him, then in the direction of his + look._) + +STEEN. Oh!--The Old Woman! + +BERTEL. (_Looking to_ STEEN) When did she come in? + +STEEN. I didn't see her! + + (HOLGER _crosses timidly towards her. As he approaches the_ OLD + WOMAN _turns her eyes on him and holds out her hands in pitiful + appeal._) + +HOLGER. What dost thou want, dame? + +OLD WOMAN. (_In a voice that is harsh and broken_) Refuge--from the +storm of the world! + +HOLGER. Surely thou shalt rest here. + +OLD WOMAN. (_Half rises stiffly as_ HOLGER _draws nearer_) Oh, +son, I am so weary and so heavy laden. (_She sways and_ HOLGER +_runs forward, catching her in his arms and supporting her on the stool. +The others stand watching. She sits huddled forward in a position that +suggests collapse_) + +HOLGER. She's faint! (_He touches her hands_) She's so cold! Quick, +Steen, build up the fire! (STEEN _goes to the fire and puts on another +log, the flames blase up_. HOLGER _busies himself chafing the woman's +hands and covering her with the old cloak that has dropped back from her +shoulders_) She must have lost her way in the forest. + +BERTEL. (_Stands watching the woman rather suspiciously, now comes to_ +HOLGER _taps him on the arm and draws him a little apart, speaking in an +undertone_) We have scant time to lose with that old beggar. + +HOLGER. What'll I do with her? + +BERTEL. Leave her and come on. + +STEEN. And _come_--before it is to-morrow! (_He is back by the door, his +hand on the latch_) + +HOLGER. (_Turns and looks at the old woman and then back to_ BERTEL) Oh, +I--ought we to go and leave her? + +STEEN. Not go? + +BERTEL. Go, of course we'll go, she'll warm herself and march along. + +HOLGER. But she is ill. (_Turns to_ STEEN _with new decision in his +manner_) Thou shalt go with Uncle but I--must stay with her. + +BERTEL. Nonsense, Holger! + +HOLGER. No, it isn't!--If we should all go now, the fire would go out +and the light,--and she would wake up in the cold darkness and not know +where to turn for help. + +BERTEL. Na, by Saint Christopher!--Miss a miracle to keep company with +a beggar!--Who held her hand before thou camest along? Send her packing +and make haste, Holger. + +STEEN. Oh, do, Holger! + +HOLGER. If there were some place near that we could take her. + +BERTEL. There isn't a place on the road,--they've all gone to town long +ago. Bid her fare there also! + +HOLGER. (_Looks at the_ OLD WOMAN, _then at_ BERTEL, _then back to the_ +OLD WOMAN, _then he shakes his head_) Mother wouldn't treat her +so,--she'd be good to her. + +BERTEL. Think of what you'll miss! (_An expression of anguish passes +over_ HOLGER'S _face, but he shakes his head and turns toward the old +woman_) Well, this is idle talk, thou and I will go, Steen. + +STEEN. Oh, come,--let's go! + +BERTEL. (_To_ STEEN, _but for_ HOLGER'S _benefit_) Thou +and I will see the King, perchance--The Christ! Thou art stubborn, Holger, +I who am older tell thee what to do! (HOLGER _shakes his head again_) +Come, Steen! (_He opens the door and goes out_) + +STEEN. (_Following him_) Good-bye, Holger. + +HOLGER. Good-bye! (STEEN _goes out and shuts the door. There is a +moment's pause while_ HOLGER _stands staring at the closed door, then he +suddenly runs toward it_) Oh, wait, wait for me, Uncle, I will go! (_He +opens the door, starts to go through it, then stops, turns and looks at +the Woman, is drawn slowly backward by his gaze and comes in closing the +door_) No! + +WOMAN. (_Moaning_) The path--is so--steep! + +HOLGER. (_Goes to her and bends over her_) Didst thou speak, dame? +(_The_ WOMAN _does not answer_) Thou art like Grandmother, and +I know what Mother would do for _her_! (_Feeling her hands_) +Art warmer, dame?--still cold!--The covers aren't very thick. (_He looks +about the bare room, sees the old shawl hanging from the peg near the fire, +takes it down and spreads it over the woman_) Thou must get warm! +(_Goes to the fire and builds it higher_) + +WOMAN. (_Still wandering in her mind_) Berries,--yes, find berries. + +HOLGER. Oh, thou art hungry! (_He turns to the shelf, takes his own +untasted bowl of porridge, brings it to her_) Dame, here is food! + +WOMAN. (_Rousing_) Food, give it to me, child, I am dying for food! + + (HOLGER _gives her the porridge and sits down on the floor beside + her._) + +HOLGER. (_Watching her as she devours the porridge_) _Ah, poor +soul!_--Why, thou wert starving!--Na, just see!--Mother says that's what +makes my little brother so round and rosy, because he eats so much +porridge,--you like it, don't you? + +WOMAN. It is life itself! (_Her voice has grown young and strong. Sinks +back again as she has eaten it all_) Bless thee, Child! + + (HOLGER _sets the empty dish aside on the hearth and turns to feel + her hands._) + +HOLGER. Oh, thou art warm! + +WOMAN. Aye, warm! (_In a voice increasingly rich and sweet. At this +moment there comes the distant sound of organ music._ HOLGER +_straightens suddenly in a listening attitude_) Listen,--is that music? + +HOLGER. From the Cathedral!--Aye, it must be,--last summer we could hear +it plain, and now with so many thousands there! (_Leaves the woman and +stands in the center of the room listening attentively_) It's +beginning!--(_Pause_) Everyone is there! + +WOMAN. Why are they there. + +HOLGER. It's the great service! (_He goes toward the window and stands +looking out. He talks on half to her, half to himself_) All the world is +there, the village folk, and strangers from afar, great court folk, +too,--aye, and the King,--our King! And He will give a gift,--a King's +gift! (_She rises erectly and follows him across the room. There is the +strength and poise of youth in her walk. The heavy black hood has fallen +back revealing a head covering of white linen that suggests a sister of +Charity and gives her face a look of austerity and sweetness. She is +strong, maternal, beautiful. Intuitively,_ HOLGER, _in his +disappointment begins to lean upon her sympathy. The music grows a +little louder and floats into the room_) Look, dame, you can even see +the windows gleam! It is so near! It's all beginning and--I--am not +there! (_A sob creeps into his voice_) + +WOMAN. Son! + +HOLGER. Aye, dame? (_He turns and comes toward her, she seats herself on +the stool near the window, reaches out a hand and draws him down beside +her_) + +WOMAN. Thou, too, wouldst go? (HOLGER, _too moved by her sympathy to +speak, nods silently and puts up a hand to hide the trembling of his +lips. She slips her hand to his shoulder_) Another time thou'll go! + +HOLGER. (_Fighting back his tears_) It'll never be the same again! +To-night the Christ comes. Bertel said--"The Christ!" + +WOMAN. Nay, son, pray to the Christ-child, pray that He does not pass +thee by! (_She sits facing the back wall of the hut._ HOLGER _kneels +before her, and drops his head in her lap. She lays her hand gently upon +his hair and makes the sign of the cross above him_) + + (_As they have been talking together, the fire on the hearth has + burned itself out and the shadows in the room have crept forward and + closed around them till only a faint outline of_ HOLGER _and the_ + WOMAN _can be distinguished in the glimmer of moonlight shining + through the window nearby. There is a long pause broken only by the + boy's sobbing which gradually sinks to silence. As he prays, a faint + light begins to grow behind him. The smoke-grimed back wall of the + hut has vanished and in its place appears a vision of the cathedral + chancel.--One by one objects emerge from the darkness. The light + touches the golden altar, the gleaming appointments upon it, the + jewel-like tones of the stained glass window above, and the rich + carpet under foot; it shows the marble arches at the sides and + shines softly on the robe of the kneeling_ PRIEST. _As the dim + vision grows to clearness, so the music comes nearer and swells + forth softly into the Christmas processional. Unconscious of it all_ + HOLGER _looks up at the_ WOMAN, _his face swept with despair_.) + +HOLGER. Oh, it's no use! I'd rather be all blind and never see than miss +the vision that the Christ will send! + +WOMAN. (_Gazing at the vision_) Look, look what comes! + +HOLGER. (_Staring at the woman's face illuminated by the light from the +chancel_) Dame! (_He turns to see where the light comes from and the +vision meets his eye_) Oh-h-h-h! (_He crouches back at the_ WOMAN'S +_feet, held spell-bound by the sight. As the music changes the_ PRIEST +_rises slowly to his feet, faces the congregation and makes a gesture of +approach. The voices of the choir join the music, and from the left side +of the chancel, people begin to enter carrying their gifts_) + + (_An imperious looking man, richly dressed in black and gold comes + first, bearing a heavy box. He approaches the altar, kneels and puts + the chest in the_ PRIEST'S _hands, and, that the full value of his + gift may be publicly recognised, he throws back the lid, heaping up + the gold coin with which the box is filled. The_ PRIEST _turns, goes + up the steps to the altar and raises the chest as high as its weight + will permit. The man still kneeling awaits the chimes with superb + selfconfidence. The bells do not ring. Slowly the_ PRIEST _lowers + the gold to the altar, turns, raises his hand in blessing and + dismissal. The rich man rises, looking bewildered at his failure, + crosses to the right and stands near the altar as the pageant moves + on._) + + (_The_ PRIEST _turns to the next comer_, A COURTIER _brave in green + and gold, who enters with an air of great elegance, bearing daintily + a gilded jewel casket. He kneels, lays it in the_ PRIEST'S _hands. + The latter turns to go but the_ COURTIER _detains him a second, + raises the lid of the box and holds up string after string of rich + gems. The_ PRIEST _carries the jewels to the altar and offers them. + The bells do not ring. The_ PRIEST _dismisses the_ COURTIER, _and + the young man rises, turns back with assumed lightness of manner and + stands at the left of the chancel, watching with great interest._) + + (_A beautiful_ WOMAN _clad in flame colored velvet sweeps proudly up + to the steps of the altar, kneels, takes from her neck a long strand + of pearls and offers it to the_ PRIEST. _The_ PRIEST _receives the + necklace, ascends to the altar and offers the jewels. The woman + smiling listens tensely for the chimes. They do not ring. The smile + fades as the_ PRIEST _turns and blesses her. She rises trying to + hide her chagrin in a look of great hauteur, crosses to the right + and stands near the man in black and gold with whom she exchanges + disdainful smiles over the next arrival._) + + (_An old white haired man clad in a scholar's robes totters on, + bearing with difficulty a large vellum bound book. The_ PRIEST + _takes a step forward to relieve the Old Man of his burden, and as + he goes up the altar steps the Sage sinks exhausted to his knees, + listening with straining senses for the bells.--They do not ring. + The_ PRIEST _blesses the old man and helps him to rise. He turns + back and stands near the_ COURTIER _at the left._) + + (_A lovely young girl enters, dressed in pale green satin, her arms + filled with a sheaf of white lilies. The very way she carries them + and bends her head to catch their fragrance shows that to her they + are the most beautiful things in the world. Kneeling she gives them + into the hands of the_ PRIEST, _and as he offers them, she listens + with childish confidence for the ringing of the bells.--Still there + is no sound save the organ music and the singing of the choir, + subdued almost to a breath as the gifts are offered. Abashed as the_ + PRIEST _blesses and dismisses her, the young girl steps back and + stands near the old Sage._) + + (_There is a stir in the chancel, even the_ PRIEST _turning to + watch. The_ KING _enters. He is a man of forty with tall + distinguished figure and a proud face. His purple robes, richly + jeweled, trail far behind him and on his head he wears his crown. + Everyone leans forward watching with the greatest tension. The_ + KING, _exalted with his mood of selfsacrifice kneels, removes his + crown and lays it in the hands of the_ PRIEST. HOLGER _crouching in + the shadow quivers with anticipation. Again the pantomime of hope + and failure. The_ PRIEST _turns back to the_ KING _and raises his + arm in the customary gesture. The_ KING _starts to rise then + suddenly as though overcome at this spiritual defeat sinks again to + his knees before the altar and buries his face in his hands, + praying. The_ PRIEST _stands with arms crossed upon his breast, + regarding him sorrowfully._) + +HOLGER. (_Overwhelmed with disappointment, softly to the woman_) Perhaps +there are no chimes, perhaps the Christ hears us not! + +WOMAN. Have faith,--have faith in God. + +HOLGER. I would that I could give my pennies to the Child. + + (_The_ KING _rises from his prayer and goes sadly to the right, + standing near the lady in red._) + +WOMAN. (_In a low ringing voice that thrills like the call of a +trumpet_) Go up, my son,--fear not--The Christ-Child waits for all! + + (HOLGER _breathless with the adventure rises and goes timidly + forward out of the gloom of the hut into the splendor of the + chancel, looking very small and poorly dressed beside all the great + ones. He holds out his pennies to the_ PRIEST _who bends and takes + them with a tender little smile, and_ HOLGER, _crossing himself, too + abashed to stand and wait, shrinks back into the darkness and the + sheltering arms of the Woman._) + + (_The_ PRIEST _goes up the steps of the altar and holds the pennies + high above his head in consecrating gesture, and as he does so, the + organ music breaks off with an amazed suddenness for from above + there comes the far triumphant ringing of the chimes, mingled with + ethereal voices singing The Alleluia._) + + (_A wave of awe sweeps over everyone in the chancel and as the_ + PRIEST _wheels and gestures them to their knees, they prostrate + themselves quickly._ HOLGER, _too, kneels awe-struck but the woman + rises to her full height and stands watching. From this time on, she + withdraws gradually into the deeper shadows of the hut and is seen + no more._) + + (_As they all kneel the Angel enters from the right, ascends the + steps of the altar and stands beside the huddled figure of the_ + PRIEST. _As she stands there, a single pencil of light shines down + upon her from above, a ray of light so brilliant that everything + around seems dull in comparision, and while she gives her message, + the light above grows till it floods her hair and garments with a + miraculous radiance. The_ ANGEL _smiles at_ HOLGER _and chants in a + lovely voice._) + +ANGEL. Verily, verily, I say unto you, it is not gold nor silver nor +rich pearls but love and selfsacrifice that please the Lord. The +Christ-Child was hungered and you gave him meat,--a stranger and you +took Him in. + +HOLGER. (_In an awed tone_) But I--I have not seen the Christ-Child. + +ANGEL. Inasmuch as you have done it unto one of the least of these His +Brethern, you have done it unto Him! (_The_ ANGEL _stands with one hand +uplifted, as the music rises in a great crescendo of triumph_. HOLGER, +_quite overcome, drops his face in his hands and as the climax of the +singing is reached, the whole tableau is held for a moment, then blotted +out in darkness_.) + + (_There is a pause, then the light on the hearth flares up revealing + the boy alone, still on his knees, looking up bewildered at the back + wall of the hut, where the vision had been. Swiftly he rises to his + feet and turns to face the Woman._) + +HOLGER. Dame,--dame!--The Chimes,--the star--did you see? (_She is gone, +he stares about him looking for her_) Gone! Gone! (_The music still +rings softly_) But the Chimes! (_He turns, runs to the window, and +flings open the casement. A soft light, half moonlight, half something +more luminous pours in upon him. He speaks in a tone of infinite +happiness, looking upward_) The stars!--God's Chimes! + + +THE CURTAIN FALLS SLOWLY. + + + + +THE APPENDIX + + + + +[Illustration: Sketch of hut scene for "Why the Chimes Rang," before the +backing of the gauze drop is raised. (Everything back of the fireplace +on the left, and the window on the right, is painted on the gauze, +including the stool and the supporting pillar.)] + +[Illustration: Sketch of chancel scene for "Why the Chimes Rang," after +the backing of the gauze drop is raised. (For simplified setting made of +screens, see diagram on page 34 of appendix.)] + + + + +The accompanying scenery plates are not intended to be followed in all +their elaborate detail but merely to give an idea of the effect to be +worked toward in planning the scenery. + + + + +APPENDIX. + + +The following suggestions for a simplified staging of "Why The Chimes +Rang" are offered, not to college dramatic societies or other expert +amateurs but to the many young people in the secondary schools, Sunday +schools and country districts, who would enjoy staging short plays if it +could be done without elaborate scenery or lighting equipment and +without previous experience in stage management. + +Simplicity aided by imagination goes far upon the stage, and it should +always be remembered that the real aim is the creation of a given +emotion in the minds of the audience rather than the creation of a given +thing upon the stage. If a circle of gilt paper on the head of a fine +looking lad can create a vivid impression of kingly dignity, all the +crown jewels of Europe cannot better the paper for stage purposes. + +In producing a play, it should first be carefully read to see what main +impression is to be conveyed, and what chief elements are to be +emphasized to make up this impression. The details can then be worked +out in harmony with the more important factors. + +In "Why The Chimes Rang," religious exaltation is the mood to be +created, and the divine beauty of charity is the main theme. + +Three sharply contrasted effects are called for: the wood-chopper's hut, +dark and humble; and, set against this, the earthly splendor of the +cathedral chancel, which in its turn is dimmed by the miraculous +presence of the angel. + +It is expected that this play will be adapted, by those giving it, to +the form and degree of ritual desired. Censers and candles may be used +or not, altar appointments and priestly vestments may be chosen to suit +the taste of those concerned. Indeed, in all respects, a play must be +suited to the conditions under which it is presented and the audience +before whom it is given; and while the text may not be altered or added +to, lines may be omitted if desired. + +The information here given has been gathered from frequent working over +of the material but at best it can only help in a general way. Any one +producing a play must work out his own problems in detail. One of the +things that makes the staging of plays such fascinating work is the +exercise it affords the imagination in overcoming obstacles. + + + + +SCENERY + + + + +[Illustration: Diagram showing the arrangement of screens for simplified +staging of "Why the Chimes Rang."] + + + + +SCENERY. + + +For the sake of facing the most difficult form of the problem of amateur +staging, let us suppose that this play is to be given in a parlor or +hall, without platform, without proscenium arch or curtains, with the +walls, floor and ceiling of such material and finish that no nails may +be driven into them, and that the depth of the stage is only nine feet. +It looks hopeless but it can be done. + +Under such conditions the only possible form of scenery is the screen. +If the "scenery-man" is a bit of a carpenter, he can build the screens +himself, making them as strong and as light as possible, with four +leaves a few inches shorter than the height of the room in which they +are to be used, and proportionately wide.--The framework should be +braced by cross pieces in the middle of each leaf, and should have stout +leather handles nailed to them for convenience in lifting the screen. +The right side should be covered with canvas such as is used for +scenery, and the screens can then be easily repainted or recovered for +later plays. + +If it is not possible to have the screens made to order, ordinary +Japanese screens may be borrowed or rented, and made to serve as front +curtain, and framework for scenery. + +Those indicated in the plan as A A and B B serve as the front curtains, +the center sections (marked B B) being drawn aside by persons stationed +behind them to show the interior of the hut when the play begins. The +four screens marked C D and E E form the walls of the hut. In using +screens it will be necessary to do without the window and the actual +door unless the person in charge of the scenery is clever enough to +paint in a window on one panel of the screen and make a door in another. +If not, turn the end panel of the screen marked C to run at right angles +with the other part, giving the impression of a passage with an imagined +door at the unseen end, and wherever in the business of the parts, the +children are said to look out of the window, let them instead look down +this passage, as though they were looking through the open doorway. + +On the right side of the room in the screen marked D, a fire-place may +be constructed by cutting away a portion of the screen to suggest the +line of the fire-place, putting back of this opening a box painted black +inside to represent the blackened chimney, and finishing with a rough +mantel stained brown to match the wall tint. Of course if the screens +are borrowed the fire-place will have to be dispensed with. + +At the moment when the vision of the cathedral is to appear, the screens +marked E E are parted and folded back disclosing the chancel. Perhaps +some church nearby has stored in its basement an old stained glass +window, which may be borrowed and used as background for the church +scene. Such a window was used in a performance of "Much Ado About +Nothing" given some years ago at one of the Eastern colleges. It was +dimly lit from behind by electric globes and proved very successful in +creating a churchly atmosphere. If this can not be done, cover two of +the tallest possible screens with any rich sombre colored drapery and +stand them against the back wall. In the Los Angeles production, the +chancel was represented by a curtain of black velvet, flanked by two +silver pillars, between them the altar. Black makes an exceedingly rich +and effective foil for bright colored costumes. Whatever is used for +backing in the chancel can be masked if unsatisfactory by Christmas +greens, which should be arranged in long vertical lines that carry the +eye up as high as possible and give a sense of dignity, or in the Gothic +curves suggestive of church architecture. + +Against this background, and in the center of the space, place the +altar. This can be made of a packing box painted gold or covered with +suitable hangings. In one performance of this play a sectional bookcase +which stood in the room was hung with purple cheese cloth and served as +an altar. Should the stage space be deep enough broad steps before the +shrine will give an added height to the priest and the angel. + +If it is possible to have real scenery the most illusive method of +revealing and hiding the chancel is to have the back of the hut painted +on a gauze drop, which is backed by a black curtain. At the cue for +showing the chancel the lights in front of the gauze go out leaving the +stage dark, then the black opaque curtain is rolled up or drawn aside +and as the light is slowly turned on the chancel, the vision begins to +take form through the gauze, the latter becoming invisible and +transparent when there is no light in front of it. The gauze prevents +Holger from actually placing the pennies in the priest's hand but if the +two approach the gauze as though it were not there, and stretch out +their hands so that they seem to touch, the priest being provided with +additional pennies which he holds up at the altar, no one in the +audience would guess that the coins had not been given him by the child. + +Very few halls ostensibly built to house amateur play-giving are +adequate for the purpose.--Often the stage is merely a shallow platform +without curtains to separate the actors from the audience, and the +ceiling and walls surrounding the stage are so finished that the +necessary screws for hanging curtains, may not be driven into them. The +amateur manager reaches the depths of despair when he finds that even +the floor of the shallow platform offered him, is of polished hardwood +and may not be marred by the screws of stage braces. + +Amateurs who have any voice in the preparation of the stage being built +for them, should urge the following specifications: + +1. The ceiling of the stage to be at least twice as high as the +proscenium arch. + +2. The depth of the stage to be at least fifteen feet, deeper if the +size of the place permits. + +3. The flooring, walls and ceiling of the stage to be of soft wood, into +which nails and screws may be driven; or if the main construction is of +brick, concrete or metal, some inner wooden scaffolding or other +overhead rigging capable of supporting scenery should be provided. + +4. There should be some space on both sides of the stage for keeping +scenery and properties to be used later in the play, and as a waiting +place for actors temporarily off the stage. The platform forming the +stage proper should be continued over these wings so that actors leaving +the scene may walk off on a level and not seem to plunge cellarward in +making their exits. + + + + +LIGHTING. + + +The important thing to be remembered about the lighting is the crescendo +of light which occurs as the play runs its course. First the dim little +hut so lit by the firelight, that the expressions on the faces of the +actors can just be seen without straining the eyes of the audience. Then +the rich but subdued lighting of the chancel and finally the brilliant +radiance shining on the angel. + +Experiments with electricity should not be attempted by persons who do +not understand its use, but if there is a competent electrician in the +group putting on the play, use electric lighting by all means. No other +form of light is so easily controlled or begins to give such effects for +stage purposes. + +The problems of theater lighting differ with each set of conditions and +the best results can only be obtained by actual experiment with the +means at hand. Do not feel that because you are an amateur, working with +limited equipment, real beauty is beyond you. I have seen a stage +picture approaching a Rembrandt in its charm of coloring and skilful use +of shadows, created on a tiny stage with few appliances by an amateur +who understood his lights. + +If electricity is to be had, use three or four incandescent globes for +the fire on the hearth, arranging logs of wood around them to simulate a +fire. Additional lights as needed can be placed at the side off stage, +or in the footlights; or better, if the stage has a real proscenium +these supplementary lights can be put in a "trough" that protects and +intensifies them and hung overhead in the center against the back of the +proscenium arch. + +As all these lights are to give a firelight effect, the incandescent +globes should be dipped in a rich amber shade of coloring medium which +may be bought at any electrical supply house for sixty cents per half +pint. If gas or oil is used a firelight effect can be obtained by +slipping amber gelatine screens in front of the lamps. These "gelatines" +are about two feet square and cost only ten cents apiece. + +If the fire-place cannot be made, then a charcoal brazier will serve as +an excuse for light and give a sense of warmth to the scene. The brazier +can easily be made by any tinsmith from a piece of sheet iron supported +on three legs, and there is an illustration of it in the right hand +corner of the accompanying scenery plate.--An electric torch or even an +ordinary lantern can be slipped inside the little stove to give out a +faint glow. A piece of one of the amber screens put over the torch or +lantern will warm the light and the brazier can be placed anywhere in +the hut. + +The chancel may be lighted by a number of incandescent bulbs hidden at +the sides of the scene, with the light so shielded that it shines on the +altar and not into the hut. An especially effective place to put a +strong light is inside the box representing the altar, with a hole cut +in the top of the box so that the light shines up, giving a central +radiance to the appointments of the altar and throwing into prominence +the face and costume of each person who approaches it. If any of this +light seems glaring it can be softened and diffused by masking it with +amber or straw colored cheesecloth. + +Some form of search light is practically a necessity for producing the +heavenly radiance that shines upon the angel. If procurable, a "baby +spot light" is the best appliance, but lacking this, an automobile lamp +and its battery can be used. + +It is important that all light in the hut should go out when the vision +of the chancel appears so that the hut becomes merely an inner +proscenium or dark frame around the rich picture of the altar. This of +course does not mean that the lantern in the brazier need be +extinguished as the light given by that is negligible. + +After the angel ceases speaking the tableau of the altar scene should be +held as the music grows louder and louder through the final crescendo; +then, when the final note has been sung, blot out the stage by +extinguishing all lights. Give a moment of darkness during which the +back wall of the hut is replaced, and the old woman slips out of the +nearest opening in the scenery. Then turn on the front lights which +illuminated the hut during the first part of the play. + + + + +MUSIC. + + +The three pieces of music required for this play are as follows: + +"The Sleep of the Child Jesus" part song for mixed voices by F.A. +Gevaert. + +Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee +Atherton. + +These two pieces come published together in a special edition for use +with this play by The Boston Music Company. Price 15 cents per copy, +postpaid. + +The bell movement (in five flats) (Postlude) by J. Guy Ropartz. +Published by The Boston Music Company. Price 30 cents per copy, +postpaid. + +For all the music, address The Boston Music Company, 116 Boylston +Street, Boston, Mass. + +The pieces by Ropartz and Gevaert were chosen for the Workshop +production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard +University, and are admirably fitted to the play. Mr. Atherton's +Alleluia is also just what is needed, both in length and in the +triumphant crescendo which carries the piece fittingly and dramatically +to its close. It would be difficult to replace this finale except by +other music written for the purpose. + +The music is perhaps the most important single element in the play. In +the original version the scene in the chancel was carried by dialogue +but production showed the mistake. From the time that the music begins, +it, with the pantomimic action of the actors is all sufficient to +interpret the mood and meaning of the scene. + +A small parlor organ is practically a necessity and can probably be +procured for the cost of the cartage. + +A choir of men's and women's voices is best for the singing but a good +quartette will serve. + +For the bells, the long tubular chimes which are suspended by one end +and struck with a wooden hammer are the most satisfactory. If they seem +too metallic, try covering the head of the hammer with folds of chamois +skin. If such a set of chimes is not to be had a substitute can be found +in the phonograph, for which there are a number of chimes records.--The +tune played on the phonograph must not be a modern one; Luther's Hymn +"Great God, what do I see and hear?" (A Columbia record) is the best. +The tune can be disguised by lifting the needle occasionally and setting +it down gently on another part of the record. As far as I know, no +phonograph record presents chimes pure and simple. It should be +remembered however that the phonograph record lacks the vitality of tone +and the note of jubilant triumph which a good musician can bring from +the bells themselves. + +With the exception of the crescendo at the end of the Alleluia, the +music is kept soft and dreamy throughout. It is a temptation to try to +achieve this effect by placing singers and organ back, off stage, so +that the sound may come from a distance but it has been found that the +whole performance gains immeasurably if the organist is in front where +he can watch every movement of the actors and interpret them in his +playing. + +The music begins on Holger's speech: "Oh thou art warm" and continues in +one form or another throughout the play.--The organist commences in the +middle of the Ropartz "Sortie," at the top of page 6 and continues this +until the back of the hut is withdrawn when he drifts into the +accompaniment of the Gevaert song, and plays it through once without the +voices. As Holger cries "Dame!"--and sinks back against the woman's +knee, this verse should end, and the voices of the choir take up the +song with the organ. + +From this point on every movement in the chancel is paced to the rhythm +of the music. It has been found that a verse of the Gevaert song is just +long enough to fit the following action. + +A person in the procession enters the chancel, walks to the center +before the altar, kneels and presents his gift to the priest. The priest +accepts the gift, turns, goes up the steps to the altar, and raises the +offering high above his head holding it there a moment waiting for the +chimes to ring, then brings his arms down, lays the gift on the altar, +turns back to the kneeling figure, and raises his hand in blessing. The +person then rises, and steps back to his appointed place to the left or +right of the altar, coming to a standstill just as the music ends. As +the next verse begins, the next person enters the chancel. The movements +should be made with deliberation and dignity and so thoroughly rehearsed +that keeping time to the music becomes instinctive, that the actor's +mind may be on the expressing of the emotions of assurances that his +gift will ring the chimes, and later disappointment that the chimes do +not ring. + +When it comes Holger's turn to offer the pennies, the music begins again +as with the others and accompanies the action through to the moment when +the priest holds the pennies high above his head,--here the organ and +singing break off abruptly, the chimes ring out and keep pealing for a +moment, without other music. + +On the first note of the chimes the priest wheels swiftly and with a +commanding gesture signals the people grouped about the altar to their +knees. He kneels also. The organ begins again, softly playing the final +Alleluia. The angel enters from the right side, stands on the step of +the altar, the central figure,--all about still kneeling awestruck. As +the music continues the angel half sings, half chants the speeches, and +underneath her voice, which should be as lovely as possible, come in the +voices of the other singers very softly at first, like an echo from +afar. As the angel's voice stops, those of the other singers grow into +the great triumphant crescendo of the finale. Do not be afraid of +holding this tableau while the music finishes.--Indeed none of the +chancel scene should be hurried. Take it with great deliberation and +give whatever element is holding the scene at the moment, (whether the +action or the music) plenty of time to make its effect. The Alleluia is +played through twice, once softly during the angel's singing the second +time in the triumphant climax. As this second singing ends, the lights +on the chancel are blotted out, the back wall of the hut is replaced, +the old woman disappears, the lights in the hut go up again revealing +Holger standing spellbound staring at the wall where the vision had +been. As he turns to speak to the woman and during his final speeches, +the organ plays softly as though from a great distance and the chimes +ring again but not so loudly as before. This music continues till the +front screens are brought together and the play is over. + + + + +COSTUMES + + + + +[Illustration] + +[Illustration] + +[Illustration] + + + + +COSTUMES. + + +The costumes of this play are mediaeval, picturesque and easily +constructed.--The accompanying plates will give the best idea of their +general appearance. The amounts of goods required for each are noted +below. + +First of all, in planning the costuming for a play a definite color +scheme should be decided on with due regard for the scenery against +which the colors are to stand out and for the lights which will greatly +affect all values. Here is an opportunity for delightful study and the +exercise of the highest artistic ability. Skilful lighting and a well +chosen background will make cheesecloth as effective as cloth of gold. +Taste and careful experimentation not money secure the best results. + +Family ragbags will often yield excellent material for theatrical +costumes, and of much better quality than would be bought new for the +purpose. But if the stuff is to be purchased, two materials will be +found especially suitable and inexpensive. For the peasants' costumes +canton flannel is recommended as it has body and comes in beautiful dark +reds, browns and other shades which light up well. For the dresses of +the richer group in the chancel, sateen is best. It, too, comes in +lovely colors and has a very rich glossy finish, though to give variety +an occasional piece of cheap velvet or upholstery brocade is very +effective. For trimming these richer garments, bits of fur or +passementerie can be used, or the material may be stencilled or even +painted freehand. Large gold beads sewed on in a simple design gives the +appearance of rich embroidery, as do also flowers cut out of chintz and +carefully pasted on. + +All of the men's jerkins or tunics are made on the simple lines of a +man's shirt, opened a little at the neck and belted in at the waist. + +The most inexpensive tights for amateurs are well-fitting cotton +underwear, dyed the desired color. The children and Bertel can wear +their own plain soft low-heeled slippers. The rich folk in the chancel +wear their own slippers and draw on over them, socks dyed to match the +tights; these socks if rolled down at the top make a very passable +substitute for the Romeo shoe of the period desired. + +The following notes refer to the costumes of "Why the Chimes Rang" as +shown in the plates, the numbers corresponding to those given the +figures therein. The estimates of the amount of goods required are all +calculated on the basis of yard wide goods for an adult of average size, +except in the case of the two children, the costume of the older being +planned for a fourteen year old boy that of the younger for a child of +ten. + +1. The old Woman: underrobe, cut in straight simple lines, gracefully +belted, 5-1/2 yards, cloak and hood, 6 yards. If this cloak is black or +nearly so it will help to conceal her entrance and exit, as black +against black is practically invisible on the stage. + +2. Bertel: jerkin, gaiters and cap (all of same material), 3 yards; +shirt, (under jerkin) 2-1/2 yards; cloak, 2-1/2 yards. If preferred +Bertel's jerkin can be made with sleeves of the same goods instead of +the white shirt showing as in the picture. + +3. Holger: jerkin and cap, 1-1/2 yards; cape, 2 yards. + +4. Steen: jerkin and cap, 1-1/2 yards; cape, 2 yards. + +It may be easier to lengthen the skirts of the boys' jerkins almost to +the knee and let them wear regular stockings and bloomers instead of +tights. If long sleeves are preferred for them, a pair of stockings cut +off at the ankle are easily attached at the arm hole and make very good +sleeves. + +5. The Angel: outer robe, 7 yards; under robe, 5 yards. + +This costume is best made of creamy cheesecloth over an under robe of +the same, as cheesecloth is faintly luminous in an intense light. It +should be long enough to lie on the floor two or three inches all round +as a trailing effect is desirable. + +6. Rich Woman: dress, 6 yards. + +Her head dress is easily made of stiff white paper rolled up in +cornucopia shape and sewed securely, over this a long white veil or +scarf is draped. + +7. The Rich Man: tunic, 2 yards; shirt, 2-1/2 yards; or 1-1/2 yards if +the sleeves and neckpiece can be sewed right into the tunic, doing away +with the under garment. If the costumes are to have repeated wear, it +will be better to have the shirts made separate and of a washable +material, they can then be cleansed more frequently than will be +necessary for the tunics. The Rich Man's chain can be made of the heavy +brass chain that comes for draping back curtains. + +8. The Priest: under robe, 4-1/2 yards; outer robe 6-1/2 yards. This +costume will of course be greatly modified by the custom of the church +of which he is supposed to be a representative. + +9. The King: tunic, 2 yards; shirt, 2-1/2 yards; robe of office, 4-1/2 +yards. The King's tunic in general cut is exactly like that of the other +two courtiers (nos. 7 and 12) but handsomer in material and trimming. +The robe is just a straight piece that hangs from the shoulder and +trails on the ground. + +10. Sage: robe, 6 yards. + +11. Young Girl: dress, 6 yards. + +12. Courtier: tunic, 2 yards; shirt, 2-1/2 yards. + + + + +PROPERTIES. + + +The following list gives the properties needed in the play.-- + +In the hut: + +1. A porridge pot. + +2. Three small bowls. + +3. Three spoons. If pewter spoons are not to be had, wooden spoons can +be bought cheaply. + +4. Porridge. Custard or Spanish cream looks like porridge and is more +easily eaten on the stage, but hot cream of wheat is also palatable if +sweetened and the steam from it will lend a touch of realism to the +scene.--It will save time to have it put in the three small bowls before +the rise of the curtain, and the bowls can be covered with three little +plates to keep the steam in till the food is wanted. + +5. Two roughly made but substantial stools, one near the window, the +other before the fire. Stools are better than chairs with backs because +they do not obstruct the view of the audience during the chancel scene. + +6. Three large nails or wooden pegs in the walls strong enough to hold +things, one on each side of the fire-place and one near the door. These +would be impracticable with scenery made of screens as any weight on the +screen would pull it over. A solid wooden chest, as a carpenter's tool +chest, could be substituted to hold the children's wraps and the extra +shawl for the old woman. The chest could be placed against the screen on +the left or right as convenient. + +7. Steen's cap and cape. + +8. Holger's cap and cape. + +9. The extra shawl Holger puts around the old woman. + +10. Two bright pennies for Holger's gift. + +11. Logs of firewood on the hearth. Not needed of course if the brazier +is used instead of the fireplace. + +In the chancel: + +12. An altar cloth. This is properly a piece of fine linen edged with +deep real lace. It should not be so wide as to cover the top of the +altar, lest it obscure the light shining up through the hole. It should +hang down in front of the altar and at the sides about eighteen inches. +A very handsome looking lace altar cloth can be cut from white paper. + +13. Candle-sticks. + +14. Candles. + +15. Two censers: Very passable censers can be made by swinging brass +cups on the brass chains that come for looping back curtains. + +16. Incense. + +17. Charcoal to burn the incense. (This comes in the box with the +incense.) + +18. Matches to light the incense. + +19. The chimes (or the phonograph and record.) + +20. The organ. + +Gifts to be put on the altar. + +21. A chest full of gold coins for the rich man. (This chest should be +about six by twelve inches, made of some polished wood. If difficult to +find, substitute a money-bag of stout canvas for it.) + +22. Gold coin for the rich man. These coins may be made of cardboard +with gold paper pasted over them. + +23. A gilded jewel box for the courtier (this can be made from a +cardboard box covered with gold paper.) + +24. Jewels to fill the gilded box. The smaller things that come for +Christmas tree decorations make very acceptable stage jewels. + +25. A great book bound in vellum for the sage to give. A heavy book can +be covered with wrapping paper the color of vellum. + +26. A pearl necklace. + +27. A great sheaf of fresh lilies. These can be made at home of tissue +paper or very beautiful ones can be bought from the Dennison +Manufacturing Company. + +28. A golden crown. Made of cardboard coated with gold paper and set +with Christmas tree jewels. A more substantial crown can be made of thin +sheet brass with all the edges turned like a hem, and trimmed with the +inexpensive jewels which come for brass work. + + + + +BIG-HEARTED HERBERT + +Farce-comedy. 3 acts. By Sophie Kerr & Anna Steese Richardson. 7 males, +6 females. Interior. Modern costumes. + +Herbert Kalness, the leading character, is a selfmade man. His success +and his belief in himself have unwittingly turned him into a domestic +autocrat. Moreover he prides himself on being a plain man and imagines +that he lives plainly, though his devoted and charming wife has +modernized and decorated their home quite successfully. The day arrives +when the daughter of the house becomes engaged, and at a dinner to +celebrate the event, Herbert, who has been upset and worried all day +about business, has a great big tantrum which even his wife can't +excuse. So, the next day, when he proposes to bring his best customer +and wife home to dinner--assuring them that he is a plain man--his wife +turns the house plain to the nth degree and serves them a plain dinner +in the plainest of ways. In a final riotous scene Herbert realizes that +he is not so plain, and that his life will be happier if he is more of a +father and less of a tyrant. + +(Royalty, $25.00.) Price, 75 cents. + + + + +FLY AWAY HOME + +Comedy. 3 acts. By Dorothy Bennett & Irving White. 7 males, 6 females. +Interior. Modern costumes. + +A comedy hit on Broadway. The four Masters children, ranging in age from +14 to 19, are enjoying their usual summer sojourn at Provincetown. +Without much enthusiasm they are looking forward to the imminent +marriage of their mother to the professor who has summered next door. +Then word comes that their mother, who is just completing the last two +weeks of her contract as dress designer in a Hollywood motion picture +studio, has invited their own father to visit them and make arrangements +for a divorce. They haven't seen him for twelve years and they are +determined he shan't treat them like children. James Masters, the +father, comes. Although he has a sense of humor and would sincerely like +to make friends with his children, he antagonizes them at once. For a +week the father struggles against the professor and his influence. After +the various problems have been more or less solved the children suddenly +decide that they prefer their own father as a member of the family and +set to work in a businesslike way to help him win their mother back. + +(Royalty, $25.00.) Price, 75 cents. + + + + +ANNE OF GREEN GABLES + +L.M. Montgomery's most popular novel, dramatized into a tender and +amusing play in 3 acts by Alice Chadwicke. 4 males, 10 females, 1 +interior set. Modern costumes. + +Mark Twain, the celebrated humorist, was so taken with the quaint charm +of L.M. Montgomery's tremendously popular novel that upon reading it for +the first time he said: "In 'Anne of Green Gables' you will find the +dearest and most moving and delightful girl since the immortal Alice." +[Anne is played by a girl in her middle teens.] And for years this +fascinating book has headed the list of best sellers. It has been made +twice as a movie, once a silent picture and only recently as a talkie, +but it has remained for the distinguished dramatist, Alice Chadwicke, to +make the first and only dramatization of this magically beautiful story. +Green Gables is the home of lovable Matthew Cuthbert and his stern +sister, Marilla Cuthbert. Nobody suspects that beneath her hard exterior +there lurks a soft and tender heart. When Matthew, after a great deal of +reflection, finally decides to adopt an orphan boy to help with his farm +work, Marilla grudgingly consents. Through a rattlebrained friend of +theirs, one Nancy Spencer, they agree to take a boy from the Hopeton +Orphanage. Marilla makes ready to receive the boy and Matthew drives to +the station to get him. Fancy his consternation when he finds little +Anne Shirley waiting for him! There has been a mistake and Anne has been +sent to Green Gables in lieu of a boy whom the Cuthberts plan to adopt. +From the instant Anne and Matthew meet a strong attachment grows up +between the little orphan and the man who has been starving for +affection without realizing it. Anne, with her vivid imagination, her +charitable viewpoint, her refreshing simplicity, touches the old +bachelor's heart. But not so with Marilla. She determines to send Anne +back to the orphanage the following day. But she reckons without Anne +who is so enchanted by everything at Green Gables and who cries and begs +and pleads so hard to remain that even Marilla finally gives in and +consents. Anne is the sort of part that every young girl will adore +playing, and the other parts offer splendid opportunities to the various +members of the cast. The play breathes of youth, is thoroughly modern in +spirit, very simple to prepare and present and Miss Chadwicke has +written into it such an abundance of warmth, wit, and motion that it +becomes an endless delight. + +(Royalty, $25.00.) Price, 75 cents. + + + + +GROWING PAINS + +Comedy. 3 acts. By Aurania Rouverol. 7 males, 8 females, 1 set (patio). +Modern costumes. + +Produced originally at the Ambassador Theatre in New York. George and +Terry are the son and daughter of Professor and Mrs. McIntyre who +struggle valiantly to lead their children through the difficult phases +of adolescence, so familiar to us all. Terry is shown outgrowing the +tomboy stage, and unable to play with the boys on an equal status. She +finds herself thrown back on her feminine resources; and how she tries +out her "resources," makes this play an illuminating study of feminine +psychology. George McIntyre, the boy adolescent, goes through the +customary symptoms of his age--begging his parents for a car--and +falling victim of the wiles of Prudence, a successful "vamp" in the +neighborhood. At a party George is sent out for some more ice cream. In +his rush to get back for his dance with Prudence, he passes a traffic +light, and is pursued home by an officer, subsequently is hauled off to +jail, loses Prudence, but discovers a new blue-eyed blonde in the +neighborhood. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE BISHOP MISBEHAVES + +Farce-comedy. 3 acts. By Frederick Jackson. 7 males, 3 females. 2 +interiors. Modern costumes. + +Produced originally by John Golden at the Court Theatre, New York, with +Walter Connolly in the leading role. Here is the story of the Bishop, an +elderly and saintly dignitary, who stops by accident with his charming +and quaint sister at a roadside inn just after there has been a hold-up +and robbery. The Bishop has always had a secret love for detective +stories and here is a chance to apply some of his choicest solutions. +His sister, thrilled with the excitement of it all, eagerly joins in. +The Bishop, now playing policeman, gobbles up clews and discovers the +stolen jewels. Deftly removing them from a mug on the wall he leaves in +their stead, one of his calling cards, and proceeds to his home to await +developments. The developments arrive in the form of three ruffians, the +masked hero in evening clothes, and the attractive heroine who had +engineered the robbery. From now on it is a game of outguessing, turning +tables, turning out lights, knife-brandishing, and gun-play, until the +Bishop finally emerges triumphant to bestow his blessing on the young +hero and charming heroine. + +(Royalty, $25.00.) Price, 75 cents. + + + + +CHARITY BEGINS + +Comedy. 3 acts. By Ireland Wood. 3 males, 7 females. Interior. Modern +costumes. + +First produced at the Aldwych Theatre in London. The Deveral household +consists of old Mrs. Deveral, her middle-aged children--Agnes who is +efficient, Emily who is muddle-headed, and Henry who is fussy--and Judy +Deveral, her granddaughter. Rodney Walter, Henry's agent, is making love +to Judy, and she prefers him to the young and unsophisticated Bobbie +Forrester, who also loves her. It is Judy's eighteenth birthday, and her +relations feel that it is time to tell her about Aunt Catherine, the +black sheep of the family, who is supposed to have run off with another +woman's husband. It is the day of the village bazaar, and amid a lot of +hustle and bustle Catherine enters--the prodigal daughter most +inopportunely returned! As the day progresses Old Mrs. Deveral becomes +fractious, the Fete entertainment falls through and Judy decides to run +away with the unpleasant Rodney. Things are going from bad to worse when +Catherine steps in. She pacifies her mother, gives a talk on her +experiences to the Village audience, and convinces Judy that Bobbie is +nicer than Rodney. We hear, incidentally, that she never actually eloped +with her Philip after all. + +(Royalty, $15.00.) Price, 75 cents. + + + + +THE GHOST FLIES SOUTH + +Comedy. 3 acts. By Frederick Jackson. 4 males, 7 females. Interior. +Modern costumes. + +Anita and Diana, who have been reared to regard gambling as something of +a major vice, decide to gamble on the stock market regardless, and with +beginner's luck they win four hundred thousand dollars. In order to keep +Morgan, an anti-gambling addict and Anita's fiance, from discovering the +situation they tell him that the money was left Anita by an Uncle +William who died in the west. The little lies grow beyond the control of +the two girls in an amusing series of climaxes. Most amusing and +concerned is Grandma, who has to be convinced that she had a son +William. Morgan finally sees a flaw and hires a cowboy and an Indian +squaw--actors--to come and blackmail Anita for half the money. They are +to represent William's partner and wife. Anita realizes what Morgan has +done, so she scares the two with threats and they leave. She then tells +Morgan that she gave them the money, but he can't find them. Finally the +situation is cleared, and Anita is conceded to be very clever indeed. + +(Royalty, $25.00.) Price, 75 cents. + + + + +SPRING DANCE + +Comedy. 3 acts. By Philip Barry. Adapted from an original play by +Eleanor Golden and Eloise Barrangon. 6 males, 7 females. 2 interiors. +Modern costumes. + +This gay, light, frothy comedy was first produced by Jed Harris at the +Empire Theatre in New York where it found a ready audience. The story +concerns a number of New England college girls in general and one, +Alexandra--called Alex--Benson in particular, who finds it very +difficult to attract young men of any description; primarily because she +feels that she looks very much like a horse with a fly up its nose, +which as a matter of fact, she doesn't at all. Alex sets her heart on +Sam Thatcher, a Yale man who has turned against college and +regimentation to set off for Russia with a free-thinking, free-living, +rebellious companion oddly called "The Lippincott," who knows everything +about women except how to get along without them. When Alex can't seem +to get very far with the courtship by herself, her girl friends decide +to take the matter into their own hands to secure Sam for the sad and +bewildered Alex. They conspire to make Sam jealous as well as interested +in things other than communism, Russia, and candid cameras, and to raise +Alex to the rank of belle of the ball. Sam, a sad funny figure the world +over, finally capitulates under the ministrations of the many females, +and he and Alex elope to the great delight of Alex's gang. + +"_Spring Dance_ is a bright and amusing comedy, splendidly adapted, in +cast, subject matter, and its collegiate background to students of high +school and college."--American Academy of Dramatic Arts. + +"I recommend _Spring Dance_ to any theatre that is still selling +entertainment."--H. Miles Heberer, Director, The Manhattan Theatre, +Kansas State College. + +"Its youthful spirit and gay wit made it more than just good +entertainment. Other Little Theatres will doubtless find, as we did, +that the casting will give them a chance to capitalize on the natural +popularity of young and enthusiastic actors."--Gordon Giffen, Director, +Little Theatre of Duluth. + +_Spring Dance_, when offered by colleges, high schools, or Little +Theatres, draws extremely enthusiastic audiences. + +(Royalty, $35.00.) Price, 75 cents. + + + + +CRAB APPLE + +Comedy. 3 acts. By Theodore Packard. 4 males, 3 females. Interior. +Modern costumes. + +First done at Yale and several summer theatres, _Crab Apple_ is a light +and amusing play of contemporary American life enlivened with +up-to-the-minute allusions. "She's got a good mind," is said of one +character, "she's read 'Anthony Adverse.'" The play gives a brief +glimpse of everyday life in the Hunter family, with Mr. Hunter grown +crotchety and weary with business cares, making life miserable instead +of pleasant for the family he has toiled for. His wife meekly accepts +his grumblings and his tyranny. His children frequently threaten +rebellion, but their feelings smolder until the situation is brought +into sharp focus by the arrival of son Jim from college with a bride. +This overt act of Jim's gives courage to his brother George to bring +home a radio, banned as a nuisance by the head of the family, and to +sister Amy to blossom out in a low-backed evening gown and plan to step +out dancing. Mr. Hunter is only brought to reason by a conspiracy which +makes him believe he is seriously ill. The family coddles him into a +change of heart, and then finds it impossible to believe that their jest +has become earnest and that their father's health is really in danger. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE LATE CHRISTOPHER BEAN + +Comedy. 3 acts. By Sidney Howard. 5 males, 4 females. Interior. Modern +costumes. + +Produced by Gilbert Miller in New York and elsewhere, this is one of the +outstanding successes of the theater season of 1932-33. The comedy has +to do with a family of New Englanders who have, years before, given +refuge to a great artist. The play opens some years after Bean's death, +with an excited world in pursuit of his work and any details they can +gather as to his life and character. Dr. Haggett and his family, who +have some of Bean's canvases, suddenly realize their value, and become +hard, selfish, and ill-tempered. It is, however, Abby, the family +servant, who ultimately holds them all in her power: she has one of his +greatest paintings, which she cannot be persuaded into selling or giving +away; it turns out that she is the only one who really understood and +appreciated the artist--besides, she had been married to him! An ideal +play for colleges and Little Theaters. + +(Royalty, $25.00.) Price, 75 cents. + + + + +LADY PRECIOUS STREAM + +Chinese play. 4 acts. By S.I. Hsiung. 5 males, 5 females (extras). +Conventional Chinese scene for all sets. Chinese costumes. + +This Chinese play by S.I. Hsiung, was produced successfully in New York, +and in London, where it was performed more than 500 times. It is in +every respect an authentic play written and performed in the Chinese +manner with the delightful and charming conventions of that ancient +institution. This beautiful romantic drama of love, fidelity, treachery +and poetry is a decidedly colorful fantasy that appeals to all classes +of theater goers. It tells, in varied scenes, of the devotion of a wife +for her adventurous husband, of his prowess as a warrior and his +ultimate return. (Not available for amateur production at present, but +if interested in producing let us know and we shall notify you +immediately it is released for your locality.) + +Price, 75 cents. + + + + +CHARLEY'S AUNT + +Farcical comedy. 3 acts. By Brandon Thomas. 7 males, 5 females. +Interior, exterior. Modern costumes. + +The first act introduces us to Jack Chesney's rooms in college. He is +violently in love with Kitty Verdun. A chum of his, Charles Wykeham, is +in the same quandary, loving Miss Spettigue. The young men at once lay +their plans and ask the objects of their affections to join them at +their rooms for luncheon--in order to meet Donna Lucia D'Alvadorez, +Charley's aunt, who is expected to arrive from Brazil. Miss Spettigue +and Miss Verdun accept the invitation, but the millionaire Donna from +the antipodes sends a telegram saying that she will have to defer her +visit for a few days. The problem is solved at once by forcing another +undergraduate of the name of Lord Fancourt Babberley into a black satin +skirt, a lace fichu, a pair of mitts, an old-fashioned cap and wig. As +Charley's Aunt, then, this old frump is introduced to the sweethearts, +to Jack Chesney's father, and to Stephen Spettigue. Unexpectedly the +real aunt turns up, but she assumes the name of Mrs. Smith or Smythe. To +attain his object,--viz., the rich widow's hand--the solicitor invites +everybody to dinner. She gets his consent to the marriage of his ward to +young Chesney, and eventually everybody but the avaricious solicitor is +rendered overwhelmingly happy. + +(Royalty, $25.00.) Price, 75 cents. + + + + +DOUBLE DOOR + +Drama. 3 acts. By Elizabeth McFadden. 7 males, 5 females. Interior. +Costumes, 1910. + +An outstanding success on Broadway. Its theme is the battle for power +that goes on in an old New York family and culminates on the verge of +murder. "This one deserves especial thanks and hearty praises. It +returns us to expertness and fascination and fine mood in the theater." +Gilbert Gabriel, in _New York American_. "At last a play has come to +town that can be heartily recommended. Sturdy theater, compelling. Once +you are within the radius of _Double Door_ you will remain transfixed +until you know what's behind it." Bernard Sobel, _Daily Mirror_. +"_Double Door_ is a thriller of a new kind, beautifully written, +superbly played, clean as a whistle, and arousing in its spectators a +tenseness of interest I have rarely seen equaled in a playhouse." +E. Jordan, _America_. Leading part acted by Mary Morris in America and +by Sybil Thorndike in London. A play that will challenge the best acting +talent of Little Theatres and colleges. + +(Royalty, $25.00.) Price, 75 cents. + + + + +THE DISTAFF SIDE + +Play. 3 acts. By John Van Druten. 5 males, 8 females. 2 interiors. +Modern costumes. + +Produced with preeminent success in London and New York. Mr. Van +Druten's new play deals with the women of one family, women so unlike +that they set one another off startlingly. There is the tart, querulous +old Mrs. Venables, and there are her three daughters--Nellie who is +married and whose life has slipped away from her in the provinces; Liz +who is divorced and whose life has been brilliant and unconventional on +the Continent; and Evie who is a widow and whose life has been spent +being happy through others--her husband, her children, her friends. +Evie's young daughter Alex is the fifth woman in the family, and the +drama of _The Distaff Side_ centers chiefly in her and her two suitors +who represent such different things. But if the plot belongs to Alex, +the honors of the play go to her mother--for seldom has a modern +playwright drawn so warm and womanly and endearing a character as Evie. +The family life of these people is extraordinarily human, but it is Evie +that it revolves around, Evie who lights it up. + +(Royalty, $35.00.) Price, 75 cents. + + + + + + +End of the Project Gutenberg EBook of Why the Chimes Rang: A Play in One Act +by Elizabeth Apthorp McFadden + +*** END OF THIS PROJECT GUTENBERG EBOOK WHY THE CHIMES RANG: A PLAY *** + +***** This file should be named 15290.txt or 15290.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/2/9/15290/ + +Produced by David Garcia, Lynn Bornath and the Online Distributed +Proofreading Team at https://www.pgdp.net. + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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