often than it has supported them. This neglect is unwise, for they are usually excellent performers. An organization would do well to have a series of readings of modern and contemporary plays for its members presented by these readers and teachers. They would nearly always be willing and pleased to perform without a fee, especially if their performance was only for members and no admission was charged. Plays that have been recently produced in the bigger cities would be more than popular. A series of eight such play-readings (one a month) would be an excellent idea.

An outline of current plays is printed each month in The Theatre Magazine and Current Opinion. If someone could prepare a short paper about the play and its run, the author, the cast, and its significance, this, with a non-professional to read the synopsis of the play, would make a pleasant evening.

A third type of reading is to assign people different characters in a play, and this cast, sitting in chairs before an audience with no attempt at movement and business, can give a very satisfactory rendering of a play. It is advisable to hold one rehearsal if such a reading is attempted.

The plays of the reading group should be recent and of a very high type of drama. Very often a director, by choosing plays that are of a more difficult and more experimental type than he is producing in his major productions, can raise the tastes and desires of a good portion of his public. The plays chosen may have bearing on one another, or may be totally unrelated. A series by the same author, or from the same country, showing similar characteristics, or from many different countries, showing different traits, is just as satisfactory as a selection at random from recent plays. Certainly in deciding plays for this reading series, the same laws of variety and contrast should be obeyed, as in choosing the repertory for the public performances.

It is usually only a small group that wants to study drama. More often such study is carried on in Literary and Drama Clubs. But producing groups often contain members who are interested in drama study, especially in schools and colleges. Many a teacher underestimates the possibilities of such drama study meetings. It does not follow that because a pupil has had lessons all day, he does not care to continue to study. He may have been working on subjects which he cares little or nothing about for the most part, and when no courses in drama are offered in the regular curriculum, he often rejoices in really learning of the stage and drama.

The best course of drama study is published by the Drama League of America. Some of the most prominent teachers of drama and writers on the drama contribute outlines of questions on those printed plays that played the previous year in New York. These plays are recent and are classified according to countries. One can also use a collection of one-act plays of the various countries, or collections of longer contemporary plays by the European dramatists. There are many such collections, some providing a detailed study-apparatus.

If you wish to emphasize stagecraft and production, you will find several valuable and interesting books upon which you can base your study. A course derived from such technical books is more popular than would ordinarily be supposed.

If text-books and collections are not desired, a series of eight lectures and papers by members of the groups on miscellaneous subjects, is possible. Such subjects as "Eugene O'Neill," "Robert Edmond Jones," "The Expressionistic Drama,' "Contemporary Shakespearean Productions," "Galsworthy," "Gordon Craig," "The New York Season," "The History of the Little Theatre in America," "David Belasco," "The Little Theatre Movement-Its Ideals and Purposes," "The American Theatre," "Contemporary American Playwrights," "The One-Act Play"-are all within the scope of the amateur lecturer. There are abundant sources from which one may procure the material for such lectures. A series of surveys and reports on the latest books of the theatre could be worked up by members, who could give an account of the authors, could state the main idea of the books and read several selections from them, and could end with their personal estimates of the value and importance of the books to dramatic literature.

Play-writing and play-construction is more specialized work than such study as the foregoing. It should not be undertaken except under expert leadership. There are several good books on the subject, for both long and short plays. Oftentimes the professional director of the theatre is qualified to teach such a

course; oftentimes there is a teacher in a university or school nearby who has specialized in the subject. First class Little Theatres will see that this course is offered to their members and to the community, even though an extra fee may be charged to defray the expense of instruction. It is their bounden duty to their ideal to foster and train the local playwright. At first thought such a course would seem impossible for school dramatic clubs to undertake. However, many teachers of English are getting surprising results from dramatizations and even original plays done by the members of the advanced classes in composition. This work, if not already done by a teacher in the classroom, is possible and practical in the dramatic club. The Faculty Advisor will get results if the inducement of performance or a prize is offered. Dramatizations and fine one-acts are accomplished successfully in secondary school dramatic work and also in the high schools and colleges. This work has been done successfully in several independent Little Theatres. It is good fun, it is highly edu cative, it is in every respect decidedly worth while. Try it in the right way and you get interesting results.

(Continued in next month's issue)

The Play's the Thing

By OLIVER HINSDELL

If the play's the thing, as everybody solemnly agrees, then the choosing of it demands plenty of serious attention. The methods, policies, and results of this selection can turn out a parade of paradoxes in any Little Theatre. In the first place, we never forget that birthright of ours, Freedom, though too much of it has been known to go to our heads. Furthermore, it can become a ruling passion, this freedom. We can get to where we are slaves to an independent, not to say defiant, repertory. Occasionally it happens the other way around. A taste of bulging box office receipts can sometimes tempt a board of directors to hunt for money-making plays.

Personally, and speaking for the Little Theater of Dallas, we are pretty old-fashioned here-we aim to please. But we manage to keep the upper hand. Every production is our own party, and while we truly hope that the guests have a good time, nobody dictates to us. Our first ambition is to get the best stuff we can find. Out of that we try to vary and balance the fare.

About the only concern that I am conscious of in regard to the audience is a desire to interest the men. Not that anybody would be brash enough to rank the men's dramatic discrimination above that of the women, but the men do have to be worked for. There is always a valuable group of women anyway, who stand like a rock beneath your Little Theatre, because they realize with perfect naturalness what it is worth, but many of the leading men of the town are uncertain of what it is all about until they are won by a performance. And a live, spirited play can usually win them. Whatever we give them, whether it be amusing, stirring, tragical or tender, I try to have it a story in which people move about and get things done. Appropriate plays for non-professionals can be found in any list of excellent drama, and then each director, knowing his own casting resources and limitations, brings these down to a set that will be interesting and varied. In Dallas we started last year with Why Marry?, followed by Jane Clegg, The TorchBearers, Romeo and Juliet, Milne's Belinda, Clemence Dane's A Bill of Divorcement, and Rachel Crothers' Mary the Third. You see how we partook of American and English authorship, first one and then the other. It has been a special pleasure to us to give these modern English plays, because we have a colony of talented English people here who enjoy doing them. A special production at the end of last season was Judge Lynch, the one act play by J. W. Rogers, Jr., of Dallas, which won the Belasco Cup in the 1924 Little Theatre Tournament in New York. This year we are going to give a full length play by a Dallas author. Among others on our list are The Emperor Jones, a Molière play (in English), Pygmalion, Sun-Up, and Merchant of Venice. We plan to give a Shakespeare play each (Continued on page 30)

Le Petit Theâtre du Vieux Carre, of New Orleans, ended its season with a production of Langdon Mitchell's brilliant American comedy-of-manners The New York Idea. The new addition to the playhouse, consisting of a large foyer, a workshop, a kitchenette, and a patio, was completed in time for this last production. Although the season was begun with a deficit, Le Petit Theâtre now has a surplus of $3,000. The active membership of about 2,700; the maximum limit is 3,000. Arthur Maitland will continue to direct.

The board of governors has established a juvenile membership limited to 500 from among boys and girls under sixteen years of age, and a series of matinee performances of the regular bills will be given for their special benefit. The juvenile membership fee is $5 for the season.

Under the auspices of the Penn State Players of the Pennsylvania State College, directed by A. C. Cloetingh, a Pennsylvania Inter-Collegiate Dramatic Association has been formed with Professor Cloetingh as president. The dramatic organizations represented the following Pennsylvania colleges: Bucknell, Waynesburg, Grove City, Franklin and Marshall, Haverford, Gettysburg, Drexel Institute, Pennsylvania State. The Association will hold a play tournament at the State College on next December 4 and 5. Two silver cups will be awarded as prizes. Eight colleges have already made entries. The Association has also made plans for exchange performances between its members.

The Players of Ypsilanti, Michigan, recently visited Detroit and gave a performance in the Bonstelle Playhouse of Two Slatterns and a King, by Edna St. Vincent Millay, and a dramatic arrangement of The Ancient Mariner. The performance was a matinee in order that high school students might be able to attend. The lines of The Ancient Mariner were read by Richard Forsythe of Detroit. The Ypsilanti Players, now in their tenth year, were founded and, until recently, entirely -directed by Mr. Daniel Quirk, Jr., a public spirited and artloving citizen of Ypsilanti. For the past season Mr. Quirk has been assisted by a professional director, Mr. Paul Stephenson. From the first the Players have maintained a high standard in plays and productions that has placed the organization among the most celebrated and meritorious Little Theatres in the country.

The Tulane Dramatic Club and the Tulane University Players have amalgamated. The new organization will be known as the Tulane University Dramatic Guild.

1,000 members before the opening of the present season is the mark set by the Community Players of Rochester, who have closed their first year with a membership of 300. Five, possibly six, productions will be given this season. Members pay $10 a year and receive two tickets for each production. The past year was experimental, save as regards plays, for the Players attempted only proved "Broadway successes"-The Charm School, Wedding Bells, and Expressing Willie.

Play-producing groups in Pittsburgh, under the auspices of the Drama League, have organized a community theatre which will be a general center for all dramatic interests in the city. The organization will maintain a workshop of the theatre arts and will foster play-writing. Pittsburgh has for some years been a center for amateur play-producing, but so far, in spite of its nine amateur organizations and the School of Drama of the Carnegie Institute of Technology, it has known no coordinated effort and no large achievement. The Community Theatre will for the present produce plays in a hired auditorium but plans ultimately to own its building completely equipped for production and experiment. Mr. Lane Thompson, president of the Pittsburgh Drama League, is the permanent chairman of the organization.

The Carolina Playmakers of the University of North Carolina ended its tenth State Tour with even more than its usual success. These Carolina folk-plays as written and produced by the Playmakers under the direction of Professor Frederich Koch have become an integral and vital part of the civic life in North Carolina. The State Tour program included Old Imes, a comedy of the village store, by Ray Heffner; The ThricePromised Bride, a Chinese folk-play, by Chen-Chin Hsiung; and The Scuffletown Outlaws, a tragedy of the Lowrie gang, by William Norment Cox. The last-named play is perhaps the most striking yet written by the Playmakers and has been received with enthusiasm throughout the state.

In its setting for Heijermans' tragedy The Good Hope, the Little Theatre of Birmingham deserted suggestion and impressionism for Belasco realism. Mrs. Louise Cone and Mr. Louis Schillinger devised a realistic Dutch peasant interior that suggested Jan Vermeer, Ruysdael, and Rembrandt in its delft-blue tiled fireplace with its baking-oven on the side, its mantel shelf with its pewter plates, its half doors, and its glimpse of little fishing ships on the distant horizon.

The latest of the play tournaments was that held by the Hull House Players, of Hull House, Chicago-a doublebarrelled contest, one for high school groups and the other for independent and college groups. In the "finals" the Nicholas Senn High School Players won the Hull House Players Cup with The Turtle Dove, by Margaret Oliver, and the Dickens Players won the Laura Dainty Pelham Cup with an original adaptation from Barnaby Rudge. Miss Jane Addams presented the winners with the cups and made a short address each evening. Under the direction of Maurice J. Cooney the Hull House Players are becoming one of the most active and progressive amateur organizations in the country.

When the University Players of the University of Arizona at Tucson ended their season with an open-air performance of Twelfth Night, they not only surpassed all of their former productions but set a high standard for future Shakespeare productions in the Rocky Mountain states. The play was given in the patio of the Agricultural Building. The unusually long stage permitted the setting of three scenes simultaneously; lights from the rear were thrown upon the scene being played, while the scene in preparation and the scene just played were in darkness. The costumes were made by the Costume Department of the Players. The Arizona Playmakers are directed by Hubert C. Heffner, formerly a pupil of Professor Koch at the University of North Carolina (“The Carolina Playmakers").

Winners in the Little Theatre Shakespeare Tournament held at Saginaw, Michigan, under the auspices of the Little Theatre directed by Harry Graves Miller, were as follows: The Walter Hampden Amateur Medal for the best performance of Macbeth was awarded to Professor R. C. Hunter, of Ohio Wesleyan University; the Walter Hampden Amateur Medal for the best performance of Lady Macbeth was won by Mrs. Edith Burford-Kelly, of Columbus, Ohio; Harry Graves Miller received a special medal for his performance of Lady Macbeth. The medal offered by Theatre Arts Monthly for the best set of designs for Macbeth was won by Richard Woellhef of the University of Michigan, and "honorable mention" was accorded Harry Graves Miller for the best individual set for Macbeththe banquet scene.

Mr. Miller conceived the idea of a tournament for amateur groups in which Macbeth should be produced for a series of performances, the roles of Macbeth and Lady Macbeth being taken in turn by various visiting amateurs and the supporting cast being made up of members of the Saginaw Little Theatre. This unique experiment was in every way successful. Over 2,500 attended the five performances, and acting, settings and lighting were highly artistic,

First published in November, 1924, the Little Theatre Monthly issued seven numbers, suspending after the May number in order to effect a reorganization. The Monthly had been successful in awakening interest throughout the world of the amateur theatre and had met with hearty support and active cooperation from all kinds of amateurs. It had made a promising beginning.

When the New York Drama League was recently affiliated with the Drama League of America, becoming the "New York Center" of the national organization, it became obvious that the Little Theatre services of the two organizations should be amalgamated, both for financial and spiritual economy and for the making of a more efficient single service. Such amalgamation clearly dictated, also, the publication of THE DRAMA, the monthly magazine of the Drama League of America, and The Little Theatre Monthly, under one cover, each magazine retaining its characteristic quality. The present issue is the first result of this joint printing.

The Little Theatre Monthly has given over its former Book Review department and its Art Theatre department to THE DRAMA, since that magazine was already providing such departments, and to duplicate was obviously absurd. The Monthly has, however, added an amateur theatre news department, since the Little Theatre Service will no longer print the weekly Little Theatre News. The weekly publication was welcomed by many, it seemed to prove serviceable, and, in a way, it was successful; but it entailed a vast amount of work and it was extremely expensive. Consequently, although in the face of the kindly protests of many subscribers, we feel compelled to suspend its publication, at least for the present. In lieu of the News, the Monthly will provide a summary of all important events in the amateur theatre. This means that while the news may not be so fresh, it will be more significant, more condensed, and if possible, more authoritative.

We ask the continued cooperation of our good friends all over the country who have so loyally helped to make the Little Theatre Monthly readable and useful of the contributors, of the news gatherers, and of all others. This first issue we hope is only the earnest of what the magazine will shortly

become.

The summer season opened at the Pasadena Community Playhouse with a new play by Victor Mapes, The Amethyst, preceded by a prologue giving the history and meaning of the playhouse, by Gilmor Brown, the director. Following bills were Earl Carroll's melodrama, The Lady of the Lamp, Kaufmann and Connelly's To the Ladies, Tarkington's Tweedles, Archer's The Green Goddess, Shaw's You Never Can Tell, and Ibsen's Peer Gynt. Strange to say, Peer Gynt actually broke all records for attendance at the Pasadena playhouse-and that playhouse holds some remarkable records.

Our Contributors

Alexander Dean is a professor in the faculty of the School of Speech of Northwestern University, Evanston, Illinois, director of the University Players and of the North Shore Players of Chicago. He is a graduate of the famous 47 Workshop, and has become an authority not only on all phases of production but also on organization. His outline for the organization of amateur producing organizations, published in THE DRAMA, April, 1924, has become a standard authority. As director of the Little Theatre of the University of Montana and of the Little Theatre of Dallas, he began the work which he still continues in Illinois. Incidentally, he is the author of one of the best of American general plays, Just Neighborly (see THE DRAMA, Oct.-Nov., 1921, see also Modern Plays Short and Long, edited by Fred. H. Law.)

Oliver Hinsdell, formerly director of Le Petit Theatre du Vieux Carre at New Orleans, which he started on its amazing career of prosperity, has gained a national reputation as the director of the far-famed Little Theatre of Dallas, which has come into great prominence as one of the most successful real community theatres in America. Dallas has for the past two years won the Belasco Cup at the national Little Theatre Tournament in New York. Mr. Hinsdell is also a favorite teacher of play production and lecturer, and was one of the most popular members of the staff this past summer at the Rocky Mountain Artists' Colony at Estes Park, Colorado. His book on Little Theatre organization and directing, Making the Little Theatre Pay, has just been published.

A National Institution

The third annual Little Theatre Tournament held in New York, and managed as usual by Walter Hartwig, showed that the New York tournament is growing to be a national institution, for of the nineteen groups that participated ten were from without the greater city. Among the latter were the Little Theatre of Dallas, the Kanawha Players of Charleston, West Virginia, the Players Club of Columbus, Ohio, and the Albion College Players of Albion, Michigan. The four groups that won their way into the final contest showed ability in both acting and staging that alone justified the tournament and that in the minds of fair-minded spectators must forever has dissociated the term "amateur" from any necessary suggestion of crude, half-baked, and "messy" production. Of the four the Dallas players won for the second time the Belasco cup with their rarely beautiful production of a negro comedy, The No 'Count Boy, by Paul Green, reminiscent in its main idea and situation of Synge's Playboy of the Western World but still original, and admirably acted by the southerners. The audience divided its favor between this production and that of Gloria Mundi, an unpublished play by Patricia Brown, produced by the Studio Players of New York under the direction of Samuel A. Eliot, Jr.-a brilliant and impressive play acted brilliantly. The Yellow Triangle, by George W. Sutton, Jr., an unpublished melodrama of the east, was well played by the Huguenot Players of New Rochelle, N. Y. These two plays won the prizes offered by the publishing house of Samuel French for the best original plays produced at the tournament. The Kittredge Players of New York produced Sutro's The Bracelet, an old standby but acted with authority and fine effect.

The attendance at the tournament performances (held in a regular Broadway theatre for a week) and the demonstration of general interest encourage the management to feel that the institution is now established, especially as for the first time the proceeds have met all expenses and have actually paid off the deficit incurred last year.

As You Like It was presented on the campus by the drama students of the summer session at the University of North Dakota, under the direction of Professor E. D. Schonberger. The Play Presentation class presented also The China Pig, For Distinguished Service, Columbine, Overtones, Ever Young, and Mrs. Pat and the Law,

A New Type of Footlight

BY THEODORE FUCHS

There has been recently developed a new footlighting unit which furnishes several times as much light for the same amount of current consumed as the older styles of footlights using bare lamps.

The part of the stage most difficult to light is that part nearest the audience. In most cases this is not a part of the stage proper, but an apron extending beyond the proscenium wall. Light from the border lights, the first row of which is usually placed about a foot in back of the teaser, cannot possibly reach the face of an actor. Light from the ordinary type of footlights, coming entirely from below, is very unsatisfactory, causing garish, inverted facial shadows. Units which satisfactorily light an actor's face in this part of the stage from above must of necessity be placed in the auditorium, either hidden behind traps in the ceiling or sidewalls, or mounted or inserted on the balcony facing or in the rear wall. While the growing tendency is to follow the latter practice, there are still some lighting directors who insist upon placing the responsibility for proper downstage lighting upon the footlights alone. For these, the new footlight unit will prove a boon.

This consists of a sheet metal trough, tilted upward, facing the stage from under the footlight hood, in the face of which is a battery of plug receptacles in three rows, and a series of deep bowl-shaped reflectors equipped with prong or screw connectors which fit into the plug receptacles in a manner similar to that in which an attachment plug is connected to an electric wall outlet. The tilt of the metal trough causes these reflectors to be mounted so as to direct their light upward at an angle of about thirty degrees. The purpose in making the reflectors separate from the trough is, first, to simplify and make more convenient the replacement of burned-out amps, damaged reflectors, or broken

color screens; second, to make the change of color equipment easy; and third, most important of all, to provide space for the location of footlight baby spots without exposing them to the view of the audience.

Only the two outside rows of receptacles are used for the footlight reflectors. These are consecutively wired in several circuits, the exact number depending upon the flexibility and provision for colored lighting desired. Each outlet in the center row can be placed on a

Commercial installation of new unit type footlight

separate circuit. In many productions it is found desirable or even necessary to use baby spots in the footlights for "picking up" some object, or character, or group upon which the audience should focus its attention. With the new units, it is possible to remove several of the reflectors to make room for such a spotlight. This spotlight is then lugged in on one of the center outlets and operated independently.

The removable reflector itself is made of aluminum spun over a socket adapter. The reflector is designed for use with MAZDA C lamps up to the 150-watt size. The mouth of the reflector is provided with a channel and a wire spring which hold a standard convex railway color lens for the color circuits. These lenses have high color purity and permanency. Hence the colored light obtained with their use can be blended with very satisfactory results.

With the properties outlined above, these new footlighting units are well prepared to fulfil the exacting requirements demanded of footlights used for downstage illumination. They are very compact, making the most efficient use of the small available space. The use of the more efficient high wattage lamps assures (Continued on page 30)

THE LI

Characters: six members of the household and two outsiders. Felix Daronge, the grandfather, gentle, idealistic; Bernard Hersant, the father, manufacturer, taciturn, outwardly harsh, but repressing deep emotions; Andre, 18, thoughtful, aspiring, emotional, reserved; Maxime, 30, (small part), a returning prodigal son, emotional; Bergeon, elderly uncle, business like; Masure, a workman; Julie, the mother and wife, who has lost all her illusions; Madeleine, 18, moody, emotional, oppressed by the atmosphere of the house.

Subject-matter: This thoughtful, subtle, and delicately made play is primarily a dramatic study of an entire family, of three generations. "The house into which we are born" is in this case that of the Hersant household, a house full of lost illusions, misunderstandings, and repressed emotions. It is also, in a wider sense, life itself, which twists our purposes, defeats our hopes, and forces us to lead an inner existence apart from, an often at cross purposes with, our daily routine and superficial selves. None of these persons understands any of the others or really shares his life, except the old grandfather. A terrible crisis -the death of the father and husband -shows the real state of affairs. Character and emotion are supreme in this play, repressed instincts, hopes, and desires rising to the surface and for once asserting themselves, with the pressure of circumstances ready still to crush and distort.

Comment: French, but universal, too; a play of character rather than of external action, but all the same highly dra matic, with an intense psychological action always at work. While thoughtful and full of overtones, the play is not supersubtle. Each character is individual and distinct. The dialogue is remarkably finished and beautiful. The play is moulded with tenderness, insight, and sympathy, objective and unprejudiced, with a rare sense of the general human tragedy. Acting: This play was first produced in America, as far as we know, by the Homewood Playshop of Johns Hopkins University last spring. Frankly, one must state that it does not

Royalty: Apply to Theatre Arts Monthly, 7 West 42 Street, New York City.

The Web

By T. Stirling Boyd. $1.25.

Serious play realistic. 3 acts (7 scenes). 14 men. 3 women. Extras. Time: the present. Place: country and town in England. Settings: livingroom; room in a prison; a court-room.

Characters: Alan Carnegie, English gentleman, 35 (principal); Roger Heathcote, about 20, well-born but a poor stick of a gambler and roue; the Rev. John Valley, a kindly and spirited clergyman; Mabel Carnegie, 25, Alan's wife, fine and in every way attractive (principal); Nancy Holland, nice girl; Rosie, the maid; police officers, lawyers, a judge, judge, etc.

Plot: Alan Carnegie, a fine young Englishman engaged in business in the country, is accused of having committed a murder. He is innocent of all offense, but the chain of small coincidences that point to him as the murderer lead to his conviction and his being sentenced to be hanged. Before the sentence is carried out, however, evidence is forthcoming that entirely exonerates him. But this is not the end of the story. Alan, though declared innocent, has to pay all the costs of his own defense, amounting to $30,000-his entire fortune; furthermore, his standing in his community is lost. There is nothing for him to do but to leave the country, almost penniless, and begin life anew somewhere else.

Comment: This play, though tense and dramatic from start to finish, is not a melodrama but a thoughtful and convincing portrayal of what might well happen to any innocent man under the legal procedure of his twentieth century. Declared innocent by the law, he still pays the costs. Interest mounts steadily and falls only with the fall of the curtain. The court scene is especially impressive. The dialogue is natural and always adequate. Acting: not difficult; there is no call for especial subtlety; Mabel must be capable of showing strong

emotion. Audience:

a thoughtful audience will appreciate the implications of the play; less intelligent auditors will enjoy the drama.

Royalty: $25, payable to Samuel French, 25 West 45 Street, New York City.

Present Day Courtship

By Roland Bottomley. 30c.

Called a "wordy duologue" by the author; the lightest of light comedy. 1 act. 1 man. 1 woman. Time: To-day; the summer. Place: a summer resort. Setting: supposedly a garden, but no scenery is necessary-only a benchand moonlight.

Characters: "He" and "She" only, both young, attractive, a highly sophisticated and-ready for a flirtation.

Comment: The young man and the young woman meet for the first time, in the moonlight, within a few minutes come to an understanding, and after a little dance together to the music that comes from the house, make an appointment for the morrow. This is of course ordinary enough, but the author has made the scene original and very amusing simply by making each specch of a single word, accompanied by "business" (almost pantomime) that runs through many emotions-delight, anger, disdain, sympathy, and so on. Facial expression and tone of voice are more important than the words. Played in this vein the little sketch becomes excellent entertainment. It plays not more than fifteen minutes. Acting: easy, except that the actors must be capable of expressing various emotions by face and voice, without ever suggesting serious feeling. Audience: average. The play is suitable to schools and clubs as well as to independent groups.

Royalty: $5, payable to Samuel French, 25 West 45 Street, New York City.

Jazz and Minuet By Ruth Giorloff. 50c.

Comedy, costume. 1 act.

5 women.