[A ' ”"vtsmwv' THE TENT - REPERTGIRE THEATRE: A RURAL AMERICAN INSTITUTION Thesis for the‘Degree of Ph. D. MICHIGAN STATE UNIVERSITY ROBERT DEAN KLASSEN 1959 ' THESIS ‘ L] B R A R Y I MiCltigan State University \I\\ IIIIIIIIIIIIIIOT L This is to certifg that the thesis entitled The Tent-Repertoire Theatre: A Rural American Institution presented by Robert Dean Klassen has been accepted towards fulfillment of the requirements for Ph.D. Theatre degree in alor essor Date October 20, 1969 W39 m“? .. M37 2: 3357’ 3" “n" W @35 VIE/8w $WN8 ABSTRACT , - THE TENT—REPERTOIRE THEATRE: A . RURAL AMERICAN INSTITUTION By Robert Dean Klassen tied rural America from the turn of the Twentieth rich had no other theatrical entertainment. Known piputed to its growth." Secondly, to determine the "cg" of tent-repertoire theatre and to assess contri- ‘6 fig 0 3 ff 0: 0‘ 0 d' 3' H- rf m 09 "S O 3 cf 3' fl) :3 Q. g... d’ m U] C O 0 CD 01 m H: C H :F j ‘ I II. I.‘ Robert Dean Klassen 6901136 Of tent—repertoire theatre and its inability to overcome the influences of the Depression, World War II, and Changing audience attitudes. This part also includes abrief hiStory of the Rosier Players from 1898 to the present. Part two is devoted to an examination of specific characteristics of tent—repertoire theatre. The composition of the audience is defined with its attitudes and relation— ship tc> ttte tent-repertoire company as well as its relation— ship to promotional techniques utilized by company managers. The generual substance of plays presented by this type of theatre is discussed with the arrangement of the program elements. The quality of acting, the procedure of hiring actors, and the traditional portrayal of the Toby character is characterized along with the tent as a theatre. Part three discusses the goals of tent-repertoire theatre, an evaluation of its effectiveness, and a judge— ment of its value. This part also discusses the possibility for re-creation of tent—repertoire theatre. The study includes four Appendices. There are forty— six illustrations which include show posters, heralds, hand— bills, Toby actors, and tents; a list of tent-repertoire plays in the Rosier collection; a script of the play The Awakening of John Slater; and a detailed description of the ' Rosier Players tent and stage. Tent-repertoire theatre, during its greatest period of ‘ rrity from World War I to the Depression of the thirties, enJ oyed great popularity with its rural audiences. Robert Dean Klassen The primary goal of this theatre was to bring light enter— tainment to an audience without other theatrical forms. Although few comprehensive records exist which reveal the number of companies operating, the number of performances presented, or the total number of. people in attendance, even the most conservative figures reveal that this theatre served a vast number of people. While providing employment and training for large numbers of actors, tent—repertoire theatre's greatest significance was that it provided the American rural community a form of dramatic entertainment at a time when nothing else was available. As a part of Americana, tent-repertoire should, if possible, be re-created in a limited way. There are several problems which make re-creation difficult. If presented, however, as part of an environment from which it came, such as Greenfield Village in Detroit, Michigan, tent-repertoire could be enjoyed as light diversion and appreciated as an important cultural aspect of bygone rural America. . o" th: Hf THE TENT-REPERTOIRE THEATRE: A RURAL AMERICAN INSTITUTION By Robert Dean Klassen A THESIS "{7 Submitted to, . inichigan State University I fulfillment of the requirements ‘ for the degree of ‘ 7QDocroa or'PHILosopnr ' ACKNOWLEDMENTS, _ g 51' m7: invaluable help I wish to thank Harold Rosier 23-Jul-- 1.11 I TABLE OF CONTENTS Page DEDICATION . . . . . . . . . . . . . . . ii ACKNOWLEDGMENTS . . . . . . . . . . . . . iii LIST OF ILLUSTRATIONS .. . . . . . . . . . . vi INTRODUCTION . . . . . . . . . . . . . . 1 PART ONE: A BRIEF HISTORY OF TENT—REPERTOIRE THEATRE AND THE ROSIER PLAYERS Chapter I. THE RISE, PROSPERITY, AND DECLINE. . . . 12 II. THE ROSIER PLAYERS. . . . . . . . . N0 PART TWO: THE CHARACTERISTICS OF TENT-REPERTOIRE THEATRE III. THE AUDIENCE AND PROMOTION . . . 55 IV. THE PLAYS AND PROGRAM ARRANGEMENT. . . . 70 V. ACTING AND THE THEATRE . . . . . . . 98 PART THREE: CONCLUSION VI. EVALUATION . . . . . . . . . 128 APPENDICES. . . . . . . . . . . . . . . 152 Appendix A. Illustrations . . . . .I . . . . . . 153 B. List of Tent-Repertoire Plays . . . . . . 200 ,"C. Script of The Awakening of John Slater . .7 . 212 iv Page .,,%§iled Description of the Rosier Players Tm”. c o o I o s o ' c n n o u n 311 . . . . . . . . . . 318 ~O¢ ~ I .q‘ *_~"llngw- -.Wv.pd- s o I A I LIST OF ILLUSTRATIONS Page Front Page of Bill Bruno's Bulletin—~1938 . . 15A Advertisements in Bill Bruno's Bulletin—- 1938 . . . . . . . . . . . . . 155 Map of a Typical Michigan Tour by the Rosier Players . . . . . . . . . 156 Map of a Typical Circle—Stock Tour by the Rosier Players . . . . . . . . . . 157 Members of the Hila Morgan Dramatic Stock Company—-Mechanicsville, Iowa, 1920 . . . 159 Railroad Cars Used for Touring by the Hila Morgan Dramatic Stock Company Between 1920-1929 a I n a o o o o o o o o 160 ‘Audience Entering McKenzie Stock Company Tent in 1939 o o o I o o o o o o I 161 Publicity Poster for the Norma Ginnivan Dramatic and Vaudeville Company--19h0. . . 162 Advertisement Poster for the Hunt—Henderson v,Stock Company-—l928. . . . . . . . . 163 Quarter-Sheet Advertisement for the Hatch ‘- ‘come‘dians O I I I D O I O I O O I 16“ :CQuarter-Sheet Advertisement for Jesse . . . . . . . . . . . . 165 waarmer . . . . . . . . . . . . . 166 . . 167 . . 168 1910 Lithograph of Richard Henderson. . . . 158 ‘ a.‘ a {59:7- '. .(‘e'rrtMt-“fi .7: ..-- Plate XVI. XVII. XVIII. IXX. XX. XXI. XXII. XXIII. XXIV. XXV. XXVI. XXVII. XXVIII. IXXX. XXX. Page Quarter-Sheet Advertisement for The Virginian . . . . . . . . . . . . 169 Full—Sheet Advertisement for Uncle Tom's Cabin . . . . . . . . . . . . . 170 Quarter-Sheet Advertisement for Fine Feathers—-With Dater, 1939 . . . . . . 171 Quarter—Sheet Advertisement for The Virginian-~With Dater, 1939 . . . . . . 172 A Herald Advertising an 1890 Production of A Royal Slave. . . . . 173 Advertising Herald for the Ketrow Brothers Dramatic Stock Company in 1910 . . . . . 17“ Advertising Herald for the Collier Players in 1932. . . . . 175 193“ Advertising Herald for the Henderson Stock Company—-Featuring Harold Rosier . . 176 Advertising Herald for the Henderson Stock Company in 1936 . . . . . . . 177 Advertising Herald Used by Jack Kelly' 5 Stock Company Between 193A- 1938. . . . 178 Advertising Herald Used by the Slout Players Between 1936-1938. . . . . . ‘. 179 Advertising Herald for the Rosier Players in 1938.. . . . . . . 180 Advertising Herald for the Rosier Players in 1939. . . . . . . . . 181 Advertising Herald for the Schaffner Players in 1962 . . . . . . . 182 1927 Handbill for the Henderson Stock Company. . . . . . . . . . . 183 Advertising Handbill for_ the Rosier Players in 1939 . . . . 1939 Handbill for the Rosier Players. . . ‘ Gabe, in 1938 Production of Holy Sinners. Neil Schaffner as Toby in 1926. . . . . Harold Rosier in Traditional Toby Makeup and Wig-_1938- o n n o o a I o I Harold Rosier as Toby in 19A2 . . . . . Harold Rosier as Toby in 1952 . . . . . Tent Theatre Used by the Schaffner Players in 192 26. a o o 0 Tent Theatre Used by the Harley Sadler Stock Company in 1936 . . . . Tent Theatre Used by the Rosier Players from 196A to the Present . . . . . . Interior of Tent Used by the Rosier Players from 1964 to the Present . . . . . . E‘Interior of Tent Used by the Hila Morgan 'Dramatic Stock Company in 1926 . . . : Interior of Tent Used by the Rosier Players in 1967. . . . . . . . . . . H by the Hila Morgan Dramatic Stock Company .Scale Drawing of the Rosier Players Tent 5? and Stage 0 o o o a o c I u o o «I ouVenir Program Used by the Rosier Players -from 1967 to 1969 . . . . . . . . viii Harold Rosier as Typical G-String Character, . Setting for 1924 Production of East is West Page 184 185 186 187 188 189 190 191 192 198 199 ,j r W"_u. '. .A INTRODUCTION New York professional productions as well as Broadway plays touring the provinces have long been the object of critical and scholastic attention. In contrast, an aspect of American theatre which, at the height of its success, was one of the most popular forms of dramatic entertainment and lays claim as America's only true "folk theatre," has been virtually ignored. This form of theatre, which enjoyed its greatest prosperity in the period between World War I and the Great Depression, brought drama to small towns which had no theatrical entertainment and gave birth to a distinctive comic character commonly known as "Toby.” While its history "has been generally neglected, and the creation of the Toby character either scorned or ignored,"1 this small-town theatre, with its own traditions and techniques, flourished independently of the metropolitan theatre. Approximately four hundred repertoire2 companies, touring the United States, played a season of forty weeks or more in some sixteen thou- sand communities annually. Playing an estimated ninety—six 1Jere C. Mickel, "The Genesis of Toby," Journal of American Folklore, CXXX, No. 318 (October-December, 1967), 334. 2Neil Schaffner and Vance Johnson, The Fabulous Toby and Me (Englewood Cliffs, New Jersey: Prentice-Hall, Inc., , p. v. Johnson emphasizes that "repertoire" was always used, never repertory. All other sources indicate the same. - - 2 thousand performances before almost seventy-seven million people, the touring companies outdrew "legitimate"3 theatre in America almost two to one.“ Small town repertoire theatre proved to be the training ground for a number of America's actors. Some notables who received their early training in this form of theatre were Ralph Bellamy, Howard Lindsay, Melvyn Douglas, Clark Gable, and Warner Baxter. Even so this rural community repertoire theatre never received artistic acknowledgement by "legitimate" theatre. At present, of the estimated four hundred companies which were active in the 1920's, only two remain. There is cause for speculation as to whether these two companies can survive the competition of television and movies, increased labor expenses, and growing audience sophistication. If these two companies cannot continue operation, this form of repertoire theatre will be remembered only by performers and the audiences who viewed it. It is essential that this area of theatrical experience be recorded for the purpose of historical reference and for the purpose of possible re- creation. Because of incomplete or non—existent records it is virtually impossible to conduct an accurate and comprehensive chronological study of tent theatre. It is possible, however, 3The term "legimitate" is used simply to differentiate tent-repertoire from New York Broadway and Stock touring productions. ”Don Carle Gillette, "The Vast Tent Drama Industry," I The New York Times, October 16, 1927, X, 2. I a£” ‘ ‘1 I ' ' ~‘~. '. 3 {Dire companies, and relate the characteristics of this ......‘. ,4g53y.to those of former traveling repertoire companies. I “”TRTFfration of this company, which can be traced back to ' \ finderson Stock Company of 1898, provides an ideal 7;$4.§unity for such a study. ‘-nahfih'any attempt to study "the nearest thing to a living T‘*¢@fieatre in the United States"5 A problem of selecting .opriate title arises. Various appelations appear to Analysis of these three.terms reveal basic garacteristics. In the first inStance, groups of .nce of the tent as a playhouse and the emergence of acter "Toby" as a popular "folk hero" all traveling 'fies were called "rep" (for repertoire) companies. ‘ffi'fimder canvas. At the same time many of the tent— ’5f9¥re shows presented Toby bills as a regular part of .steekly program? Larry Clark, in his study of Toby r' ssname to Toby, featured the same plays as those 9ty of the Toby character, some acting companies, in survive financial difficulties either played only :‘Dale Clark, "Toby Shows: A Form of American fire," (unpublished Ph.D. dissertation, University 1963), pa 2. srR'VflNEKTI .v ' récent magazine writers agree with Vance Johnson, V'ofFThggfiabulous Toby and Me, "the standard fare 33;Efiterep company was a light popular comedy around the ' ' . .Toby."10 The showmen interviewed11 for this IfioWever, have emphasized that the Toby play was only 36? the week's bill, and therefore the assertion that iféhu'theatre was a Toby show appears misleading. "In “-Players once spent ninety weeks in Jackson, Michigan I "l2 & ~‘ vmder played a Toby bill the whole time. Veteran ETQVeling. They might have played what was called a [Taracter in one play out of seven. "13 Bert Arnold, or the California Company and a "rep" actor who ff‘to have acted for over a hundred stock companies in i”§-two years in tent-repertoire Show business, qthat "only a few companies played Toby to any great Moat of the light comedies had what came to be called « fracter and he was popular. Nevertheless, the Tahoe Johnson, "Hits in the Tall Corn," Collier's, "1949. p 72 ‘ E jpi y include Harold Rosier, Merritt Green, Bert émd Hila Bross. rvigw with Harold Rosier, Jackson, Michigan, ‘l9 . :ervigw with Merritt Green, Hillsdale, Michigan, 211-19. 9. -J A “th . .H‘Jl' 1 l . s I A'A‘JI’L-b 6 aboWS never played all Toby."1q Hila Bross, an -a with the Hila Morgan Dramatic Stock Company from C6'1929, states that "not more than two plays out of '31s 5%reiweek's run featured a Toby character."15 ; :hfo be sure, the Toby plays were probably quite often ‘5fisfipst popular to be offered in a week's stand, and the thoracter was perhaps the most popular character, but ould be misleading to ignore plays such as Uncle Tom's j", Trail of the Lonesome Pine, Shepherd of the Hills, ’, Jek 11 and Mr. H de and would be unfair to those 1 es which presented more substantial drama than the repertoire theatre will be used because it appears to .glfmost comprehensive of the various labels applied to =Who presented it, general knowledge about tent- re theatre is limited. Professional "legitimate" regarded the tent-repertoire shows as "rag operas"16 fines no recognition. Neil Schaffner explains lahad worked with him for several years. Neil Schaffner and his wife Caroline remained with the company for one more year before retiring.80 Though not the last tent—repertoire showman to play in the United States, Schaffner was undoubtedly the most prom— inent post-war Toby. In 195“ "Omnibus" televised a show entitled "Toby in the Tall Corn." The show won the Edinburgh K 77The only tent-repertoire company to organize after World War II. 78The only tent-repertoire company to continue playing Strictly indoors. 79Quoted by Clark, p. 129. 8 OSchaffner, p. 202. 39 Film Festival Award as the best television documentary of 195“. In 1958 Schaffner was featured on Ralph Edward's "This is Your Life" and in 1961 NBC's "Dupont Show of the Week" broadcast "Laughter U.S.A.," which included scenes from his shows. 1 In addition, most recent magazine articles on tent-repertoire theatre, such as "The Corniest Show on the Road" in The Saturday Evening Post and "Hits in the Tall Corn" in Collier's, feature the Schaffner Players. Since 1962 both the Sun Players and Bisbee's Comedians have discontinued operation. Only the Schaffner Players, Lmder the ownership and management of Jimmy Davis, and the fmsier Players remain of what was a most prolific form of dramatic entertainment. Although somewhat altered in form, these two companies continue to recreate their unique enter— tainment for rural audiences. x 81Schaffner, pp. 183, 188, 190. CHAPTER II THE ROSIER PLAYERS The existence of the Rosier Players dates back to Ikcember 8, 1898 when Richard Henderson, his entire capital consisting of thirty dollars, established the Henderson Stock Company in Otsego, Michigan.l Henderson was born in Portland, Michigan, June 25, 1876. In 1897, at the age of twenty-one, he Joined the William H. Hartigan dramatic company as an amateur. Quite versatile as a performer, he has given two parts at four o'clock in the afternoon, rehearsed them once and played the two roles at a performance that same evening.2 In 1898 Henderson wanted to branch out for himself, and with a group of personal friends he organized the Hender- son Stock Company. The first year was difficult financially, and in order to keep the show going every possible economy was practiced. In later years the company prospered, and Henderson played to small midwestern towns for thirty—eight years. Using Mason, Michigan as its home base the Henderson Stock Company at first played only Michigan towns but later 1 p. 12. 2 State Journal, Lansing, Michigan, November 29, 1936, Jackson Patriot, Jackson, Michigan, October 5, 1938, p. 8. HO Ml traveled almost exclusively in Iowa-—so long in fact that mmm people believed the home town of the manager to be in Um Hawkeye state.3 Eventually, however, Henderson branched mm to include several states in his tour. The people of the western plain states, the folks who reside along the banks of the Mississippi valley in Iowa and Illinois, the residents of the timber lands of Northern Michigan and Wisconsin and the villages of this section of the state all knew of the company and thronged to view its preientation whenever it appeared in their community. The Henderson Stock Company with the exception of one year in the mid 1920's always played in theatres and opera rmuses. The one exception was when Henderson Joined forces vuth the Hunt Stock Company, also of Michigan, and played Inner canvas. The result was, as Bert Arnold puts it "... arather disastrous year because of terrible weather condi- tions."5 After one year of playing in tent theatres Henderson took his company back into indoor theatres. As the movie interests gradually moved into the smaller towns, some of the theatres in which the Henderson Stock Company previously played were no longer available. The result was that the Henderson company abandoned its practice of traveling by train and playing shows only in those communities which had railroad stops.6 In 1926 the Henderson troupers took to the 3Jackson Patriot, October 1, 1938, p. 3. “Jackson Patriot, loc. cit. 5Interview with Bert Arnold, Lansing, Michigan, March 11, 1968. ' 6State Journal, loc. cit. A2 open road in a truck and automobiles. Although this change in the means of transportation often forced the Henderson company to make larger Jumps from town to town, the choice cfi'communities which were previously inaccessible offered tremendous opportunities. While many repertoire companies were experiencing difficulty with movie competition, the Henderson Stock Company, seemed to have relatively little trouble until after the Depression. As an article in the Lansing State Journal testified: As theatre after theatre closed in the small towns when the movies came in,HEnderson rented auditoriums and some picture houses outright...and he always brought in the crowds. After the Depression of 1929, however, the movie industry nmved into more and more of the small towns, and theatres became increasingly difficult to find. In addition, icy roads in the winter made motoring difficult and often imposs- iible in the northern regions; so the Henderson Stock Company ceased to play winter theatre after 1932.8 Along with the Slout Players and the Jack Kelly Stock Company, also of Michigan, the Henderson Stock Company had a reputation as being one of the finest repertoire companies in the midwest. Henderson's was regarded as a "high class" company,9 and his promotional slogan was: "Since 1898 the 7State Journal, 100. cit. 8State Journal, October 5, 1937, p. 9. gGreen, loc. cit. “3 Henderson Stock Company in plays of the better class."10 Just before 1930 Henderson had planned to take his company on a tour to England, but financial difficulties resulting from the Depression prevented their going. 8 Richard Henderson planned to retire in 1937, and the tour that year was to be his last. Henderson's audiences vmre remarkably loyal and a typical reaction during the fare- well tour was published in the Lansing State Journal. ...and when the troupers came out before the foot- lights in the "opera house" to present...City Wives and Country Relatives, they were greeted by a crowd of "homefolks" that packed the theatre. l fmnderson, whose entire life had been dedicated to small town repertoire theatre was fiercely loyal to his profession. Fbur months before his death, when asked to attend a burles- . . 4 \ . . J Slmrl . 0| 0H , 1» ' T ‘ ‘amooo+ I. I. 1'. . ’ ‘ E ' ‘4 A I‘D 1 ‘ . . I .1. l‘ E: ‘1 . I - U I i". I. \ ')I'( r: Mm fun: in; I. ‘j v , . s I I ' ' . L p v . -‘ u( I 4 ‘ «r II . ‘g' V,‘ V - ‘u 1 . I :\ _ . { 1\‘ ' E u ' r- 1' 9 Y) ‘ I ,\ . -. ‘.‘ ,. . _ c v . . .. x . .. i .u - ' i . ' ‘ v‘ V -. f . u!~\ Hm I) }.1\~( ~ ‘ ’ 0 v 1 3', . 5‘ l “ ' \iu hurnh \Iu': 7‘ y 1“ f.' y ‘ -.\ ' "‘ " , f . " . i PLATE I--Front Page of Bill Bruno's Bulletin-—l938 155 1 . _- 111' HA!) 1'; : , l H APP-1 =4 ' ". I _ - ._ J I I - - h’--h-W‘ ~ \ .v":‘(t 12; “f 9. '5. x -. :u 5 1 . I’ 1 1 1 I ' A _ _ _ .-I m.-—. - “ MIL. .r“T‘ IC: .‘-:.". ‘x'r‘\1.i i ' : “I... 1; . .VIiI lugs and III rilm 3:: .w \I‘IIIHI‘ I |: [“34“ '3 I- I ‘ ’ .1 : _ .- _. > .. . V v -' _ l- _ _____ r ‘00"! \lljhun1}'f'g'5 ‘ '“ , .. I f 'I ‘- - -I '1 . llaIroIIl IIIDNII‘I' I'IaIu-rs \\ \.\'I‘ .: 3‘ .. .,, .~- ... ,1 . 1.~ .H"‘ . f I‘ ‘ ‘ I. P'! ' II‘ .. _” _--_ 1 ._ I 1 1“ 1;" “ 1......‘IT .' I‘I'I‘ .E.'I 1:.TI141:\.;I.:111. '21?1Ir1"'1111r..;" ‘.\' '.' -I I: .' ,. . .. . .1 .. .-. v , . . «2:41:21 ' -" "A 'E’ “W ‘lfl'l. ‘0. :‘;v” “500.;2W8311gI3a' ‘u ..t'( r k— "H” __ "”1" .3 SchniIz ,1 Seymoures ‘ ‘ f THEATRICAL EXCI‘IANGE l'nkwuk ll Iv! . K ans.“ (IN. “H. H: my (4111:1510!) ! '_)'”""“’ )fiW‘fif’ w"*‘r'fi(m91“1w _. 1‘9; .4”: {‘3- V5“’1¢.¢I§.V "_ l; 1 . '11 - .- J a PLATE II—-Advertisements in Bill Bruno's Bulletin--l938 156 PLATE III--Map of a Typical Michigan Tour by the Rosier Players 157 ‘ Véi ‘ ~ ‘ D 'ffi": m Aer' "" wfilfidb A'VG‘lull_flfl.Hb‘ ' "‘ sin-'fl .I. “Lina-T‘- ‘ ‘I as - ‘ ‘-“'-'-"- \ -—- ‘ 525 ”A3 “ PLATE IV—-Map of a Typical Circle—Stock Tour by the Rosier Players 158 inch/um RHEND R80 PLATE V-—l910 Lithograph of Richard Henderson 159 ommH .MSOH .oHHH>moH:mcooz --zgmggoo xOOpm afipmemao cmwpo: «Ham map mo mumDEmznuH> me mez meaqm I ..A c . b. 162 mu '1‘! (‘HR NORMA “AMA n: :w'. ‘ \\ V, \' 'DramaticavaudevilleCa 23 Ila-tile, Vaudeville ml IlsIcal Adm: fl... 7LT T-Il:A‘l’ RE I Could: Change a! Play and Vulcvllle IIgMIy "IRES IIEIITS, STARTIIB THURSDAY } \ ‘11. 3., E 3 I {i L | 1% . ‘ 3 g -——I-_ —-———._ fifi.‘-1lnv —— PLATE IX——Publicity Poster for the Norma Ginnivan Dramatic and Vaudeville Company—-l9UO 163 fee will be admitted free with each paid adult ticket on opening nighI PLATE X——Advertisement Poster for the Hunt—Henderson Stock Company—~1928 164 BIGGER - BETTER - DIFFERENT PRESENTING THE 3:51 CUMEDIES fifi DRAWS-1 ‘ UNDER CANVAS 21 I Will JUNE ——— PLATE XI—-Quarter—Sheet Advertisement for the Hatch Comedians 165 m av! a. 3}“th PLATE XII--Quarter—Sheet Advertisement for Jesse James 166 PLATE XIII——Quarter—Sheet Advertisement for Fair and Warmer 167 I; fl PLATE XIV-~Quarter—Sheet Advertisement for Rip Van Winkle 168 d. I.. HARVEY pnzszms ' . p: cu s “with BADI érg 0- 0V (mt Amy %§! \NEP ~> 3”? t3 HAROLD DA cats m: rump DEGREE: ‘PITAYERS ' PLATE XV——Quarter-Sheet Advertisement for Peck' s 3 Bad Boy 169 along?) Crane (Inc) J VIRGINIA“ The Supremelq Successful Stage Version of Owen Wisters famous Novel Dramanzed by [fir/re l a Shelle 6' Owen Wis fer PLATE XVI——Quarter-Sheet Advertisement for The Virginian 170 PLATE XVII--Fu11-Sheet Advertisement for Uncle Tom's Cabin 171 i n {A v i 1..- . ‘ ‘ as A‘ _ "(“93" . \TH [’HUAH \‘H Mk ‘\‘, |\\\ I ) i‘xi‘x! \-.\I1HI 11“" ‘ Hmlvms I - n.9, l m . .- .k .. .a-f-‘y" . am"- I 'r: : x _ l - ' ' 1. — 5“”; ‘ $1}. 7., t V . _“ W " W"-‘:.'t-: ‘..;§ ‘_\ 1 ‘ 4"!5‘1.L‘ sfi' 'c . til W. was ' .-«—..w‘11»:-.A. .. , , | ~ n w. .. , I ) PLATE XVIII--Quarter-Sheet Advertisement for Fine Feathers—-With Dater, 1939 172 PLATE IXX——Quarter-Sheet Advertisement for The Virginian—-With Dater, 1939 173 r5m . ULh 1%“ + ’A now who Mine wit- E /T [VERY nosedtheSper- iorAct'lIucAfled finchntwhich 'Ihownu m Sardnu flanerturie WI agn'm recog- iu flu .an treatment given hyahahduhn 5 Eli! inn-pro— hfim of the ro- Iuluble dur- ul-I forming a A c ROYAL SLAVE I r38 "’ L A’ "ANNETTA" THE PAHr ACT A SCENIC MARVEL The Ruins of the Old Monastery. The Royal Palace in the City of Mexico. , _..,. .3,“ The Robber'sI Cave Overlooking the Floating lshnds. Them. Volcano ; "autumn n I I‘M)“, ‘. _By GENL LEW WAH \(i. OPERA HOUE'EE ‘_ _. TUESDAS’ PLATE XX——A Herald Advertising an 1890 Production of A Royal Slave “THE FAIR GOD” A mull .r nfBEN HUR— SBPJS 17A =c0M1Nc SOON'I? 5““18 -.§°J&3nwc.35°§;m foowny Linda” I III-uh~ or“ i n I I MIDI “In" VI .. __"“___._ 1 One Night Only / UDB Hod-II DANCIN( ‘ amAACTS BY Th JACEEON‘ I "\II Inn: IIII IIIIIH IIIn Inn qu n IIII - .L-ul \ «H. UHI‘PFAAHIIWAIYFVIL\1WC I - 1. NI; \\||I Imwl \I ~I “. PLATE XXI——Advertising Herald for the Ketrow Brothers Dramatic Stock Company in 1910 Big Stage Show 9&7,“ "' 5‘5, )YIPPEY' l 5 / HILLBILIY MUSIC 56/“, HILLBILLY FUN! ; \' | a E TOBY ! PLATE XXII——Advertising Herald for the Collier Players in 1932 176 1’ERA IIOIJSE HENDERSON 8100K 00. “WING PLATE XXIII--193A Advertising Herald for the Henderson Stock Company—— Featuring Herald Rosier 177 - .I». ' . . [.1‘“ L hagufi'rfi‘AQ: E (is ..' .. 5". E I III “:I g (A I U PLAYING AND PLEASING. smcc was 9 — PEOPLE — 9 I: s In...» n -'IJ|-~i "l"'1l‘- out SIIGIIB - IIICIIG - MIMI - NI“ OUR LISY OI" PLAY. “SPOT CASH". “THERE‘. MANY A SLIP-3' “YOUR GIRL AND ”V BOY". “THE GIRL NNO THE TRAMP”. “FNECNLES”. “THE COANLIT LITIEN‘ ‘OUTWAND OOUND’ ‘A WI.E BOOI’ .. - _. l ... “...,“ VIII‘ N6 N!“ '0'“ COIICV IUCCII. ‘WEAMRIINWIVVAJNHEflP’ .0 8.000 mm an». 09 9am “on u" a. an- I. «movie «no. on 0mm. 0. u on we wou-avcnou "I. .t' O. *Iu'OI 0: GIGABIAI OPENING PLAY MONDAY NIGHT VIII OCNCAYIOIAL COICOV 0.5.. u- a .4." "WE SILVER LIIIIIIG” A summons cooo cantor“ H_-Q' ifl‘fi k .¢ I I I . a .. 1* Jamar . __ E r" ' : '3 s ' \ r‘ I . ' Q. ‘ r P ”K I . _. I . . ~ 9 ' f,’ u A“: PLATE XXIV--Advertising Herald for the Henderson Stock Company in 1936 178 'C O M 1 N u !' IIICK KELLY’ S T 0 . UNDER BIG WATER-PROOF 'I‘I‘ZN'I‘ 'I‘IIISATRI“. ' ’I4-oqii Z a “I a a PLATE XXV—-Advertising Herald Used by Jack Kelly's Stock Company Between 193A—1938 FLAMEIPPOOF 7 Bisv Nights -- 7 Big Comedy Thy: V‘UD‘VILL‘ I’ BACK "‘1 A I..II'(;II4IPIIIIXHA.' —-~v—nu mn- “tam” “hi-4 In. .3: A Mil/m II II .I ‘ I _‘ Tm mmpnmv - fl UNCLE TOM_’§ CABIN KIM-Mkmhm NIMMIJdIhh-Iun-h "tun n'nncum: 5.. 5rd."- a... "com ..I. .. v ..... W ten-.1." u" n nm "1.1: ”mil?" m \II II uhvll O"- PLATE XXVI-~Advertising Herald Used by the Slout Players Between 1936-1938 ”1“" COMING! HAROLD BOSIEB PLAYERS 3 - BIG NIGHTS - 3 PRESENTING THE LATEST AND BEST IN WHOLESOME DRAMATIG PLAYS HAROLD RAY ROSIER IOTEII CHALK TALK ARTIST, CARTOONIST AND ACTOR WAUNETTA RAY HAROLD A. TOIY ROBIER DAVID RIGGEN A GLASSY SNAPPY SHOW BEJZEHOW “mm“ ENTIRE cum: Em LAWTON °" msman OPERA HO 3;? LAY ” DEC 6 A“ POPULAR VAIIDEVILLE ’ PRIOES “‘ ~ EACH mm EE OTHER SIDE " W mm ‘RoSIRE PLAYERS Presenting the latest and best in wholesome ' ' dramatic and comedy plays OUR LIST OF PLAYS { “RAcs To RIcHEs" The story of a girl from the slums of a large city — who changes the lives of a wealthy family — Toby, the comedian will keep you laughing L ~ “Gypsy Sweatheart” A story of Mystery, Romance and Love Full of Thrills and Laughs T‘Rubes inthe City" For laughing purposes, but tells a good story 'llDllELTY AGTS * llAllllElllLLE DAllclllli ,- SIIGIIG AT EVERY PERFORMANCE SPECIAL SDEIIERY and WARDROBE FDR EYERY PLAY HOWARD ROOIER FIRST DOME FIRST SERVED SERYIDE DOORS OPEN 7:30 SHOW 8:15 A Big Dramatic and Comedy Treat at: _ LAST NIGHT Is SD'VEIIIR ~ 4mm- 7 A BIG PRIZE IIIIIEII AWAY FREE LADIES FREE FIRST IIIGIIT One Lady Admitted Free With Each ' Paid Adult Ticket ‘ ’ > ‘ A PRIcEs SPECIAL ' -' ' MATIllEE . ' 3 cull-DRE" sn'runnnv , _’ D AYS x O films llEXT AllllLTS + m» WEEK - gem 25¢ T101: Popular Prices sEc. 562P. I. &R_M VBOXHOLDER ROUTE ‘ a . s ‘ MIcHIcAN‘ We - ‘My“; PLATE XXVII——Advertising Herald for the Rosier Players in 1938 181 l-- --""441I , 9.1-5. PLAYERS 3 Preeenun; the lalcal and but In wholesome ; dramauc and comedy playa .-,..- .___ OUR LIST OF PLAYS "Toby The Cave Man". "Lazy Dan", “Our Gang". “Eternal Love". "TraII oI the Loneaome Pine". "Calaaman 0am". “Way Out West". . . “Uncle Yem'a Cabin". "Freehlee". "Attached 0' The “Illa". “Irlngln; Up Father". . : . . . . “Whflflen” and many othere hath-ab lam-muq-uueueflmuuy-lehnnmu—h flan. larva,— I-aa afldleptaaihemdye-I-vl whhadhy—Iflabuwm-“eul Im-l-h-nr-yuq-II 115-doe,- hawa‘ybI-at LIAN "II? CLAU- ubae.IIh-v-vban.-Ihal eke-eke" ’e- bue. Ie he-e aha-littl- Yucatan Ila-11hr!!!“ “BMW CA.1. 0' Imnmnlum' a aeeaa ena eaa a-e- ewe PIOFWAL A ll. Dramatic and comedy Tree! at '“M Popular Prince i ism: FROM TIME TO Tm: oua GUEST ARTIST man -..-- mmcm ._ __V\_..— .— A "-_-’ ' GET A MERCHANT'S IARGAIN TICKET AND DAVE HONEY _ ...a- ; PRIcEa To ALL PRICES ; . "'7" Mum” E : IEICIAI“ l 'MIIYS ‘ “Cl!“ "CHIS : omen!- cuILoaaa ; l Ioe I cams i 15° stun-fl. . "C ”I'Lq. ; mum ImII IEMI‘I! “M" IQgWL 25c BOXNOLDEI "OUT: —“»ne:_""".f|....... . ”ICNI°.~ ‘. -~--... PLATE XXVIII——Advertising Herald for the Rosier Players in 1939 182 NEXI WEEK! In SCHAFFNER PLAELPS I SYARRING s g E \ >305}: \-\ /- :‘v/ m \ pLAvs' vauoevme' music! “I"! ace- ”1 ‘7 ILJYI. " than-m. ‘Hh-H hula—III“ nhhflfi C—v-hafll‘a-h WH~~ “new—h (“...-Ol- (...a—elm...- ~~~. r ”OCH” “flu-I.” hue new *1MIU ‘ . One-ea. U- ”I.-.“ "I". non-gnaw * ‘Q , 1:3ng IigffI IIII.§ I mlnum \omua‘ N ml luu IneI-I ’ ' mm IKIIYIIIII'R'RIII- In on PLATE IXXX--Advertising Herald for the Schaffner Players in 1962 183 0mm: EVERY MGHT NEXT WEEK and Thursday and Saturday Afternoons a P"! '7‘“; WW} n :m duuwaah fi’uiiflifi‘dfl PRESENTING FE EVS EE TIE EETTE '2 (LESS 2;}.‘“:.t3-D.;:‘nmg La‘c.:--a- 1‘ .33: ttwa ***n “N El LEAH [quUEE -. GEE WEEK ST':TE,'.'G . ~. p1"‘ra;n . .._ ‘ ‘52! ' IVEWEiIFfiIEJJ l PLATE XXX——1927 Handbill for the Henderson Stock Company PLATE XXXI—-Advertising Handbill for the Rosier Players in 1939 3W3 ms. BETTIE? cuss Comedy, Drama, Music, Vaudeville PLATE XXXII-—l939 Handbill for the Rosier Players 186 PLATE XXXIII--Harold Rosier as Typical G—String Character, Gabe, in 1938 Production of Holy Sinners 187 PLATE XXXIV-—Neil Schaffner as Toby in 1926 188 PLATE XXXV——Harold Rosier in Traditional Toby Makeup and Wig—-l938 189 PLATE XXXVI——Harold Rosier as Toby in l9UZ 190 PLATE XXXVII——Harold Rosier as Toby in 1952 191 mmma 9“ mpmzwam nmcwewnom me» an 6mm: whammce psmeluHHH>xxx mequ me 4" SEX: fif Lacino \ _1 \ ¢ C?) . ' o CENOTER «"7“ an? T #r *,4 f : K 1 -—W\I\J,ZNFVQNIVOPN‘ WM- ’ CENTER " 0 POLE fi/ - ‘———_-‘5 o O 4: L) x. 0‘ :1 0-1—1—[0 ‘ A, 1 Efibmmcc 1;. //I: 6 Y ‘ 45/ t - « i J J \ b I 4* 4L PLATE XLV——Scale Drawing of the Rosier Players Tent and Stage I {it ill: ‘lll IIIIIIIIII 199 gWSW PWW; I: 1% The ROSTER PLAYERS |.NC — TOBY — OLD TIME DRAMATIC TENT SHOW _ AT _ STAGE COAC H STOP Across from Hayes State Park on ".5. 12 PLATE XLVI—-Souvenir Program Used by the Rosier Players—- 1967—1969 HAROLD ROSIER F In our modern age it is sometimes well to remember that the past has had its great moments, So with this thought in mind, when we heard that the Jack Collier Old time tent show of Southern Illinois was for sale, we decided to buy the outfit, bring it back to Michigan l and restore it, then present a family type show of old and new plays the same as the old time repertory dramatic stock companies and tent shows that were once so well known in this part of the country and once a very important part of the American Theatre. The plays that we present will probably never win any prizes for I their literary content, they will be presented for their entertainment value and with the entire family in mind, so that you can enioy an evening’s entertainment in the same way that Americans have for the last one-hundred and fifty years. Sincerely Harold R. Rosier An old sea Cap't, a Civil war Veteran and a village drunk are a few of the parts being played by Harold Rosier this season with an outstanding professional cast. NORMAN PERSING .§\ . Norm was bitten by the “acting bug” while in ‘ $\‘\ Junior College and has been a ham ever since. 1 He has played a variety of roles in Little Theater. . ' Some of his favorite roles were Teddy in “Arse- ‘. .t‘ . ‘\ , nic and Old Lace”, Joe in “The Male Animal”, ‘ ~" fw \ and Charles in “The Sound of Murder”. This ._ . . ‘ \ season his roles will range from leads through Q\" l“ character parts. September will find him back ‘ ‘, s. at his desk as principal of a iunior high school. .\““‘ ful WAUNETTA DORIS ROSIER ’ Waunetta has inherited her love of theater from her parents. She has been appearing on the stage since she was 14. Waunetta is one of the few professional lady magicians in the country today. This season she is appearing as leading lady in some of our shows. JIMMY WEAR Jimmy, one of Americas foremost magician escape artist will be our feature vaudville attraction this season, Jimmie has spent many years in show business and has traveled with some of the best known “old Time tent Shows”. He has worked with some of the countrys leading magicans including the late Harry Blackstone. NEW! EXCITWGl, EilTERTAIilnle! MODERNak Featuring Jimmy WEAR Magician Extraordinary and Escape Artist One of the Most Elaborate Illusion 7044: a. (a. may. SECRET? q ‘ Shows “ ~ ," ’2. i LARRY JOHNSON The young man with the “lighting fingers” will entertain nightly with classical, modern and old time show tunes of yesteryear. Each evening he will present a 15 minute concert before show time. Come early and enjoy this fine young musrcran. TOM MILLER Tom comes to us from Utica, Michigan. He has been very active in little theater for a number of years. In 1965 he worked for the Playhouse Clinton at Mt. Clemens, Michigan where he gain- ed wide experience in both musicals and drama- tic plays. Tom enjoys working on the technical part of the productions as well as on stage. HOWARD BURLEY Howard has a natural ability for acting in any part he plays. This season he will be doing a Toby part along with various character roles. One of his outstanding roles was Jonathan in “Arsenic and Old Lace.” YVONNE PERSING Yvonne is following in her father’s footsteps. She has appeared in dramas and musicals rang- ing from ingenue to character parts. She espec- ially enioys doing comedy roles. You will meet her in this capacity as Tetsy in “Mr. Pepper’s Pepper Upper.” MARGARET PERSING Margaret holds the very important position of Secretary-Treasurer of the Rosier Players, Inc. She has worked “back stage"—-sound effects, costumes, etc. in little theater. This is her first time out front - - way out front - - you met her in the ticket booth. WAUNETTA ROSIER Mr. and Mrs. Rosier were married in 1936 and she joined Harold in his acting career playing leads in all plays for several seasons. Now she has abdicated and the leading lady roles are being played by her daughter and she will now be seen doing character parts. AAAAAAA AAAAAA A AA AAAAAA AAAAAAAA AAA AAAA AAAAAA A AAA AAAA AAAA AA I‘llllllI-III"llRIIIKIIII-llIRRI-HEINRI-KKIIRIRIRHKIIIIIIIIll-RININIINIHRIIIIHIIKIIIIIK-Kllnflllfllfllfl A AAAAAA AAAAA AAAAAAA AAAA AAAAAA A AA AAA AA AAAA A A AAAAA‘ vau- IWHiWi*ifiiiHi*MHimm*t‘k‘kfi‘kifitiiifii‘kifi‘k‘k‘ki’iti*‘k'kitfiiivk «x ON STAGE TONIGHT Tonight your are returning with us to a period of American Theater that once was the primary source of entertainment for the families of the nation. It is as American as apple pie, originating in the United States. The first tent show was Yankee Robinson’s Opera Pavillion, opening in Rock Island, Illinois in 1855 -- and that was the beginning. The idea caught fire and soon many tent shows were trundling from town to town on horse-drawn carts over muddy or dusty roads. These traveling shows took to the small towns on experience in live theater that they could not otherwise have enjoyed. The shows were usually strictly entertaining and not meant to be thought-provoking or deal with controversial issues. One of the exceptions to this rule was "Uncle Tom’s Cabin.” The plays were billed as "suitable for the entire family" and this was adhered to by all the traveling shows. More and more shows began traveling until at the peak of their popularity more than 400 tent shows and over 500 traveling troups playing in opera houses had visited 16,000 com- munities. Among today’s stars that gained their early experience in traveling theater are: The late Ed Wynn, the late W. C. Fields, Jennifer Jones, Spencer Tracy, Ralph Bellamy, Melvin Douglas, andirene Ryan. It is interesting to note that Clark Gable was fired from a stock thea- ter because he was not versatile enough to double in the band or vaudeville in addition to acting. The actors called the tent show Repertoire Theater because of the wide variety in types of shows presented. The public usually referred to them as Toby Shows because of the outstanding comedy character in many of the plays. Toby was a red-haired, freckled-faced, country boy, who usually emerged as the third act hero, to the suprise of everbody but the audience. As eagerly anticipated as the play were the vaudeville specialties, the music of the band, and the candy vendor. Many of you might remember the traveling shows that toured Northern Ohio, and Michigan. Among them were: Slout Shows, The Ginnivan Shows, Jack Kelly Shows, Kinsley Komedy Kompany, and The Henderson Stock Company. With the advent of the "talking pictures” the traveling shows became less important as a means of entertainment. With movie theaters springing up throughout the nation, the traveling shows became a thing of the past Today there are only five such tent shows in existence in the United States. We hope you enjoy your journey with us for these few hours into American Folk Theater. #HWMWHHH¥¥¥¥H¥¥¥¥¥¥¥444¥¥¥#444 4444444444444¥4¥¥1¥¥4¥4444 ##4## ¥l> a§¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥4¥4¥4¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥4¥4¥444¥¥¥¥¥¥¥¥¥4¥4¥44444¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥x¥ ""‘l“'7” BARBARA BRENNER Barb is our featured dancer this sea- son. She is also appearing in leading and character roles. She has had sev- eral years experience in each capacity as a dancer and an actress. In some of her dance routines she is joined by her eight-year-old dancing partner, Thereasa. O-eleo. ‘ ....V‘g .IQQ...‘ EDWARD SPOONER (Eddie) 1 Edward Spooner (Eddie) has always been interested in music, art and drama. last year he was featured in the starring role of “Bye Bye Birdie" with the Clark Lake Play- ers, and he sang in the Chorus of “South Pacific." He also enjoyed working in “little Mary Sunshine." He plans to j‘ major in drama and music at the University of Michigan ll after he completes his three years in the Navy. 1| :6’ DIANE WARD Diane is known as the versatile miss of the television, radio, drama and concert stage. She made her stage debut at the age of three 1 at the Greystone Winter Garden in Detroit, later added dramatics to her accomplishments. She has an unusually large repertorie of songs in five Ianuages and has a fine reputation as a noted operatic and dramatic artist. At present Miss. Ward is specializing in comedy and character parts, and has gained widespread popularity as the slightly tetched old maid Aunt Martha in “Arsenic and Old lace” and the vivacious Auntie Mame. MILT BAILEY The young man with exceptional ability comes to us this season from The American Theater Festival at Tibbits Opera House at Coldwater Michigan, member of the University of Michigan Players and the Gilbert and Sullivan Society of Ann Arbor, Michigan. In the past he has had leading roles in Oklahoma, My Fair Lady the Fantastic: and many others. ANN BAILEY A very verstile young lady comes to us this season with a background of television movie and stage experience. Last year at Tibbits Theatre she was featured as Eliza in My Fair Lady, Luisa in Fantasticks, Laurey in Oklahoma, Marian in Music Man and Lotus Blossom in Tea House of the August Moon. THE BAILEYS ***********t*i*iii***********t***tt$ #tti*******i*********************t***t************** *******H***H‘k**‘k*i*‘k** in)Hr***********W**it**fii*‘kt*iw% THIS SEASON'S PRODUCTIONS ‘ ‘A' t i" LOVE IS BLIND Romance, comedy, and intrigue combined in a show the whole family will enjoy. MR. PEPPER'S PEPPER-UPPER A typical “Toby" comedy of the 1920’s when tent theater was at its height. ‘A' ‘k * HIGH AND MIGHTY A small town setting of 1898-with characters that are not too much different than you would meet today. ‘k ‘k * THE SOUND OF MURDER A modern murder mystery with Alfred Hitchcock twist. One of the finest murder mysteries currantly in production. * * ‘A’ THE SMILING PEDDLER The soap peddler soft-soaps the villian. A show produced as it was in Michigan forty years ago. ‘A' ‘k * Vaudeville acts will be featured each night in addition to our regular productions. ¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥4¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ THE ROSIER PLAYERS, INC. President Harold Rosier Ist Vice Pres. Norman Persing 2nd Vice Pres. Waunetta D. Rosier Treasurer “ g ‘ Persing Secretary Waunetta Rosier xxxuxxxxxuxvuxu vv vvvvvvvvvv v ¥¥l¥¥¥¥llxlli v xxxxxxuxxlxxxunnxxuxlxuxxxnlxxxxuuu vvvvvvvvv v Vvvvv rvvvvvvvv Cxxluxlxuuuxxxxxluxxxxuu vvvvv 'lV '1 v v v I A. v y I v v r v Trvrv v V v v v v v v v vvvv ,A APPENDIX B LIST OF TENT-REPERTOIRE PLAYS 200 APPENDIX B LIST OF TENT-REPERTOIRE PLAYS This appendix contains a representative list of typical plays produced by tent-repertoire theatre. It is not meant to be a complete list but since all of the titles indicated are in the possession of Mr. Harold Rosier, it is possible to assume that most companies would have had access to similar scripts. Tent~repertoire theatre plays are difficult to obtain and the Rosier collection is probably one of the most extensive collections in existence. The Rosier collection contains two hundred thirty-four titles, one hundred four of which have been produced by the Rosier Players. The list is not alphabetized; the sequence runs in the same order as found in the Rosier collection. An asterik (*) indicates those plays which have been produced by the Rosier Players. The scripts do not indicate the authors. * Outward Bound * Mountain Girl * Hess of the Hills * Apron Strings * Call of the Woods 201 202 Sound of Murder Absent—Minder Professor Putting it Over The Shiek of Algiers The Skipper Returns Rebecca of Sunnybrook Farm Know your Groceries Saintly Hypocrites and Honest Sinners Tildy Ann Soap Salesman; Smile You Son-of—a Gun, Smile The Dairy Farm Dr. Jekyll and Mr. Hyde Three Miles From Town The Bowrey Raif The Angel from Hell's Valley Cabaret Girl The Millionaire and the Flapper The Turn of the Dice Annie Laurie Gambler's Code Abie's Little Rose At Cozy Corners A Family Affair Amy Kentucky Thoroughbred As the Shadow Falls 203 The Cross in Eden A Fight for Honor The American Girl At Pink Ridge The Black Panther Beverly of Goraustark Bunco Captive Man Burglar and the Lady Captain Ricket Barriers Burned Away A Christian Dad Carter Doris Did It The Golden Giant Mine Dora Horn Detouring Wives Darkest Russia Diana's Atonement Fancy Bachelor's Quarters Fair and Warmer Friends Freckles Another Man's Crime Hollywood is Like That His Friend the Widow 20A Hold It Holy Sinners; High and Mighty Hell for Ransom Her Husband's Wife Hell's Garden Gypsy Sweetheart Call of Sunset Canyon God Help Us! Jack a Diamonds In Old Arizona In Old Vermont Jane Eyre John Slater; Rubes in the City; Awakening of John Slater Jesse James Jim, the Westerner Grits the Newsboy Old Arkansas One Girl's Experience Little Partner Little Fingers The Push; Tamed and How; Love Them and Leave Them; Frieda the Wildcat Little Orphan Annie Love Them and Leave Them (not the same as above) Peaceful Valley Peck's Bad Boy 205 * Peg 0' My Heart Lynwood Lena Rivers La Belle Marie Lost and Won Little Lord Fauntleroy Little Alahana; The Girl Slave Mrs. Gidden Nancy Northern Lights * No Mother to Guide Her * Mixed Pickles * Madam the Boss * My Jim My Partner * Laugh That Off Saint Elmo * Smiling Through * Reddy the Mail Girl Rocky Pass Red Cross Nurse Rattlesnake Royal Crooks Servant in the House Scandal Social Highwayman 206 Sunday Sherlock Holmes Spooks Sweeny Todd Mark of Hell Breadwinner Middleman The Storm South Sea Romance Thorns and Orange Blossoms Romance of Sparville Thelma Third Degree The Game The Western Girl Tobacco Road The Girl with a Million The Banker's Daughter The Sap The Easy Way The Chauffeur The Woman and the Wizard Tess of the Storm Country Woman of Mystery The Hoodlum The End of a Perfect Day 207 Trail of the Lonesome Pine Tile Eagle's Nest The Unrighteous Woman The Powers to Be The Brat The Girl He couldn't Buy The Missouri Girl The Girl from Missouri Mickey; The Crimson Nimesis Tlie Family Upstairs Turn to the Right The Sheriff's Bride The Old Grouch The Little Homestead The Land of the Midnight Sun The First Year The Struggle for Justice The Painted Lady The Call of the Trail The Price She Paid The Sign on the Door The Gentleman The Queen of Queer Street Toby and the Flapper The Grand Master The Spendthrift The Price of Honor 208 The Witching Hour Three Live Ghosts The Running Breakers Trilby Turn to the Right Professor Potts When Dreams Come True Maude Muller Paid in Full In the Heart of the Blue Ridge The Girl From Out Yonder The Marriage of Elizabeth God's Child My Little Partner Fate Toby's on the Spot Bought and Paid For Sputters; Last Roundup; Girl From the Flying X Before Breakfast Black Ghost; The Green Monster The Woman Yankee Doodle Annie the Circus Girl Good for Nothing The Open Window The Truth Twin Bachelors 209 Tennesse's Pardner Taken From Life Roanoke The Devil's Sideshow; So This is America The Girl That Ran Away There is No God The Girl and the Gowk The End of the Trail Ten Nights in a Barroom The Drunkard Poorhouse Brats Why Men Leave Home What the World Wants What Annie Brought Home Way Down East The Wolf What Every Daughter Learns When We Were Twenty-One Why Wives Go Wrong Queen of Hearts; The Virginian Zira Poor Old Jim Tip on the Derby Mr. Pepper's Pepper Upper Scrap of Paper The Bills Pure as the Driven Snow 210 * A Poor Married Man Crazy to Reduce Mystery of the Third Gable For Heaven's Sakes * Bringing Up Father * Hell—Bent for Heaven * Seven Keys to Baldpate Some Girl Mumbo-Jumbo The Whole Town's Talking Moonshine and Honeysuckle * The Gutter Snip * Speeding Along Tempest and Sunshine Take My Advice * Twin Beds Nothing But the Truth It Pays to Advertise * Dracula * The Old Soak * Just What the Doctor Ordered * Laughing Gas * Aunt Tillie Goes to Town * Goodnight Ladies; The Turkish Bath * Love Rides the Rails The following are plays which have been produced by the Rosier Players but are not included in Mr. Rosier's collection of scripts. 211 Under Sealed Orders Where's Elmer Toby the Cave Man Eternal Love Shepherd of the Hills Whittlen Meet the Bride Fine Feathers Your Girl and My Boy Uncle Tom's Cabin Lazybones Toby and His Chicks Boy Crazy Mr. Wimple Had a Dimple APPENDIX C SCRIPT: THE AWAKENING OF JOHN SLATER 212 APPENDIX C THE AWAKENING OF JOHN SLATER This appendix contains a complete script of a typical tent-repertoire melodrama. The Awakening of John Slater depicts the conflict between the virtue of rural living versus the evils inherent in city life. The comic character is typical of the Toby and is presumably one of the better written Toby parts.1 lRosier, February 7, I969. 213 MANUEL SLATER JOHN SLATER LUN SLATER MRS. SLATER NAN SLATER CAL HENDERSON BRADLEY DONALD ADELE FLORA WILSON Ist. ACT: 2nd. and 3rd. ACT: John's Country Home: New York to study law. John's New York Home: week elapses between 2nd. AWAKENING OF JOHN SLATER CAST JOHN'S FATHER " BROTHER " MOTHER " SISTER NAN'S SWEETHEART SERVANT ADELE'S ACCOMPLICE JOHN'S WIFE JOHN'S BOYHOOD SWEETHEART SYNOPSIS (1915) 214 CHARACTER LEAD TOBY CHARACTER INGENILE JUVENILE GENTILE HEAVY ii I! INGENUE John preparing to leave for Several years later. A and 3rd. ACT. (1922) 215 COSTUMES John ..... lst Act. Old fashion cutaway. Rather tight pants, Just a little too short. Very high stiff full dress collar. Old fashion derby hat. Must be at least one or two Sizes too small. Big bow necktie in some bright color. 2nd and 3rd Act. Dressed in style and very neat. Lun ...... lst Act. Hickory shirt, plow shoes, overalls, straw hat. 2nd Act. Tight old style pants, loud tie, coat too small, comedy hat. Wears long new bathrobe over other clothes. Remove bathrobe for third act. Manuel...lst Act. Typical farmer dress. 2nd and 3rd Act. Dressed up to fit part. 2nd Act. Wears tall silk hat and white gloves. Cal ...... lst Act. Well dressed farmer style. 2nd and 3rd Act. Dressed in good taste. Ma ....... lst Act. Regulation farm dress, big apron. 2nd and 3rd Act. Clean calico dress with bonnet and expensive furs. Nan ...... lst Act. Regulation farm dress, high shoes white stockings. 2nd Act. High shoes white stockings red straw hat, swell evening gown, Old fashion underwear Showing under evening gown. 3rd Act. Plain but neat cotton dress. Flora....lst Act. Cotton house dress, high shoes, white stockings and bonnet. Adele....Rather flashy but rich dress. Donald...Neat and well dressed. Bradley..Butler outfit - tails. PROPS. lst Act. 2 kitchen tables, one large old fashion rocker, 3 iron flat irons, A Old style pictures hanging on wall, 2 pieces of pie, pickles, 2 fried chicken, case knife, 2 loaves of bread, 2 apples, plate of butter, 2 slices Of cake, butcherknife, paper box for lunch. Old fashioned satchel for John's clothes, 6 pr. sox. One cheap bright silk 216 handkerchief, tin box on cupboard with needles, thread etc. 6 kitchen chairs, ironing board, tin rack to set iron on, big armload of stove wood, small kitchen stove connected, kitchen cupboard, churn, wash pan and soap on bench, large clock on shelf, 2 suits Of two-piece underwear, 5 soft shirts collar attached, 6 handkerchiefs, cigar box on cupboard with clay pipe and tobacco, long piece Of twine, 3 $5.00 bills for Pa. 2nd and 3rd Act. Elaborate living room furniture--piano, davenport, bookcase Of law books and small desk. ACT I (At rise Mrs. Slater is at table center cutting bread, spreading with jam. Packing lunch in box and preparing it for John to take. Nan is at ironing board in L corner, ironing clothes, John is taking to New York. Mrs. S. My but this bread is hot Nan. I don't see why I didn't Just put in the whole load without cutting it. Wrap it in a damp cloth and it would have kept all day most. Nan You ought to a done that Ma. Why don't you do it yet. We could eat what you cut for our dinner. He won't get no bread like that in New York. Mrs. S. I could do that couldn't I? Never tho't Of it, say Nan have you tasted this jam? I declare it just melts in yer mouth? Nan Is that some of that blackberry Jam I made? Mrs. S. NO, it is some Of that wild raspberry that we put up last year. You remember Dave Griggsby gave your Pa a big basket- full of them. 217 Nan Oh yes, Say Ma be sure and put in some Of them pickles, you know John just loves them. Mrs. S. Oh, I put in more'n a dozen Of em. I tho't what he didn't eat on the way, he could keep to snack on after he got there. Be too late for him to get supper I expect, you know his train don't get there til most eight O'clock at night. Say Nan are you sure you got all his socks in pairs? Nan Yes Ma, you know he only had those two pair of blue ones. One pair of grey ones and one pair Of white yarn ones, beside them new ones you knit him last week. Mrs. S. Well be sure now and don't leave nothing out. He'll need everything he's got when he gets to the city. Poor boy, it ain't much we got to give him, but it's the best we can do for him. Nan Well I don't see what he wants to go to that Old city fer anyway. Mrs. S. Now Nannie, its his right. He's gone through school now and graduated and is fittin to take his place in the world. And your Pa's friend Old Man Furgeson says it won't take hime no time to get rich. Says John will be as big a lawyer as he is one of these days. Nan But Ma I tho't John was a lawyer already. Mrs. S. Well he is, what they call been let into the bar or somethin of that kind. But yer Pa says he's got to have what they call a prac tyce. Nan Well why don't he prac-tyce here at home? 218 Mrs. S. I'm sure I don't know nothin about it, You ask yer Pa and he'll tell you all about it. Nan Well, how long will he have to prac-tyce? Mrs. S. Oh fer several months I recon. Nan Who's he going to prac-tyce with? Mrs. S. Oh he'll just have to find someone there in New York that don't have nothing much to tend too. Your Pa says that someone told him that there was folks there that never had to work at all. Nan Well how do thay make a living Ma? Mrs. S. Oh they got folks thats well Off I reckin and maybe they help them out. There now (finishes packing lunch) that fixes his lunch. Say Nan get me that string out of the pantry to tie this with. Its hangen on that nail right side Of your Pa's overalls. Nan (goes in door and gets string) Is this it Ma? Mrs. S. Yes Nan (starts back 1) Mrs. S. Here Nan I want you to hold your finger on this now while I tie it, I just never could tie a knot so it would hold. This will keep him from getting hungry till he gets there, 219 then maybe he can find some cheese and crackers to nibble on till bedtime. There, thanks Nan. Nan Thats alright Ma, (goes back to ironing board) Mrs. 8. Air you sure you got all his handkerchiefs in Nan? Nan Yes Ma, they was six white ones, a red one and that silk one you gave him for Christmas. Mrs. 8. Well now there ain't a bit Of use Of putting that one in because he won't use it. Says it's too purty to spile by useing it. I never did tell you what I paid for that did I Nan? Nan NO Ma, how much was it. (busy sorting clothes and putting them in satchel). Mrs. S. 19 cents just fer the one. Nan Well it ought to be purty fer that price. Mrs. S. Well where is it (looking in satchel)? Oh here it is, say that is purty ain't it? Well guess we had better put it in anyway. He'd be sure to miss it and wonder where it had gone. ~Say Nan, did you look to see if all the buttons was on his shirts and things? Nan NO Ma, I didn't. I been so busy ironing I forget to look. I just folded them up and put them in the satchel, Spect we'd better look and see. 220 Mrs. S. Oh my, yes, cause he won't have nobody to sew fer him when he gets to the city, and he wouldn't have enough to bother to have someone to come in and sew fer the day. (finds underwear in satchel and holds them up) Land sakes Nan, there's two off these, get my needle and thread, there on the mantle, next to the box where yer Pa keeps his terbacker. Nan (goes, gets box and brings to Ma) Mrs. S. Now look and see if you kin find anymore (sits in chair left of table center) Nan is busy looking through satchel. Flora enters Door). Well I declare if there ain't Flora, we was beginning to think you wasn't coming over to see John off. Flora (Sets L of table C) Nan goes back to ironing boards) Father wasn't feeling well, so I done the milkin fer him. Where's John? » Nan He's upstairs dressen up in his new suit. Flora Has he got a new suit? Mrs. S. His Pa got if fer him, suit, hat, shoes, shirt and everything, He put them all on last night and I declare I hardly knowed him. Nan I told him he looked like a dude and it made him made. Mrs. S. on he wasn't mad Nan, but it did kind of tease him like. Flora What color is it? 221 Mrs. 8. Well its kind of a brownish color. Looks a good deal like the one Dan Snyder had on when he cum to visit his folks last summer. Flora That was a purty one. How much did John's cost? Mrs. S. Well, let me see. There was the suit and shoes and shirt and neckties. Nan, how much was it yer Pa said they all cost? Nan Everything together he said cost nineteen dollars and seventy cents. Flora What kind of a hat did he get? Mrs. S. Well I don't like the hat so very well, its one of them stiff hats, like Lem Bentley used to wear, but yer Pa said that Joe Scraggs told him it was the latest style. But I wanted him to get a cap so he could keep his ears warm this winter. Nan Say Ma, why don't you tell Flora what else Pa done? Mrs. 8. Oh yes...Now we don't want nothin said about it, but Pa sold that red and white heifer, you know, that one that came fresh last month? Well he sold her and he got fifteen dollars fer her and he's going to give it to John to take with him. Flora Does John know it? Nan No Pa's keeping it as a surprise fer him-—goin to give it to him just before he starts. 222 Flora Reckon there ain't no danger of him loosing it? Mrs. S. I was going to get him to let me sew it up in his vest pocket, but then John is purty kereful. Old Lawyer Furgeson says John is just like a woman. Got a place fer everything. Flora What time does his train go? Nan Lun said it left the depot at just four minutes after 10. Flora They'll have to be starting before long now won't they? Mrs. S. Well, (looks at clock at mantle) It's after eight O'clock, they kin drive it easy in an hour. But I spect Pa will want to start in plenty Of time cause Old Dollies got a sore shoulder and he don't like to drive her too fast. Flora Is his Pa goin to the station with him or is Lun goin? Nan They are both a goin. I wanted to go but Lun said there would't be room. Mrs. S. Now Nan, you know they are going to take that half hog into Jim's folks and it would be kina crowded. You know we killed one yesterday Flora? Flora That's what John said last night. Mrs. S. Well it won't be long now till they'll be a startin. I just hate to see the time cum fer them to start. John's never been away from home only fer a day or two at a time then just over to the neighbors. 223 Nan Why Ma when he was with that threshing machine he was away from home mighty nigh a week. Jist cum home fer a Sunday and then they was threshing over to the Hardy place, that was purty near A0 miles from here. Mrs. S. Yes I know Nannie but I didn't worry to much about him then, I knowed if he got sick they would take good kere of him. But goin Off this way to a strange city is different. He don't know nobody and no tellin how fer he'd be from a doctor in case he got sick. Flora Well now Mrs. Slater, I wouldn't go to a worryen cause he'd be sure to notice and it would just make him feel bad. And he will be kerful, I know he will. Mrs. S. Yes I know But it just seems like they have so many accidents in them cities. Why evertime Pa gets a paper he reads about where somebody got ran over with a street car or somethin (starts to cry) and he's never been to the city, there no tellin what might happen (giving away a little more) I just been worying about is every since we told him he could go and it just seems more then I kin bear. Flora (starting in rather bravely) Well now I wouldn't cry Mrs. Slater Why John will write to you every day or two and there ain't so much danger if one is kereful and he'll soon get used to things(giving away a trifle) Ofcourse tho there is a lot Of sickness in the city and when one is all alone (little stronger crying) and no one to take kere of them, one is liable to have a hard time (breaks down) I just wish he wasn't goin! (crying in earnest) Nan Now there you go, nice mess you'll have when John comes down. I'll bet he's feelen bad enough without seeing you folks a crying. Why you ort to cheer him up instead Of making him feel like he ortn't to go (slight giving away) I never did see 'any reason for him goin to the city thO' nohow. Looks like if he just wants to practice he could go out in the barn and practice (pronounce prac-tyce) (giving away a little more) without goin 2 or 3 hundred miles away and maybe gettin hurt 22A or sick er no tellin what (breaks down completely) I just think he might have stayed at home. Lun (enters door in flat) (Sees all three crying, can't make out what is wrong, sits on table UC swings legs) What the tarnation the matter? Has somebody killed the cat? Mrs. S. NO tain't that Lun. But is just seems like I can't bear to see John goin so far away. Lun Oh Shucks Ma I wouldn't cry about that. Why John knows moren about New York now then some fellers that's lived there all there lives. Nan (starts to check her crying) How could he know anything about it Lun? Lun Why he's been areaden' about it' ever been to New York Florrie? Flora No but I've heard a lot about it. Lun Shucks it ain't so much. John showed me a picture of it last night. Why ye kaint get lost they got Signs up on all the crossroads tellin which way to go. Nan What kind of a picture was it he showed you Lun? Lun Oh it was a great big one. He got it from a Mr. Bird I think. Nan What Mr. Bird? 225 Lun I don't know but that's what it said "Birds Eye View of New York" I bet a feller could buy land there mighty cheap. Mrs. S. (gradually checking her crying) What makes you think so Lun? Lun Cause so many people are leaving there. You could see the signs on the stores in the picture. One of them said "sell— ings out below cost." Another said, "Must sell out, hard _ time prices.” Everyone had a sign of some kins about want- ing to get away. Nan Well if that's the shape things are there, I don't see what John wants to go there for. Mrs. 8. Oh it may be just some folks have had bad luck lots of sickness or something Of the sort. Lun Well if all those folks that had signs out has been sick, it must be a dern unhealthy place to live. If I was a doctor I sure would hit for that place. Nan Yes and maybe get sick yourself. Lun Oh Shucks Nan, Doctors don't get sick. DO you know why? Nan NO, Why? Lun Old Dr. Morris told me. He says it because the doctors know enough about their own medicene not to take it, so they don't get sick. (Lun, Flora, Nan and Mrs. S. laugh) Mrs. S. Lun you ort to be ashamed Of yourself. (laugh cont.) 226 Mr. 8. (Pa) (enters from door in flat goes to R cor., sits) What's the matter Mother? Lun telling one of his yarns? Nan Yes Pa. He says doctors never get sick because they know what's in their own medicene and they leave it alone. Pa Well I expect that's morn' half true at that. (picks up paper) John hasn't cum down yet, has he? Mrs. S. Not yet, but he ort to be most ready by this time. Lun I'll bet he's sweating blood trying to get that stiff collar buttoned. I put one of them on last night and I like to never got it off. Liked to choke to death. Mrs. S. Lun you didn't muss it all up di you? Ye know he's only got 3 of em. Lun No Ma. I washed my hands first. If you don't believe it just look at the towel. Hain't seen John's new suit have you Florrie? Flora No, but yer Ma was telling me about it. Lun Coats made in two pieces, split up the back. One of them long coats. Mrs. S. John says it's what they call a cutaway. You know a frock coat. 227 Lun Yep and both of the frocks have got pockets in. Now then, what if John happens to put a piece of pie or a nanner in them pockets and he set on them. (laughs) Pa Lun. Them pockets air to carry yer handkerchief in. Ma, did you want me to take some of that lard into Jim's folks. Mrs. S. I hain't got it ready yet Pa. You tell em we'll send some the next time one of us comes in. Lun Johns got a regular dude hat Florrie. Second hand. Some feller in New York used to wear it. Pa Lun, it hain't no such thing, second hand. Lun It is too, its got the name of the feller that owned it inside the hat band. John Stetson. Pa That's just the name of the man that made the hat. Lun Well now, supposin' John goes to some spellin bee or a speakin some time there in New York and a lot of other fellers have got hats that same man made. How's he going to tell which is his'n. Mrs. 8. Well, he'll Just have to be kereful where he puts it or else tie a string onit or do somethin' so he'll know it. My, it looks to me like he ort to be most ready by this time. (I looking toward stairway) Maybe I got them pants to short fer him. I had to take them up last night, they was way to long fer him. Nan Well, Ma if you did get them to short, you left the hem in so you could let them out again. 228 Cal (enter door in flat) (stands in door) Mornin' folks, Kin I cum in? Mrs. S. Why ofcourse you kin Cal? Hows yer Ma? Cal (X R of C) She's fellin' tolerable well. John hain't gone yet, has he? Nan No, he's putting on his new suit. Lun Lord, he's been putting it on fer over a hour. No tellin' when he'll get through. That stiff collar is the hardest thing to button I ever seen. And say Cal, he has to take his shoes off to get his pants on. Pa Is yer Pa coming over to see John off Cal? Cal No, he's butchering today. He told me to come along and he'd see him as you went past. Lun Bet four dollars he won't know him with that hat on. Makes h him look 6 in. higher. He went to cum through the door last night and he knocked it off his head, Cum dern near breakin it too. Mrs. S. Oh, he'll soon get use to it Lun. Lun Maybe so. Say Cal, I heard you was thinking some of goin' to the city? Cal Would like to Lun. But Jist seems like I can't get money enough ahead. 229 Lun (grins at Nan) There now Nan, hat do you think of that? How'd you like to live in New York? Mrs. S. Lun, now there you go with yer teasin' again. Nan I don't know what you mean. Cal hain't ask me to live anyplace yet. Lun No, but he goin' to hain't ye Cal? Mrs. S. Lun, never mind now. Pa make him keep quiet, will you? Pa (doesn't look up from paper) LUN! Lun Huh? Pa Shet yer mouth. Lun I ain't said nothin'. But I know a thing or two jist the same. Look at Nan, how red her face is? Pa (never looks around) LUN! I'll smack yer jaws if you don't shut up. Lun Well, dern it Pa. You and Ma both sed Cal should be poppin' purty soon. He's been sparkin' her fer two years. Pa LUN! Dry up, will you. 230 John (offstage upstairs) Well, get good and ready. I'm acomin'. (Has hat on--wears it through out scene) Pa (rises as do Nan, Mrs. S. and Flora) Come on down John, we're ready ferye. John (comes downstairs, ex. d 1 between Flora and Nan) Well, here I am. How do I look? Lun Well, if ye feel anything like ye look you'd better get a doctor. Pa (loud) LUN keep still will ye? Mrs. S. (goes to John, turns him around, admires him) Lans sakes John, I do declare, they look better in the daylight then they did last night. My, my you look jist scrumptious. Nan Hain't that hat a little too small John. John (turns to Nan) No I think not. (to Cal) What do you think Cal? Cal Not a bit after you get it set to your head. Lun That coats what gets me. What's the use of makin a thing and then asplittin it up the back? Mrs. S. Now Lun that's the style, so don't go to finin fault. 231 Lun And say Cal, he has to unbutton his vest afor he kin get his hands in his pants pockets. Pa LUN, I'll send you out to the barn if you don't shut up. John How do you think I look Flora? Flora Jist grand John. It was so good of yer Pa to get 'em fer ye. John (All set except John who remains standing LC) Well, I've got the best old Mother and Father in all the world, bless their dear old hearts. And I'm going to do as much for them someday as they have done for me, you see as I don't. Mrs. S. Now John don't go to talkin like that or you'll have me crying again. It hain't much we've done fer any of ye, but it was the best we could do. John Well, it's more then any of us will ever be able to repay, do don't you worry about that, not a bit. Lun When do you think you'll be back to see us John? John Well, that's hard to say Lun. Depends on how I get along. It cost a heap of money to travel you know. Lun Well, if you get rich John, you just send us all a ticket and we'll come and see you. I'll bet I'd cut some shine in New York John I only hope I can Lun. 232 Nan Oh wouldn't that be nice, and Florrie could come too couldn't you, Florrie? Flora I'd like to go if Father would let me. Lun Yep and then John would jist about marry you and wouldn't let you come back. Would you John? Mrs. S. Pa, hain't there nothin you kin do with him? Pa (rises starts to door in flat) Lun, you cum and help me ketch up the horses. Time we get them up from the meadow, get em' watered and hitched up, it will be about time to start. (ex door in flat) Lun All right Pa (starts to door) SayJohn, have you tried to set down with them pants on yet? John No Lun. Why? Lun Well if I was you, I'd try er onct before I started. Hain't no tellin what might happen. (ex door in flat) Mrs. S. Why, do they feeltoo tight John? Nan (crosses up to door R whispers to Cal) (Cal ex out R)(Flora ex to R cor) John Not a bit Mother. Lun was just tryin to tease me that's all. 233 Mrs. S. Did I get the hem about right John? John Just right Mother. Nan (calls Mrs. S. and motions for her to come with her) Ma...Ma. Mrs. S. (looks around, Nan motions, Mrs. S. shows she doesn't under- stand) What is it Nan, what air ye motionin to me fer? Nan (irritated) Oh Ma, can't you see Flora would like to tell John about something she'd like from New York, She don't want us to know all about it. Mrs. S. Now what in the world would Florrie like to have John send from New York and wouldn't want us to know about? Nan (goes and whispers in her ear) Ma (looks at John and Flora and smiles ex to door) Oh, Well why didn't you say so in the first place? I a'llowed they done all that kind of talkin last night. Well, come along. (ex with Nan) John (ex to Flora) Well Flora the time is almost here for me to go. Flora Yes John, I wonder how long it will before you come back? John That's hard to say Flora. I'm goin to try mighty hard to get a start in life. Are you goin' to miss me Flora? 2311 Flora You know I will John. And do you suppose you'll ever think of (our little me way off in that big city? John Do you know what I'm goin to do? Flora Tell me John. John Every night when I come home from work I'm just goin to set down and think of the old springs down yonder where we used to go every Sunday afternnon, and of the old stump where we used to set and watch the moon and stars, and wonder if the people off in those worlds are as happy as we were. Now tell me Flora what are you going to be doing? Flora Jist watchin and waiting fer you to come back. You will come back some day won't you John? John You know I will Flora. Flora Father says he's afraid once you get to be a great lawyer, you'll want someone with more edication and experience. He says he's afraid you'll never be satisfied with a poor little country girl like I am. John No danger of anything of the kind. I don't care anything about your education or experience. It's just you that I love, Flora. So don't you worry, nobody will ever be able to take your place in my heart. Flora I hope not John. Flor I believe it would kill me. But I've seen pictures of them grand lawyers and they look so cross and stern. I'd be afraid of you if you ever looked like that. Do you suppose you ever will John? 235 John No indeed Flora, I'll always be just like I am now, just plain John. So don't you worry about that, not a bit. Flora Are you sure you'll never forget me and you'll always love me. John Always Flora (takes her in his arms) Lun (comes in door in flat) Whoop, look out, Pap's acomin' (sits on table up C) John (release Flora slightly embarrassed) Looks to me like you got hitched up in a hurry. Lun (grins) Time sure flies when a feller is busy. Specially when the business is interestin, eh Flora? Flora Lun, ye ort to be ashamed. Lun Me, what fer? Why I never hugged a gal in all my life. I think it's John Ought to be ashamed. John Well I'm sure I've got nothing to be ashamed of. Lun You have, ain't you Flora? Flora Ashamed? I am not. Lun Then what's yer face so red fer? Did he kiss ye? 236 Flora No, he didn't. Lun (shams her) Bet he did; bet he did. Flora He did nothing of the kind, did you John? John I certainly did not. Lun Ye did too. Fer I heard the smack when I came in the door. Mrs. S. (enter from R in time to hear Lun speak) (Stops R of table.) Lun what in the world is the matter? Nan (follow Mrs. S. on, Cal follows her, both stop R.C.) Lun John kissed Florrie, I heard the smack. Flora Why, Mrs. Slater he didn't do anything of the kind. Lun Well, he hugged ye, fer I seed him. Mrs. S. Lun, behave yerself, ain't you got no manners? Lun (earneastly) Why it warn't me Ma, It was John what done it. (Mrs. S. goes to chair R Cor, set, Nan set R of table, Flora set in chair L corner) 237 Pa (ent. left flat and come down to John) Well John if yer already I reckon we'd best start. John Very well Father. Mother is my lunch and satchell already? Mrs. S. Yes John yer lunch is all tied up in that box. It hain't much, just some bread and butter and jam, fried chicken and pickles, some apples and two pieces of pie. Lun Good Lord John, if ye eat all that, you sure will have to be mighty kereful of them pants. Nan Lun, how kin ye joke at a time like this? Pa (takes worn wallet from pocket, unties it) John my boy, before ye go I got a little present fer ye. It ain't much my boy, but it will be of some help anyway. (hand him 3 $5.00 bills) John (much impressed) Fifteen dollars. Father is is mighty good of you, for I know you haven't got it to spare. 'But don't you worry father, it will all come back someday, tenfold. Pa Thank ye, my boy thank ye, I'll wait fer ye down by the stile. (ex door in flat) . Cal I'll ride as far as my place with you John (ex) Note Mrs. S, Nan and Flora are all crying silently, Lun must not do any thing to cause a laugh during this scene. He must set perfectly quiet looking about a level with the table top C. He must not do anything to attract attention, but presently they will notice his position and will start to laugh. 238 John (to Nan who rises) Goodbye Nannie dear little sister. Write to me will you Nannie? Nan Yes John (kisses him and sinks in chair crying) John (goes to mother. She rises) Mother, bless your dear old face, it will always be near to comfort and protect me. (takes her in his arms) Mrs. S. (embraces and kisses him) John my boy, my boy (sinks into chair crying) John (to Flora, takes her in his arms) Flora remember someday I'll be back. Flora And I'll be waiting fer ye John (kisses him and sinks in chair crying) John (Bi of trying to pick up satch from floor. Trousers are too tight, finally gives up and goes to door in flat, indicates that Lun is to bring it. Ex after looking at all of them) Lun (sits perfectly quiet until John ex. then rises slowly, gets satchel and lunch box. They all gradually build up crying, to climax. After pause for them to cry loud enough he turns back and starts sobbing to top them all and ex.) CURTAIN 239 ACT II (John seated at small desk dn R. looking over correspondence) Adele (enters L up)(come to C stands looking at John a moment then assumes graceful pose) Well sir, how dare you remain seated in the presence of your queen. John (ex to her) A thousand pardons, dear, you entered so quietly I didn't hear you. (puts arms around her waist) Adele Well sir, tho' art forgiven, so there. (kisses him lightly) John If I was always sure of such forgiveness I would offend thee thousand times a day. (Adele sits on sofa, John '5 back to desk) Adele That will do Sir. Now tell me, am I mistaken or did I hear voices before I came in? John I have been entertaining callers. Adele Indeed? Friends of mine, yours or both? John Just aquaintances. In fact a couple of politicians. Adele And their business? John They came to extend an invitation to me to make a political speech. But it so happens I'm against the man they wish me to speak for. 240 Adele Did they not know your views? John Thought they did, but they were mistaken. Adele By the way, have you talked with Donald this evening? John Haven't seen him. Did he wish to talk to me. Adele He said at noon he wished to speak with you this evening. John What about? Do you know? Adele I think it is something about his property out west, he says he has a note coming due on the first and his rental will not be coming in until cometime in July and'he tho't perhaps you could assist him in taking care of the note. John Do you know what amount he requires? Adele I think he said about a thousand dollars. John I believe I can help him out alright. By the way, Adele, did you read the letter I sent in to you this morning? Adele Was there more then one John? I read the one from the Gregories inviting us to their reception, but really I didn't notice any others? John The other was from........My MOTHER. 2Ul Adele Oh, I'm so sorry I overlooked it. I'll read it the moment I return to my room, if you are sure it was brought to me. There is no bad news I hope. Your people are all well? John The letter mentioned nothing to the contrary. Adele They sent their love to me I am sure? John They never fail to do that Adele. But do you know Adele. I'm beginning to feel that I've been sadly neglecting them. Adele Neglecting them John? In what way? John Oh, in every way. For one thing I write to them so seldom. Mother said this was the third letter she had written since she received my last one. Adele Well you could easily remedy that fault, you have pen and ink and you also have a stenographer at the office. John I understand, but such letters are so cold and formal and besides when I'm at the office my time is entirely occupied. Adele And at home? John At home I haven't the heart to write. I'm ashamed. Adele Why John what have you done to be ashamed of? 2A2 John Nothing. I'm ashamed of what I haven't done. Adele Explain yourself. I don't understand. John Adele, were you ever poor? Have you at any time in your life experienced real genuine poverty? Adele No John, I'm glad to say I have not. John Then you have never been in a position where your whole being just hungered for the opportunity to realize some great ambi- tion. You have never experienced the torture of toiling day after day, year after year, at some task that was repulsive to your entire being. Just seeing your life wasteing away for the lack of an opportunity to realize your ambition. A chance to climb from poverty and want to success and riches. Adele I have never known what it was to have a wish ungratified. John Adele, until 7 years ago. I never remember having a single wish or ambition gratified. My people were poor, my friends were poor except one--and thru the untiring efforts of my father he was at last induced to furnish the long-looked for opportunity. Adele And you have certainly profited by it, haven't you John? John Beyond my fondest hopes, and now Adele, can you understand why I feel ashamed of myself for having neglected and for- gotten the very ones who were directly responsible for my great success? Adele Why whom do you mean John? 243 John My dear old parents God Bless them, they worked, toiled and slaved to give me the meager education I received as a boy. They never rested until they induced their one and only friend of influence to take me in. And the day I left my home, my father gave me the last dollar he had in the world. Fifteen dollars. ' Adele (laughs) Fifteen dollars. Why John weren't you afraid to go around alone with so much money on your person? John That sounds insignificant to you, doesn't Adele? But at that time to me it was a fortune. I promised father that someday it would be returned to him ten fold and I still owe it to him. Adele Well John, isn't a Father suppose to do what he can to start his son in life? John Certainly. Fathers and Mothers are suppose to do everything in their power and keep on doing it until the day they die. And thousands of them never receive even so much as a kind word for all that they have done. I often wonder how many men or women ever repay their parents one tenth of what they really owe them. Adele Well John if you really feel that you owe them the $15.00 why don't you send it to them? John Fifteen dollars, is that your idea of my indebtedness to them? If $15,000 would cancel the debt I would send it to them today but money is not what they want, they need it yes, but money ' will never repay them, it would only add insult to injury. Adele Then what do they expect John? 244 John Attention, Affection, Love. They want to know that they are not forgotten. Just a line now and then or a token of rememberance. But I have allowed my ambition, my desire for prominence and power to prevent me from doing even that much. Here I am surrounded by everything that heart can desire, and they are still back yonder working and drudging no rest, no pleasure, just work, work all the time. Adele Why John, you remember, we sent them a wonderful Christmas Box. John Yes I remember and I have been sorry every since that we sent it. Adele Sorry? John Yes sorry, such ridiculous things. Adele Well I'm sure I did the best I could in selecting them John. John To be sure you did Dear and I'm not blaming you, because you did not understand. But think, what use would father have for a silk hat and white gloves, and Mother with that expen— sive set of furs. And Nan with the evening gown. The dear girl wouldn't even know what it is for, and Lun, imagine Lun in a bathrobe. Adele Then my dear if you knew what they wanted and what they would appreciate, why didn't you suggest something more appropriate. John Simply because the only thing that I could have suggested would have horrified you. 2U5 Adele And what was that John? John What they would have appreciated would have been an invita- tion from the both of us to come here and spend the holidays with us. Adele Why John how ridiculous. John And why so ridiculous Adele. Adele Why that would have been unkind to them. They would have been entirely out of place here, they would not know what to do or how to act. John It would have been up to us to allow them to do as they please and act as they poease, to exert ourselves to make them feel at home and happy. Adele And our friends, what would they say? They might feel sorry for them but they would never tolerate or except them. John It would have afforded us an opportunity to learn who our real friends are. Adele And possible have ruined your career, your prospects. No John the idea is positively ridiculous. If you must see them you go to them but never bring them here. For it would be an insult to your friends and to me. John To you? 2U6 Adele Yes John, they are your people, not mine. You were raised with them and you are used to their ways, while I my dear husband was raised in an entirely different atmosphere I assure you. I could never understand them and would only insult them if I tried to entertain them, do be reasonable John dear and do not expect the impossible. I love and respect you John for being loyal to your people and all that but please do not expect me to accustom myself to their ways it would be impossible, don't you see, don't you under- stand? John Oh well, perhaps it is as you say. Impossible for you to understand just how I feel about the matter so we'll say no more about it and now if you will excuse me I'll go to my study, I have a short brief to prepare. Those fellows interrupted me. (cross C) Adele (rises crosses to him puts arm around his neck) You are not angry, you know how well I would like to please you don't you John? John Angry, not a bit of it, I understand perfectly my dear, it was just a fit of the blue, we'll say no more about it (kisses her and ex) Adele (Adele looks after him and laughs sarcastically) You poor, poor, fool. Donald (ent. stroll down to corner) Poor fool, on the contrary, I consider him a lucky fool. Adele (crosses to L, they both sit) Indeed in what way? Donald By beeing blessed with your society my dear.’ 2U? Adele Yes, and the most amusing part of it is he really considers himself lucky. The poor fish, men are strange animals, some of them are difficult to drive, but you can lead any of them if you flatter them sufficiently. Donald Well you should know if anyone does, for the Lord knows you've had ample opportunity to study them, but if all men are animals in your estimation they must naturally bear some resemblance to different species. Now to what kind of an animal would you compare your husband? Adele Different kind at different times. In business he possesses the shrewdness of a fox, the determination of a lion, at home the meedness of a cat, and weakness of a lamb. Donald Rather a dangerous combination in my estimation. Adele Dangerous? In what way? Donald Too many qualities combined. Slow to anger, but once aroused he would be difficult to pacify. I would advise that you do not drive him to the limit. By the way, what was the argument just before I came in? Adele Same old subject. Endeavoring to gain my consent to allow his people to pay us a visit. Donald Well why not. Let them come treat them royally. Show them the time of their lives and you will have him eating out of your hands. Adele No thank you, any old time I mix up with a bunch of hicks like that, I don't, did you ever see their picture? 248 Donald No, did you? Adele Once and that was enough. If I were looking for freaks and for a sideshow I'd surely send for them. Donald Say Adele how much longer are we going to have to play this game? Before we can pull the big trick and get away. I'm getting somewhat anxious? Adele Anxious, what about? Donald Well perhaps impatient would express it better. I want to get away where I can have you to myself. I am not particu- larly fond of seeing this man making love to you the way he does. I had no idea it would last more than a month at the longest. Adele Did you have an idea that I could manage things, could sign my name to a fifty thousand dollar check in three or four weeks time? Donald Hardly that soon, but are you sure you are going to be able to do it at all? 'Adele The money has already been placed to my credit, it only remains for me to find some plausable excuse to check it out without exciting the bankers suspicion. Donald How are you intending to manage it? Adele I'm thinking of investing in real estate for one thing, a few government bonds, I have several plans in View that I will explain to you in a few days, in the meantime, just be 249 patient, it won't be long before we can be taking things easy in some foreign city and living on the fat of the land, then you can make love to me all you want. Watch out. HE'S coming. (pretends to be laughing at something Donald has said) John (ent. RUE) Adele John dear what do you think of this brother of mine. He says if he were as sure he could get as good a wife as you are a husband he would immediately renounce the chair of bachelorhood and join the ranks of the poor innocent hen- pecked. Donald (rises as John enters, Adele meet John C) John (ex to Don) Well old man, no use to hesitate, its simply a lottery. Draw your card and see what you get. If you play in as much luck as I did you will not have any cause to regret the step. ADele Now that will do. Come Donald (starts up LU) You said you wanted to hear that new waltz. I'll play it for you now. I don't intend to remain here for another minute and listen to such flattery. (Donald ex UL waits for Adele) Adele (Adele continues) As for you John when you have made up your mind you can talk rationally send for me(laughs and ex L) John Very well, but don't be long for I promise to be good. (goes L sets) Bradley (enter from arch UL to JOhn, gives him calling card on tray) 250 John (looks at card) Why to be sure, show him in at once Bradley. Bradley Yes Sir (ex) John (Rises looks at card) Well, of all the unexpected, Cal Henderson. Bradley (enters arch) Mr. Henderson. (ex after Cal enters) Cal (enters arch certified, member of police force, much pleased to see John; crosses to him and shakes hand) Well, Well, John I sure am glad to see you. John (Ad lib situation) Well, Cal how are you (motions C to set L, John places chair and set L of Cal facing him) Cal Well, John they say down at headquarters that I'm a good deal like that old gray mule your Dad used to have. They say I'm always eating but they never see me sleep. John (laughs) Well, where in the world have you been all this time? I've phoned to headquarters half a dozen times but never can catch you in. Cal John, I'll bet I've started up to see you fifty times, but something always seems to turn up to keep me from coming. You see in my business you never know one minute where you will be the next. John So you are a fullfledged secret service man now, eh Cal? (looking at card) 251 Cal A regular Sherlock Holmes, so to speak. John Tell me, how in the world did you happen to take up such work? Cal Remember when old man Mansfield was murdered down home? John Yes, I read about it. Cal They sent a detective down there to run down the murderer. He stayed at our house a week or two. I finally got to helping him. He said I showed him a few tricks he hadn't learn't yet. Well, we finally ran the fellow down and Burt the detective insisted on my coming to New York with him. He got me a position on the force and I have been there every since. John Like the work? Cal Did at first, but some way or other I can't forget the farm. Once a farmer always a farmer, eh John? John How long has it been since you left the old home Cal? (rise) Cal Going on four years now. I left about a few years after you did. By the way John you sure have made them sit up and take notice. * John I've studied hard Cal, and then I was fortunate in having a good man help me get a start. Have you ever been back since you came to New York Cal? 252 Cal Once. Just about six months ago. John Saw the folks ofcourse? Cal Sure did. Infact that's what I went for. My folks don't live there anymore. You know they moved away shortly after I left. John Cal, you don't mean that you returned on purpose to see Nannie? Cal I sure did and believe me John the next time I go you are going to have a new brother-in-law. John Why Cal I supposed you had forgotten her a long time ago. Cal Mother used to say John that when one truly loves, they never forget. Oh by the way John, I saw Flora (John shows embarrassment) John, weren't you and Flora just a bit more then friends at one time? John What made you think so Cal? Cal Oh I don't know. I remember you and she used to be regarded as sweethearts and some of the boys were talking when I was back there and they said Flora hasn't been herself since she heard of your marriage. Nan said Flora took down with a fever right after she heard you were married and they tho't for awhile she would never get over it. Say John where is your wife? John. (Dreaming) My wife? Oh she is in the music room with her brother. Come to think of it you haven't met my wife have you? 253 Cal Not that I know of. Who was she John, someone you had known long or did you meet her after coming here? John She was visiting here, we met quite by accident and were married three months later. Cal Well, I hope mothers's saying doesn't come true in your case John. John What was that? Cal Married in haste, repent in leisure. (laughs) John Well to be honest with you, there is something that I am very uncertain about. Cal Oh John, you're joking. John No Cal I'm in earnest. I hate to admit it, and yet I am convinced more and more each day that I have made a mistake. Cal A mistake, in what way? John (sets) Cal I came here seven years ago with just one resolve in my heart and that was to succeed. I worked day and night thinking only of home success and Flora. Well I was soon on the road to success and was planning to keep my word to Flora and return to her, for you are right Cal, we were more than friends, we were sweethearts. And I promised her I would come for her for I loved her. Then as I told you quite by chance I met this other woman. She is accomplished, refined and beautiful, and something seemed to whisper to me that she was 25” the woman who could complete my success, do honor to my home, be a credit to my friends. My ambiton mastered me, I married her and in less then a week I was sorry. Cal Were you deceived in her? John That is a mystery I can't explain. .When I am with her, I find her charms irresistable, but when I am alone, I find myself wondering, worrying and thinking of....... Cal Flora? John Yes, Flora. Cal I'm sorry for you John, mightily sorry. John I know you are Cal, and I am glad I told you. I had to tell someone I only wish that Flora....no that would not be right, now I will ring for my wife. I want you to meet her (start to ring for servant) Cal Just a moment John before you ring for her. There is some- thing I wanted to say to you. Infact my visit here tonight was prompted partly by business. John Indeed? Cal John, I received a letter from Nan today. Should have reached me 3 days ago but I was out of town on business. So the minute I read it I hurried up here to see you. John (anxious) Nothing wrong? The folks are all well? 255 Cal Oh, they are all right. But John they have planned a little surprise for you. John ‘What kind of a surprise. Lun isn't going to get married, is he? (laugh) Cal. (Laughs) Not much, he says he wouldn't kiss a girl for the k3est hundred acre farm he ever saw. No John about the sur- Iorise, they are coming to see you. John (homing to see me? When? Cal Ehaid they would arrive at 9:30 the night of September 15th, triat's tonite, So I came right over to let you know as soon as; I read NANNIES Letter. John (lxooks at watch) Why Cal it's after 8:00 now. Let's get a Inove on and get to the station. Cal NC) that would spoil everything. I have my car here and I Wi.ll meet them. They want to slip up on you and not let yCJu know they are coming, want to take you by surprise, don't yc3u.see? John O?) I see, well it sure would have been a surprise. Cal 1: liated to spoil their plans John, but I was afraid you might have an engagement and not be here when they arrived. So t1lo't it best to tell you. John you must do everything you ‘38J1 to make them feel at home. Why do you know they have be'en planning this trip for 6 months. Nan has been doing Mrs. ihgsleys sewing, your Mother has been doing the neighbors wa-Shing, and your father and Lun has been working with the thI‘eshing machine, got their crops all in so they could sell Orlei of the teams, said they wouldn't need but one through 256 the winter. And they have saved every cent just to make this visit. And now John it is up to you to welcome them. John Sold one of the teams, Mother taking inwashing. Welcome. I'll say I'll welcome them. I'll make them the happiest creatures on earth. Cal Good for you. I knew you would do it, but how about your wife. Will she receive them? John Oh she must, that's all, she must, but say Cal (watch bus) You must not miss the train. What would they do if there was no one there to meet them? Cal Oh I'll make it alright and say John if it is alright with you I'll meet the wife when I return. John I only wish I could go with you. But you say they want to surprise me? Cal Yes and you must never let on that you know a thing about their plans for that would spoil everything. John Don't you worry I'll manage that alright. But you better go now Cal something might happen you know. Cal Alright, I'm off. See you later. (ex) John (set at desk) My mother, father, sister and brother coming here. Oh this is to good to be true. To think my mother has been taking in washings while I've been living here in ease... Oh what a fool, what an idiot I've been. Adele (enters on speech) Who's an idiot? You? I don't believe it? 257 John Well, I have been. Adele I have some news for you, some glorious news. - ‘ Adele Some news? Wonderful,and of course it is good news isn't it. John To me it is and I am sure it will be to you: Infact I want you to say you will consider it good news just to please me. Adele Why ofcourse I will if I can, Now tell me what has excited you in such a matter? John (hesitates) Well then Adele, my folks.....are coming to visit me. Adele Those people coming here? When? John Tonight. Infact they will be here in a few minutes. Adele And you have kept me in ignorance of this until now? John I did not know it until just a few minutes ago. A friend of mine came to inform me it was a surprise they were planning for me. Adele Nothing of the kind. It is not a surprise. It is simply a trick you have planned thinking that once they were here I would accept them. Well my dear husband. I'm sorry to dis- appoint you but your plans will fail. For if you think for one moment that I intend to entertain such cattle you are mistaken, I shall leave this house and remain away until they have gone. 258 John Adele you are talking foolishly. Adele Am I. Wait and see. John And you mean to say that you will remain away from your own home simply to avoid meeting my people? Adele That is exactly what I mean, my dear husband. John Then you, I suppose, expect me, to refuse them admittance to my home? Adele I expect you to do just as you please regarding the matter. Only remember that if you do admit them to this house you may inform them that your wife is spending her vacation in Atlantic City. I shall remain there until you wire that they have returned home. John Adele, do you realize that this is my Mother, Father, Brother and sister that is coming to see me? Adele Perfectly my dear husband, and am I mistaken in presuming that you expect me to close my door to my friends and set here and entertain a lot of silly ignorant Hickville corn- huskers? » John Adele, you had best not go to far with this nonsense. You had better let me explain. Adele Explain? Explain what? I have exerted every effort since we have been married to make your home what the home of such a man should be. A home of culture and refinement and now that I have succeeded you expect me to open this home to people who 259 never saw the inside of a drawing room. People who chew snuff, spit on the floor, eat with their knives, smoke corn cob pipes and talk of nothing except cows, sheep and hog pens. John Adele! Adele Oh I have read some of the letters they have written you.... Dear John we air sartn glad to hear you are gattin along so good. We jist knowed you could do it. Rubbish. And you imagine for a moment that I will entertain a bunch of rubes like that? No thank you. And now if you will excuse me I will go and prepare to....(start UL) John (grabs her wrist and throws her down L) You'll stay right where you are and listen to me. . Adele (releasing herself) How dare you. John Not a word, you have been doing the talking. I want to find out just who and what you are. If you are a woman or a fiend. I want you to know that my people have scrificed more in order to make this visit then you would sacrifice to save a fellow being from hell. My father and brother have worked day and night, have sold one of the teams. My sister has been doing the neighbors sewing and my poor old mother has been taking in washings all to raise money to make this trip. Money that I should have sent them. Money that I would have sent them except for your idiotic objections. But nevertheless they are coming to my home and while they are here, you are going to make them welcome. Adele That means that you intend to force me to remain? John If necessary Yes....0h Adele, it is not going to be necessary for I know that you have simply been hasty. You are only excited and nervous. Why Adele don't you realize how impos- sible it would be to do as you suggest. Do you suppose for a moment that our friends would even condescend to recognize 260 us again. If they should learn that we had denied my father and mother admittance to our home? Can't you see how foolish it would be? And I know that after you have tho't the matter over you will realize that you are being foolish and unreason- able. I will leave you now and prepare to meet them. (starts UR) And by the way Adele, the friend who came to inform me that they were coming has gone to the station to meet them, they will be here shortly. Adele And who was the obliging friend. Another cornhusker? He will be one of the party I presume? John Undoubtedly as he is engaged to my sister Nan. However he is not a cornhusker...was at one time. But at present he is connected with the Pinkerton Detective Agency. His name is Henderson. Cal Henderson. Excuse me please. (ex) Adele (starts slightly at Hendersons name, but contols herself until John ex) Henderson, Cal Henderson, Coming here (goes to door Right Donald, (walks up and down until he enters) Donald (enter) Well what's the row? ADele Slaters people are coming here. Donald When? Adele In the next half hour. Donald Well let them come, they won't hurt anyone will they? Adele No, but there is someone coming that might cause us consid- erable trouble. 261 Donald Who is it? Adele Cal Henderson. Donald Cal Henderson! The devil. What's he coming here for? Adele He's a friend of his people, engaged to his sister. Donald How long will this family reunion last, do you suppose?- Adele If I don't get rid of them in less then a week it won't be because I don't try. Donald Do you think it is safe for you to meet Henderson? Adele Never met him but once in my life. The nite he spoiled the Tilden job it was dark as the ace of spades. I never saw him and he never saw me. You said that's who it was and ‘ that's all I know about him. Donald Well, I've met him several times, so it' 5 up to me to fade out of the picture until the party is over. I'll go over to Brooklyn and stay there until you phone me that the coast is clear but I'll need some funds. Adele You'll find a couple of hundred in the top drawer of my desk, take that and I will send you some as soon as I hear from you. Better hurry now, he will be coming before long. Donald Well don't force your society on Henderson to much. They say he is rather good at remembering voices. And if-he ever 262 gets wise as to who you are, you know what it means. You'll hear from me by noon tomorrow. So long. (ex left) Adele So long. (looks off R see John returning) Returning, all prepared to meet the bunch. (ex LUE) John (enters from R just as Adele ex L) Adele: (she pays no attention) Adele Nonsence. Why can't she be reasonable (goes down R) Bradley (ent arch) If you please sir, there are some people in the door that saythey are.... John (excited) That's all right Bradley, just show them in. Bradley Yes sir but they say they want to come in one at a time and be announced separately and I did not think... John That's alright, you do just as they tell you. Anything they say goes, you understand? Bradley Yes sir (ex) John (sits at desk with back to door) Bless their hearts, want to come in one at a time so I won't know they are all here. Well I'll have to pretend I am surprised. Bradley (steps inside arch) Mrs. Slater John (pretends surprise) Who me?' (rises sees Pa) 263 Pa (ent) John, John, my boy (holds out arms) John (to him) Father where in the world did you come from? Pa Wasn't expecting me, was ye John? John Expecting you, I should say not, how in the world did you find the house? Pa Well I cum in one of them derned buggies that goes without being pulled. John Oh you mean an automobile. Did you come alone or did some of the folks come with you? Pa (starts snapping finers to get Bradley attention: When he does not appear looks to arch and snaps more loudly) Well you see John we just tho't as how you might be crowded and nt not have room for us all we jist, (becomes exasperated) Gosh dong it John, whays the matter with that hired hand of your'n. Bradley (enters, steps inside arch) Mrs. Slater. Mrs. S. (enters arch holds out arms to John ) John, my boy, my boy. 'Bradley .(exit arch) John (to her, takes her in his arms) Mother, Mother, I'm so glad to see you. 26A Mrs. S. I knowed you'd be John, my boy, my how well you're looking. Did we surprise you John? John Surprise me, I'd say you did. Did you and Father come alone and leave Lun and Nan.... Bradley (enters, same bus) Miss Slater (ex when Nanenters) Nan (enters, to John kisses him) )Mrs. Slater joins Pa in L corn, they watch to see if John is pleased) Well John we finally got here. John (embraces here) Nannie little sister. You don't know how glad I am to see you. Bradley (steps inside arch) Mr. Lun Slater (ex) Lun (Follows Bradley on) (Shakes hands with John, they ad lib until the laugh dies down) John Well Lun, how are you? Lun Just like an old cows tail, always behind. John My folks, this sure is a nice surprise. Lun I figgered it all out John, they all wanted to come bustin' right in to once't. But I allowed it would hit you harder if you didn't know we was all here. 265 John And your plan worked just right Lun. (Nan in R cor, Pa and Ma in R. Cor. John and Lun C) Pa (Indicating hat) Ye see I wore her alright John, fust time I've had her on since you sent it to me Christmas. John Well it certainly looks mighty nice on you father. Mrs. S. Don't you think my furs are purty John? John They certainly are very becoming Mother. Nan Say John, didn't they cheat you on this dress (takes off cape or coat to show underwear beneath evening gown.) John Cheat me, how? Nan Why it ain't all here, my underwear shows. John Yes Nan it's all there. Lun There now Nan I told you it was. That's the style. The less there isthe more stylish it is. But say John (indicating bathrobe) What in thunder is this overcoat? John No Lun that's a bathrobe. Lun Oh you mean you use it to go swimming in? Shucks I always just strip down clean when I go swimming. By Jiggs, I believe 266 I could swim better in that thing Nan has on them I could in this one. John Well, never mind Lun, it's alright. Cal (ent. from arch)(goes between Lun and John) Well, folks, did you surprise him? John Surprise me, I should say they did. Pa Say John, where's your wife? John Why she's about the house somewhere, you'll meet her pre- sently. Mrs. S. She hain't washin' the supper dishes is she John? If she is Nan, you and me had better go out and see if we can be of any help. John No Mother she isn't washing the supper dishes. And that reminds me have you folks been to supper? Nan Oh yes we brought everything we needed to eat with us right on the train. Oh Lun where's our satchels? John The servants will bring them in presently. Nan Say John, I saved you some pie and a piece of friend chicken and some cake, it's in my satchel, and Ma she's got..... Mrs. S. Now Nan don't go to tellin him what else we fetched him, just wait until we can show him. 267 Lun They sure air nice and warm John, I held the yarn while Ma... Pa Lun, you shut your mouth or he will guess just what it is. Lun Why shucks I didn't say nothin about mittens did I? Pa Lun now gosh ding the luck, you've gone and spoiled everything. Lun Oh well, he'd a knowed about it anyway, and say Cal, Nan made you a ..... Pa Lun, if you don't shut your mouth I'll take you out to the barn and trim yer hide. Adele (enters L and starts R ignoring everyone) John (stops her C, Lun crosses RC, Adele is L of John ) Oh Adele, just a moment please. Adele this is my Father, Father this is my wife. Pa I sure am proud to know you Mum (holds out hand, she ignores it) Adele So good of you to say so. Pa (does not understand, drops back to L cor) John Adele, this is my Mother, Mother this is my wife. 268 Mrs. S. (goes to Ad, tries to kiss her, Adele rebuffs her) So this is John's wife. Well I do hope we hain't going to be a bother to you and put you to a lot of trouble. Adele You will not bother me in the least I assure you. Mrs. S. (returns to L cor hurt) John And this is my sister Nannie.‘ Cal (has noticed Adele's behavior and has been talking in pan- tomine to Nan) Excuse Nan please John—--she's been telling me a funny story. John By the way Cal, you've never met my wife have you? Cal (thinks he knows her, stops, puzzled) If I have I can't remember just where. Adele (Sarcastically) So sorry MR. Henderson. John Oh I almost forgot, this is my brother Lun. Lun (to Adele, trips on bathrobe, falls roughly toward her, grabs her hand, shakes heartily) Hello Sis how are you? Adele (finally wrenches away) You idiot (looks them over) So this is the bunch, is it John? 269 Lun Yes, we're all here cepting the cat and it had kittens. Adele (looks them over, laughs heartily, continues until Lun begins) 2 Lun (starts laughing as loudly as Ad) Adele What are you laughing at? Lun (innocently) Nouthin' what you laughing at? Adele At you, you Billy Goat. Lun Well if I'm a Billy Goat, you're my sister and a sister to a Billy Goat is a Nanny Goat BAAAAAAAAAAA(Finger under chin bus indicating whiskers. Long loud laugh) Curtain 270 ACT III (Same setting as Act II. Nan is monkeying with piano, lamp, dial of phone or anything else that is handy. Pa is seated on R of chair reading paper.~ Mrs. S. on R end listening and knitting. Lun on floor center looking over book. Pa (reading from paper) The speech was one of the most pow... er...ful one of the most in...fle..en..tial that has been made during the Nan, what is this word? Nan How do you spell it Pa. Pa C-A-M-P-A-I-G-N (slowly) Nan Campaign. Pa Well what's the G fer. Pain spells pain doesn't it? Nan The G is silent Pa. Pa Well if they don't want to use it, what in thunder have they got it in there for?...(reads) During the campaign. Proving beyond all doubts that Slater has made akereful study of the sit-u-a-tion. He was to all appearance inspired. Mrs. S. Why I tho't he said he was going to be right here in town. Pa So did I, but, it says here just as plain as anything that he was in---spired (reads) and presented his arguments ina mas-- ter--ful way. , Nan (wandering, drumming on piano, pulling lights off and on etc) 271 Pa Nan, stop that, you're making me nervous (reads) and pre—- sented his arguments in such a masterful way that even the most obstinate was continued on page 7. Now what the tarna- tion do they mean? Even the most obstinate was continued on page 7? Mrs. S. I expect it's something about politics. John will be able to tell you all about it I recon'. Pa Well John must of made a mighty big speech or there would never been nothn' about it in the paper. Lun Nothin' in there about us coming to see John is there Pa? Pa Lord no lun. Why the feller thats prints this paper wouldn't know me if he was to meet me right on the street. Lun Maybe not. But I seed a feller yesterday that thought he knowed me alright. Nan Who was it Lun? Lun I don't know. It was when I went across the street to get the sack of peanuts, there was a feller settin there and he hol- lered at me. Nan What did he say? Lun He said "Hello Rube" Mrs. S. Well I declare. Now may be he took you for Rube Larkin. You know he was here once, stayed most a month visiting his Aunt. 272 Lun Well I fooled him alright, I just hollered right back "Hello" yourself and I never let on but what that was my real name. Mrs. 8. Now Lun you ort not to have fooled him that way. When he tried to be so friendly like. Lun I think there was a circus or camp meeting in town yesterday. Nan What made ye think so Lun? Lun Well when Cal took me down town we went on the main road, and gee gosh but there was a big crowd. But it didn't look to me like anybody knowed which way the parade was, fer some of them was hurrin' one way and some the other. Nan Did you get to see it Lun? Lun No Cal said we wouldn't have time to. John (ent. R comes C) Well, Good morning All. Mrs. S. Good mornin' John. How are you fellin this morning? John Pretty good thank you Mother. Pa I reckin yer kinder fagged out after making that big speech last night hain't ye John? John Well I do feel a little bit worn out Father. 273 Lun Hain't breakfast ready yet John? John Breakfast? Why haven't you folks been to breakfast? LUN No and I'll bet $A.00 my stomach thinks my throats cut. John Are you sure they know you are ready for breakfast? Lun You bet they know it. I went and told the cook I was hungrier then a wildcat, and he said we'd have to wait until they get the table set. John The table set? Where? Lun Where he always sets it, in the kitchen. John Do you mean you folks have been eating in the kitchen? Lun We do, when you hain't here. ' Mrs. S. You see John yer wife said as how she didn't like to use the regular dining room only when you was here. Lun I don't give a dern when we eat, just so's we eat. I was so dern hungry when we went to bed last night I'd a et in the barn if I could. John What do you mean by saying you were hungry last night. Didn't you have your supper? 27A Lun I smelled some of it but that's as close as I got to it. Pa Lun don't talk so much will you? Lun Have to do somethin' to keep alive. If I stop eatin' and talkin' both what in thunder.... John What time did you have dinner? Lun I don't know what time it was, but gosh dern it I couldn't eat much. I don't like bacon it to dern fat and the bread was dry as chips and no butter to put on it. Cook said he was out of butter, and you know dern well I never could drink my coffee unless I had cream and sugar to put in it. Mrs. S. The cook said as how the milkman didn't come Lun. Lun Then the cooks got a cow of his own, fer I seed him taking dinner into your wife John and there was fried chicken and hot biscuits and butter and milk and everything. Nan Well I'm sure I got plenty. Lun Like heck ye did. What did you say to me when we went upstairs last nite? Pa LUN...LUN...will ye shet up? Lun Will when I get something to eat. 275 Pa LUN! John You folks wait here a moment and I'll see if the breakfast is ready. (starts up RU) Lun If the hens has laid an egg grab me one, John. Pa Lun do you want me to tend to you? Mrs. S. Now John, don't go to any trouble, cause I'm not a bit hungry. John Never mind Mother, I'll return in a moment. (ex RU) Mrs. S. Now Lun, see what you've went and done, John and his wife will have another spat just on account of what you've said. Lun I don't give a dern, I don't like her anyway. Pa Mother don't you think it would be better if we just got ready and went back home. It just seems like John's wife hain't ever goin' to take to us some way or other. Lun Why Pa I tho't we was goin' to stay fer two weeks. Mrs. S. We was Lun, but some way I feel kinder like yer Pa, and I expect it would be better to do as he says. Cause I expect she fusses at John quite a bit on account of us being here. Lun I know she does fer I heard her. 276 Nan What did she say Lun? Lun on John was asking her why she didn't treat us better and why she didn't want him to show us around. And she said "Well if you want to show off that bunch of freaks why don't you hire a hall and charge people to see em? She said she knowed folks that would pay a dollar just to get a look at us. Well by gosh she hain't going to put me in no cage I kin tell her that. Nan . Oh she don't like us I know that. The other morning I passed her in the hall and she shoved me out of her way and I fell again that thing they hang their hats on, hurt my shoulder too. Mrs. S. Ye didn't say nothin' to John about it did you Nan? Nan No, but I'd a notion to. Lun Well she had better never shove me thataway er I'll swat her one. You notice she don't call me Billy Goat anymore. Pa Well, I expect the best thing to do is to go on back home then maybe they'll get along alright. Lun We'll have to go or do somethin' purty soon, unless John can fix it so we can eat once in a while. Mrs. S. Well the best thing is to go on back home like yer Pa says. Adele (ent. from UL, goes to Nan gives her a push) Will you get away from that lamp (piano, radio) and stay away from it? 277 Pa Nan I told you not to bother it. Adele Well never mind what you told her, just see that she does what I tell her (to lun) and place that book back in the case, I wish to close it. Lun I'll put it back when I get through with it. Pa Lun put it back now. Lun (rises holds book to ad, drops it as she reaches for it) alright put er back I don't care there hain't a dern picture in it anyhow. Adele You ought to have your jaws boxed. (rings for servant) Lun Maybe so but don't ever try boxing them or the doctor will tell you you need medicene of some kind. Pa LUN! Bradley (enter LU) 'Adele Place this book back in the case, lock it and bring the keys to me. (ex LU) Lun And say Bradley if you ever get her in the woodshed, lock it and bring the keys to me. 278 Bradley (smiles inspite of himself and ex. LU) Lun (ex after him) Think yer dern cute don't you. Mrs. S. ’ Now Lun it hain't his fault he has to do as he is told. Lun Well I told him to do somethin' yesterday and he never paid any attention to me. Nan What did you tell him to do Lun? Lun Told him to bring me one of them Nanners from the pantry and he let on like he never heard me. Pa Well Lun, he hain't got nothin' to do with that part of it, you see, each one of them has just certain things to tend to and one doesn't dast meddle with what tother one does. Bradley (enters from arch) Mr. Henderson (ex out arch) Cal (enters arch ex to C) Good morning everybody. How are you all feeling this morning. Lun I don't know how the rest of them air feelin' but I'm purty dern hungry. . Cal Hungry. Well I feel sorry for you Lun for it's almost two hours until dinner time. Lun Hain't carin' nothin' about my dinner, I want my breakfast. 279 Cal Breakfast why haven't you... Pa Lun I told you to keep your mouth shet didn't I? i Nan Say Cal we want to thank you fer takin' us to that show last nite, it was jist grand. Lun There was one skunk there I'd like to punch in the snoot, that feller that choked that purty gal and took her baby away from her. Gosh he was mean. Cal Well I'm glad you liked it, we'll go to another one tonite if you are all willing. Pa We sure would like to Cal but we are thinking some of going back home today. Cal Today? Why I thought you intended to stay another week. Mrs. S. We did Cal but you see we are kind of worried about the things at home we jist left things for the neighbors to look after and there ain't no tellin'...... Lun Oh Cal that hain't the reason we are going, it's jist cause John's wife .... Pa Lun, I'm going to blister you if you don't keep quiet. John (enters from r takes C) Now then folks if you'll come with me your breakfast is already. 280 Lun Air we going to eat in the kitchen or dining room John? Pa Lun will you shut your mouth, come Mother, come Nan, come Lun. (ex r) (Mrs. S. follows Pa out R) Lun (starts) hain't you coming Nan. Nan I'm not hungry. Lun Well John may not be here at dinner time, you had better come and fill up (ex R) John Better come and have a cup of coffee Nan. Nan Thank ye, John but I have a headache and don't care for anything. John (goes UR, stops) Don't go away Cal I want to see you pre- sently. Cal Alright, John. John (ex UR) Cal (places chair, sits near Nan R Corn) Nan, what did Lun mean by saying that you were going home on account of John's wife? Nan Oh nuthin' Cal, we jist hain't her kind and ofcourse she don't like us and ye kain't blame her, she jist kain't help it I reckon', we ort never to have come in the first place, 281 we don't know how to act in high tone company, she nags John about us all the time and he has to try and please her too. Cal Well I'm surprised at John Slater that's all I can say. Nan It's our fault Cal, we ort to have stayed home where we belong. Cal I'd like to see the color of a woman's hair that would make me mistreat my folks. Nan That's what a lot of men say before they are married Cal, but after they get married things are different, it jist goes to show ye Cal they are different kind of folks and and thems thats alike ort to stay together, it won't do fer ignorant people to try and get along with eddicated folks, there ways air different and you kain't change em'. Cal That maybe so Nan, But people of refinement are to well bred to mistreat anyone, no matter how ignorant they are. Nan Maybe so Cal. Fore ye left home you told me ye were coming back fer me someday and we'd be married didn't you Cal? Cal You bet I did and I meant it too. Nan Well since I've been here Cal I've found out it won't do fer me to marry you., Cal Nan what do you mean? 282 Nan You've made friends Cal the same as JOhn has, their rich and eddicated and they would never take up with me Cal, you know they wouldn't, you couldn't go to their homes because I wouldn't be fit to go with you and ye couldn't ask them to our home because I wouldn't know how to treat them and they would quit being your friends and it would be all my fault. Cal You think it would be better to call our engagement off? Nan I know it would be best for you Cal, cause you air a city man now and it won't be long until you are rich and I will jist stay on the farm where I belong. I'll never gorget you Cal, you've been mighty good to me, But I'll know I've done what is best fer us. Cal But how about you Nan? Is there someone else that you could learn to care for? Would you be happy withsomeone else? Nan I'll jist be happy Cal knowing that I've made you happy, but I'll never think about being happy with anyone else Cal, People don't love but once do they Cal? Cal No Nan, I don't believe they do, but as you say, it would be better for you to stay on the farm and do you know why? Because I'm going to be there with you (laughs) Why Nan it wouldn't make any difference if I was the richest man in the world, I'd never be ashamed of you. Nan, I have been a city man yes, just long enough to find out that it doesn't suit me, and if you will jist glance over that (takes legal docu- ment out of pocket, hands to her) You'll see I've bought the old home back, the men are at work now remodeling the house and we're going to live where we belong, for I'm a farmer and so are you. Now how does that suit you little girl? Nan Cal air ye in earnest or am I jist dreamin'? 283 Cal No Nan you are wide awake. Nan Cal I'm so happy I'm afraid I'm going to cry. Kin I have a cow (Cal nods) and some pigs (Cal nods) and some chickens (Cal nods) and a horse and buggy? Cal. Nope....No horse and buggy. Nan Why Cal how kin I get to church? Cal Oh I'll see that we get to church alright....I've already bought it. Nan Boughtwhat? Cal A Ford! Nan 0h Cal, can I learn to drive it? Cal Well if you can't we'll put a halter on the dern thing and lead it. John (ent R) Nannie will you leave Cal and me for a few minutes please. Nan Ofcourse, John (ex RU) Say Cal don't tell John what we are going to do I want it to be a surprise fer him. Cal Just as you say Nannie. (egaRU) 28A Cal Well, old man, what' on your mind? John I was just trying to figure out how I've managed to deceive the folks the way I have. Cal Deceive them? In what way JOHN? John By making them believe I am a man. Cal Come, out with it old man what is the trouble? John Oh you know what it is, but you are to kind, to generous to mention it. They've been here a week now and I haven't been off the place with them . They would have seen nothin', would have been no place at all but for you. Cal Well you've been pretty busy. John Busy, nonsence. A man is never to busy to find time for pleasure that was only an excuse, a lie. I lied to them and I lied to myself. My wife forbade me to appear in public with them, so I remained at home. She refused to eat with them so I allowed her to eat in her room. And worse of all I learned today that while I have been away from the house they have been treated like beggers forced to eat in the kitchen, and last night they were sent to bed hungry, without their supper. Cal Well, I'll be dammed. John Cal, do you know what I've about made up my mind to do? 285 Cal Well I know what I would do if I was in your place. I'd simply raise hell. John Just what I'd like to do, but if I once started no telling where I would stop, and you know how Mother is, anything of that kind would worry her into a spell of sickness. Cal Yes that's true, but John you have got to do something. Ofcourse, I noticed that things were not going right, but I never dreamed they were as bad as you say. I wasn't very favorably impressed with your wife the first time I saw her, didn't like the way she received the folks, but I supposed she would at least treat them decently. John, perhaps a good straight talk would help, I doubt it tho', for as a rule city wives and country relation are a rare mixture. That is just what Nan and I were talking about when you came in and we agreed it wouldn't work. John Cal, you don't mean that you and Nannie have agreed to break your engagement. Cal Hardly, but we did agree that in order for us to be happy, I'd have to go back to the farm and that is just where I am going. John No wonder you make a good detective. You've got the grit, the courage that it requires to be a man. Cal No it isn't that John, I'm in love. That's the answer, but now in regards to your trouble, if you think you want to have a heart to heart talk with your wife, I'll promise to keep the folks out of the way. John (starts R) I'll send the folks to you in the library, you know the way. 286 Cal I'll join them there right away. John Thank you Cal (ex R) Cal If that hyena ever gets John mad enough to start cussing once, she'll wish she had served the folks a banquet three times a day. Adele (ent UL) Ah Mr. Henderson to what are we indebted for this early call. (down L) - Cal I'm in love Mrs. Slater and couldn't sleep, I started over at 6:00 but tho't I'd better not wake you folks up to early. Adele (sarcastically) In love....with Nannie ofcourse. Nan.... well I can't blame you for that, the name alone would inspire most anyone. Nan....so romantic....so poetic....,Nan (laughs) Cal Sure sounds good to me, but as to that there isn't much ina name after all. Why Iarrested a woman the other day for bootlegging and when the judge asked her what her name was she said Adele. Adele Are you intending that as an insult Mr. Henderson. Cal Depends some on just what you meant by ridiculing the name of the girl I love. Adele It might be well for you to remember that you are talking to the wife of John Slater and you are at present in his home. 287 Cal Well you can impress upon your mind the information that I don't have to remain in your home unless I want to, and also that is the wife of John Slater or the wife of anyone else imagine thats she can insult me or any of my friends without my resenting it, she has tackled the wrong boy. Adele Insult. Insult Nan or Pa or Ma or Lun. (laughs) I wonder if that would be possible. Cal Your very present is an insult to them...you're even an insult to your husband's friends, for they are mostly people of refinement and principle and such people respect and honor old age and honesty wherever they find it. But you have no heart you are not even a woman, you are nothing buta fiend, a vipor. Adele Left alone, the vipor as you term it, is harmless. Trampled upon or roused to angry, its bite is death. I presume we understand each other Mr. Henderson? Cal Perfectly, I understood you, Mrs. Slater, the first time I met you. Otherwise I would never have talked to you as I have. I was convinced that I had met you womewhere before. But I could not remember where. That is the second time I have been warned by those same words, Mrs. Slater. ‘ Trampled upon or roused to anger, its bite is death. (X up to arch L) We have met before, Mrs. Slater. I don't know where, but I'm going to find out. (Exit) ADele (exits up after him; registers agitation) Donald (enters Lue) Well, you've played hell now, haven't you? Adele What are you doing here? 288 Donald Thought I saw Henderson leave the house half an hour ago, so I slipped in, heard him talking. So I waited in there and listened. How much time do you suppose he will loose now in finding out what he wants to know? Adele Oh I know what he'll do and I realize I was a fool. I remem- ber now I said those very words to him that night at the mansion. The only thing to do now is to arrange for him to take a trip. Donald Fat chance we've got of sending him on a trip. Who's going to do it? Adele Hicks and Jim are both in Chicago, wire them. They can reach here tomorrow night; give them the dope and tell them if necessary to go the limit. Donald You understand it's going to put a crimp in your bankroll to do all this? Adele It'll put ruffles in it if this young Henderson finds out what he wants to know. Donald And all this simply because you've made a fool of yourself about Slater's people. They wouldn't have hurt you and they'll only be here a short time. All you had to do was to do was to play the game, make him think you were tickled to death on account of their being here and then you could have had him eating out of your hand. As it is you've got him sore and it's going to be a dammed hard job getting him in a good humor again. Adele I Well what's the use of arguing. I hate a rube, always did, always will, and this bunch of hicks gives me a headache. 289 Donald Yes——and we may be lucky if we don't have anything worse than a headache. Adele Well get busy and send the wire. Let me know the minute they hit town and we'll arrange everything. Now hurry. Donald (Exits UL) Well, make a try at doing something sensible for a while. Play the game to win and you can give those hicks the stony stare. Adele You keep cases on Henderson and come back when you're sure it's safe. Hurry. (He exits LUE) (She Exits OnL) John Adele! Adele Yes, what is it John. John I want to ask you a few questions if you feel disposed to answer them. Adele Ofcourse, John, as many as you like. John What are your objections to having the folks served in the dining room? Adele Why John dear I have no objections. Where did you get such an idea? John Then why have they been served in the kitchen? 290 Adele I was not aware that they had been served in the kitchen? John I learned quite by accident that they have been. Adele Are you quite sure it was not the breakfast room, John? John I was informed it was the kitchen. Adele Possibly your informant was not sufficiently familiar with a breakfast room to realize the difference. John You have served them in the breakfast room then? Adele I Why yes, JOhn, when you are not here. John For what reason may I ask? Adele For the same reason I use it myself when I am alone. If find it quite desirable. Have the folks been complaining about it? John By no means. Adele I explained to your Mother that I disliked to use the regular dining room except when you were here. She seemed to think it a very good plan. John I myself think it a very good plan. But I wonder why they had been served in the kitchen. I could not understand. 291 Adele You were certainly misinformed, that is all John. John And tell me, is it true that they went to bed last night without their supper? Adele If they did it was their own fault. They did not get up in time for our regular breakfast. I had Lester serve them after 10 o'clock, then arranged dinner for four. Hardly expected they would require a regular supper so informed them if they felt hungry to go to the kitchen and get a lunch. I only intended for them to feel at home. Did I do wrong, JOhn? If so, I am sorry. John I am afraid it has been a misunderstanding, Adele. Altho they made no complaint. Lun was the only one who mentioned it, said he went to bed hungry. Adele Perhaps it was my fault. But I suppose they would so as I told them. I ate a sandwich myself and left everything where they could have no trouble in finding what they wanted. John It was simply a misunderstanding. I will explain it to them and I am sure they will feel more at home after this. But Adele, suppose you have a talk with them and explain and perhaps, it will put them more at ease. Adele Why sure John, they do not feel I have been mistreating them, do they? John I hardly think so. But you know Adele this is all so new to them and they possibly feel that they are putting you a lot of trouble and that they are in the way. And I am sure that if you would only talk the matter over with them and explain just how you want them to make themselves at home they would feel much better. Will you, Adele? 292 Adele Why to be sure I will, John. For to tell you the truth, I am ready to admit that I've been a very foolish woman to object to their coming to our home as I did. They are ignor- ant in our ways, yes. But they are dear, honest, lovable people and I want to do everything I can to make up to you and to them for the disgraceful way I treated them when they first came. John Thank you so much, Adele. I was sure you would learn to love them after you once became used to them. I will find them and send them you and I am sure that from now on every- thing will be agreeable and pleasant for all of us. Excuse me please. (exit LUE) Adele (looks after him, turns front) Now that's what I call put- ting it over. (Laughs looks off R) Well, here they come, the barnyard parade: CORNBREAD and cabbage, buttermilk and greens. (exit above davenport) Manuel (enters RUE, followed by Mrs. S, Lun, Nan, in single file, remain in formation until each has spoken. They stop as Manuel comes C) John sent us, mum, said as how you had a few words ye wanted to say to us. Now we don't want no apoligizin mum, that started it in the first place and we want ye to know we don't feel hurt about nothing. (ex DnR) Mrs. S. (ex to Adele) Why law no, mum, we wasn't paying' no tention to nuthin. And eun's always ajoking that away bout somethin but I wasn't a mite hungry. (ex toward Manuel) Lun (ex to Adele) Well any old time I'm starvin to death it haint no joke and I was derned hungry I coulda et a raw pertater if I coulda got one. (ex LC) Manuel Lun Adele And you Nan? 293 Nan I felt kinda hungry, but I never meant to say nuthin bout it. But down where we live we feed a dog if we think he's hungry and if its cold er stormin we sometimes let him sleep in the house; that's just human. But then if yer sorry I sure think alot more of ye than I did. (ex Dn) Adele I am sorry Nan and I only wish you were going to remain longer so that I could have an opportunity to prove how sorry I am. And I told John awhile ago that it seemed a pity to allow you folks to go home today just when I was beginning to like you. Manuel Why did John know we was afigurin on going home today? Adele I presume so. Mrs. S. Why, you didn't tell him, did ye Lun? Lun No, ner nobody else told him nuther. And I bet $A he don't know nuthin bout it nuther. Adele Well, maybe not. But at any rate we were talking and he said ofcourse he hated to see you go today but that he had so many important engagements right at this time that it would be impossible to have you remain any longer. Nan And is he expecting us to leave today? Adele I think that is his plan. Infact he and I both had arranged to start for Chicago tomorrow. Manuel We hain't been in the way, have we mum? John don't feel like we ortn't to cum, does he? 29A Adele Oh no, not that exactly. But we were just talking things over and ofcourse you know a visit is a visit and we didn't suppose you intended making this your home. Lun What? And starve to death? Not on your life. Manuel Lun, never mind. Adele And besides as a rule people don't stay until they wear their welcome out. Lun Well it wouldn't take'em long to do that here. Manuel Lun, you keep quiet. Mrs. S. Why, did John say as how we was wearin' our welcome out? Adele Oh it is not always what one says it is what one thinks. Lun Well if you ever think anything ye don't say, I'd hate to here what it is. Manuel Lun, will you watch yer mouth! Adele Let see, you've been here a week now, haven't you. Lun Yes and I feel weak too. 295 Manuel Lun, do ye want me to tend to you? Adele I think there is a train leaves about 1 o'clock and if you really intend going, I could have Lester prepare you some lunch in time. Mrs. S. on, we wouldn't think of puttin' you to any trouble about lunch we kin git some cheese and crackers and some sardines er somethin to eat on the train. I reckin we could git ready by that time, don't ye think so father? Manuel I guess we kin mother. Is John here, Mum, we'd like to see hime afore we go jist to say goodbye. Adele Oh to be sure. I will send him to you. But it would be b better not to let him know we have been talking about your going, for he feels so badly about it anyway. Infact we both just hate to see you go. Lun You kinda hate yourself some time don't ye? Manuel Lun. Did you hear me tell you to keep quiet? Adele And now do you think of anything else you want? Lun All I want is to git out of your sight jist as quick as the Good Lord'll let me. Manuel Lun, I'm going to slap yer jaws if ye don't shet up. Adele And the next time ye come, drop us a line. Don't take us so by surprise and we'll be so glad to see you. 296 Lun Well you'll never see me again if I see you first, I kin promise ye that. Adele You're such a funny little boy. You remind me so much of an idiot. Lun Well John's a bigger idiot than I be er he never would married such a mudhenas you be. Manuel Lun, you better pay tention to what I'm saying. Lun Mebbe he thought ye was a cuke, though. Ye kain't hardly tell the difference till ye git right up close to 'em. Adele Well goodbye and be sure you don't forget anything. Lun Well, we'll never forget you thats a cinch. Pa Lun, I bin' a talkin' to ye. Adele Well goodbye-—becareful and don't get off at the wrong station. (exit R) Lun (calls after her) If they put me off at the slaughter house it will suit me bettern this place. Pa Mother do you believe JOhn feels like we ortn't to a come? Nan Well I don't and I don't believe her ever talked her about it neither. She just wants to get rid of us thats all. 297 Mrs. S. Why Nan she seemed to feel mighty bad about the way she had treated us. Nan She looked to me just like the old Grey mare of ourn used to look just before he got ready to left ye one with his left hind leg. They look that way just to fool you and then when they catch you not lookin they soak you a good one. Mrs. S. Well, anyway I expect it would be a good thing just to pay no tention to nothing and go on back home. Don't you Father? Pa Yes MOther it wouldn't do for us to stay any longer so we'll get our things ready (starts UR) Come MOther.. Come Nan.. Come Lun. (Mrs. S. and Nan follow him) Lun (starts toward R) Well the sooner I get home the better it will suit me. I just want one more chance to fill up on flapjack and sorghum. (goldfish bit) Adele (ent L.) Beautiful. Now unless that idiot of a Lun get a chance to tell John everything he knows I'll be rid of them today. John (en to C) Why Adele where are the folks? Adele Just this minute left the room. They wanted to see you. I told them they would find you in the library. John I was called to the phone. Did you talk to them Adele? Adele Yes JOhn I talked with them, but I am afraid myreport is going to displease you very much. 298 John Displease me? In what way? Adele They did not appear willing to accept my explanation. I was unable to convince them of my attention to make them feel at home. Infact they seem to resent my advances and said they were arranging to leave for home today. John Leaving for home today? Adele So they said. I never felt so badly in all my life. For I realize it is all my fault. I tried to persuade them to listen to me, to belive me, but they refused. John Going Home. Adele we must not allow them to leave in this matter. Something must be done. Adele I feel it is to late now to try and persuade them to remain. They have gone to get their things and to find you to say goodbye. John you don't know how guilty I feel about the matter. I must go and lie down. I couldn't bear to meet them again. I tried to tell them goodbye and they refused me that privilege. You will excuse me won't you John. John Certainly Adele. Go to your room. I will see them and try and change their plans. Adele I hope you succeed, indeed I do, Excuse me...please John. John (C dn L) going home.... Cal (ent C) Hello John 299 John Come in Cal. Cal (X dn. C) Where are the folks? John Upstairs drssing I believe. Cal Where are they going? John Home Cal Home? What happened John? John I don't know Cal. Cal When did they tell you they were John going home? They haven't told me, they told my wife. Cal Why Nan talked this morning as tho' they were going to remain another week. They haven't said going? John anything to you at all about Not a word. My wife had a talk with them a short time ago. Cal What about? Do you know? 300 John She said she was sorry for the way she had treated them and wanted to have a talk with them and get better acquainted and try to make them feel more at home. Cal Haven't you seen them since your wife talked with them? John No but she said they refused to accept her explanation and insisted on going home. Cal Strange. I never knew the folks to act that way before. John Nor I. Cal John, you keep the folks here anyway until I return. I won't be gone long, only a few minutes, want to phone headquarters, expecting a telegram, and in case you do not persuade them to change their minds, I will drive them to the station. John Alright Cal. Cal I'll be back in a few minutes. (ex C) John (looks into room where Adele made Ex, strolls dn L and sits) Pa’ (ent. UR followed by Mrs. Nan and Lun, dressed in Act II except, Nan has on third act dress, Pa goes to John, Lun dn R, Na RC, Mrs. about C) John my boy we don't want you to feel hard toward us but we jist have to be gettin' on back home. John Father, Mother what does this mean. 301 Mrs. S. It ain't nothin' John, only we been worryin about things at home, and we feel like we'll have to be gettin'back. Lun And ofcourse, John we didn't mean to make this our home when we came. Pa Lun, You had better not start talking, do you hear me? John Why do you say that Lun? Mrs. S. Oh he's always jokin' you know JOhn, he don't mean nothin' by it. John But MOther I don't understand on why you have decided so suddenly on going home. Lun There's such a thing as wearing out your welcome you know John? Pa Lun you had better pay some attention to me or you'll feel worse in a minute. John Lun, you are repeating something someone else said, who was it? Mrs. S. Oh he's heard me say it lots of times about some of the neighbors hain't ye Lun. Lun Yes and I've heard it other places too. Pa Lun you had better not go to far with me. 302 John But Mother, Father if you go like this you are going to make me feel miserable. Lun There Nan that's the word I was trying to think of last night when I told you my stumick felt so empty. MIS-ER-ABLE. Pa Lun, yer closer to trouble then you think. Mrs. S. Now John you musn't feel hard towards us fer we've all had a good time. Lun Yep I went all the way downtown once with Cal. bought a sack of peanuts, by myself too. Pa Lun I'm not going to waste much more time on you. Mrs. S. We hain't going cause we are made John. Lun No I'm just tickled to death. Pa Lun you had better not get me riled up young man. Mrs. S. Its just that we feel that we ortn't to stay any longer. Lun I'm skeered to stay any longer, Fraid she'd put rat pizen in my coffee. Pa Lun, I've stood about all I'm going to stand out of you. 303 John Father, I believe I understand why you folks have decided to return home and I don't blame you, not a bit. But for my sake I want you to remain just a few days longer. I have a reason, a very urgent one, for asking this. Won't you promise to remain? Pa No John we couldn't do it. But we are mighty glad we cum John and mighty glad to see you gettin along so well. But if ye ever get sick John, er have bad luck of any kind, just remember we'll always have room fer ye to home. Lun And if you have to eat in the kitchen we'll all eat there with you John. Pa LUN have you been a hearin' what I been a tellin' ye? John Mother, can't you persuade Father to stay just a few days longer? Lun Ye mean ye want us to stay here until you get back from Chicago? John Chicago? Who said I was going to Chicago? Pa Lun, you open your mouth again and I waill slap the day- lights out of you. (starts for him) Mrs. S. Now Father don't loose your temper. ‘Pa Well Goodbye John and don't worry now about us, we'll get along alright, Come Nan, come Mother. (as you start, John speaks) ‘ ' 304 John Just a moment Father (rings) I'm sure Adele will want to say goodbye. Lun It will tickle her more to see us going then it will to see us before we go. Bradley (ent. stops at arch) John Bradley, say to my wife that I wish to see her here at once, say it is very important. Bradley Yes sir (exits) Mrs. S. Now John you ortn't to bother her just to say goodbye, she might be mending or somethin'. Lun I'll bet shes at an upstairs window waiting to drop some bricks on us as we go out. Pa Lun, you'll think a whole load of bricks drops on you if you don't shut your mouth. Adele (ent. L come C ) You wanted to see me John? John Yes Adele the folks are going and I felt sure you would want to tell them goodbye. Adele Why, John I told you I just left them a moment ago I can't think of anymore to say to them. 305 Lun I know she can't John or she would have said it a while ago. Adele Why Lunnie how can you say such a thing? Lun Say you can call me Billy Goat or idiot or anything else you want to but if you ever call me Lunnie again I'll bite your ears off. Pa LUN John Adele how long would it take you to get ready'for a short journey? Adele That depends on where you intend going John? John I was thinking some of going home with the folks. Pa (John do ye mean it? ) ( Mrs. S. ) 9 (Oh won t that be nice. ) UNISON ( Nan ) ( Oh I'm so glad. ) ( Lun ) ( Sufferin' wildcats. ) Nan You kin use my room John. I just got a new rug made for it and Lun gave me a nice big mirror fer Xmas and Pa put in an extry winder and ye kin see the creek just as plain. Mrs. S. And the chickens air just about right fer frying and I expect yer Pa will be butchering fer long and we'll have plenty of spare ribs and sausage. 306 Pa And they say the fishin' is good along the creek now John. Lun And i've got a two year old mule yer wife kin ride to church. John What do you think of that Adele. We'll have a glorious time won't we? Adele You might possibly enjoy it John, as for me I shall remain at home. John No Adele you will accompany me. Adele Then you had better change your plans for I refuse to go. John Very well then, we will remain in New York but the folks will remain also. Adele Indeed and how long are we to be favored with their company may I ask? John (Phey will remain here until you do just what you promised me you would do. Adele Why John what do you mean? John I mean that you have deliberately lied to me. You met them yes, but only to humiliate and insult them as you have done every since they entered this house. You alone are responsi- ble for their determination to return home. You have made them believe that they were in the way, that we were tired of them, that we intended to leave the city. You have 307 - endeavored to starve them, you have treated them as dirt beneath your feet and insulting them you have insulted me and you have to apologize. Adele I suppose dear little Lunnie has told you all of this rubbish? Lun You're dern right I did. Pa, Mrs. S. Nan LUN! Adele Well, John, I am sorry but I do not feel that I owe either you or your dear people an apology, and if as you say you intend having them remain here indefinitely I shall engage an apartment at the hotel and remain there until you notify me of their departure. ' John Very well but you had better take everything that belongs to you for when you leave this house you will leave it forever. Adele Very well John, and by the way I anticipated something of this nature so I took the precaution of checking out the ,very handsome fortune you placed to my credit in the bank. Sent the check to the bank this morning with my lawyer. Just thought I should tell you so you wouldn't worry about it (laughs) Thanks so much John, it was so generous of you. John You are welcome to all that you can get Adele. There is nothing in the bank to your credit, never was and never will be. I will send you an allowance every month and that is all. Now if you have nothing more to say we will excuse you. Adele You will see that there is something placed to my credit or this will cost you every cent you have in the world.(st UL) Cal (enter arch) Just a moment you are going out this way. 308 John My wife is going to her room Cal to get her things packed. Cal You're mistaken John your wife, or rather this woman is going to police headquarters. John Cal what do you mean? Cal I'll tell you about it when I get back John. Right now the patrol wagon is waiting, come on Nell. Adele Who are you calling Nell? Cal YOU and don't get huffy or I'll put the bracelets on you... and don't worry you'll be in good company Donaldor rather Jerry is waiting in the wagon. Told you I would find out where I had met you didn't I. Se you later John and don't worry about any of this. This woman has marriage certifi- cates scattered all over the U.S. Lun Suppose she got them out of the Sears Roebuck catalog? Adele Well Goodbye John, so sorry I can't assist you in entertain- ing the bunch (laughs) Ta Ta Lun. Lun Yep, I'm Lun and you are done. Cal Come on (takes her out arch) Lun Be careful you don't get off at the wrong station. 309 Pa John does Cal mean that woman hain't your wife. John Yes father that is just what he means. Pa Then Mother I guess we can fix things up to stay another week can't we. John No Father, we're all going home tomorrow and I'm going to ask Flora the girl I love to marry me and then we are all coming back here to live. Lun You mean this is going to be our home? John Yes I do Lun. Lun And we can do anything we want? John You bet you can Lun. Lun And that Guy withthe stuff shirt has to mind me? John absolutely Lun Lun (rings for Bradley Bradley (enters arch stand just inside) You rang Sir? Lun Come here 310 Bradley Yes Sir. Lun Now get out. Bradley Yes sir. Lun (rings again, repeats bus, three times on third time. Now brings me that bunch of nanners. (kick bus, Bradley enters. CURTAIN APPENDIX D DETAILED DESCRIPTION OF THE ROSIER PLAYERS TENT 311 APPENDIX D DETAILED DESCRIPTION OF THE ROSIER PLAYERS TENT Because the canvas playhouse employed by tent-repertoire theatre is somewhat different than the traditional playhouse and because the tent seems to be conducive to this type of dramatic presentation, a more detailed description of the tent as a theatre is necessary. Apart from size and occa- sional "special" features, the appearance and structure of tents differ little. Early canvas theatres were regular circus tents which were large ovals designed to seat the audience around one or more performing areas in the center. However, when tent-repertoire troupes placed the stage at one end of the tent a large pole was directly before the stage which created numerous sight—line problems. Around 1920 a tent was invented which eliminated the bothersome center pole and allowed the companies more freedom in their production efforts.1 The average tent has a life span of five to seven years and, at present, there are only two companies in the United States which manufacture tents for theatre: the Rogers Tent Company in Fremont, Nebraska, and the Anchor Tent Company in Evansville, Indiana. The red lSchaffner and Johnson, p. ix. 312 313 cedar poles which hold up the tent and last indefinitely, may be obtained only from the Harry Evars Manufacturing Company in St. Louis, Missouri.2 There are two basic types of theatre tents; the push-type and the pull—type. The names indicate how the tent is raised. The push-type tent is raised by pushing up with the poles and placing them in position. The pull-type tent is raised by putting up the large center poles and attaching pullys by which the canvas is "pulled" up. A description of the procedure in raising the tent and setting up the stage of the Rosier Players is included here because no such description is available elsewhere. Three basic steps are essential in the assembly of a tent: laying out the sections of the tent and lacing them together; driving the stakes and raising the poles; and tightening the lines and the lashings. Harold Rosier has the push—type of tent which he regards as the best and easiest tent to raise. It is in three sec- tions: forty feet by forty—five feet; thirty feet by forty- five feet; and twenty feet by forty-five feet. The three sections are laid out end to end and laced together with rope, which is entwined through holes which run the entire forty- five feet width of each section. After being laced together, each section has a "rain flap" which covers the laced holes to keep rain from entering the tent. 2Rosier, February 7, 1969. 31“ There are a total of fifty-four poles holding up the tent: forty side poles, eight feel long; three center poles, eighteen feet long; six quarter poles, fourteen feet long; three stage poles, twelve feet long; and two stage poles, fifteen feet in length. Each pole has a metal spike on the end which fits into a grommet (metal eyelet) in the canvas. After the three sections of canvas have been laced together, forty side ropes (one for each side pole) are laid out straight in a perpendicular line from the tent. The side poles are then laid out next to the ropes with the metal spike end away from the tent so as to not rip the canvas. Next a stake is driven into the ground, eight feet away from the tent (the length of the side poles). Once the stakes are placed, the ropes are tied loosely to the stakes. The poles are then placed so the spiked end is in the grommet in the canvas. Then the poles are raised so that the bottom of the pole is slightly toward the center of the tent. The three twelve foot stage poles are placed directly behind the stage which is positioned under the largest sec— tion of canvas forty feet by forty-five feet. Next the two fifteen foot stage poles are positioned in front, on each side, of the stage and form the sides of the proscenium. The three large eighteen foot center poles are placed into position once the stage poles are set. After the center poles are up, the six quarter poles are placed into position. While the stage and center poles are set up in straight ver- tical lines the quarter poles should be placed, like the 315 ..l side poles, on an angle with the bottom of the pole slightly toward the center of the tent. All the large poles (with the exception of the side poles) have a hole in the pole just below the metal spike. To ensure stability, ropes, which are attached to the canvas, at the metal ringed hole, are threaded through the hole in the poles and then wound down around the pole and tied off at the bottom. The smaller side pole ropes are not threaded but are wrapped around the pole and tied off. Behind the stage of the tent a twelve foot pole is positioned approximately fifteen feet outside and away from the tent. From this pole extends a rope which threads through a loop on the tent located approximately half way between this outside pole and the center pole directly in front of the proscenium. This rope is pulled taut and lifts the canvas directly above the stage to eliminate the danger of a rain pocket above the stage. Once all of the poles are in position, the side pole ropes which are attached to the stakes, are tightened and tied—off while guy lines are run out away from the tent and attached to the front stage and center poles. When bad weather threatens, additional stability may be obtained by placing "storm lashes" on the sides of the tent. This is accomplished by placing small stakes half way between each side pole up against the side wall of the tent. A rope is then run|from the first stake up to the top of the side pole, then down to the next stake, then up to the 316 next side pole, until the entire tent is similarly lashed. This virtually ”laces up" the side of the tent. Water, which collects in pockets on top of the tent between the poles, is removed by pushing up on the canvas seams (where there is more strength) with a pole padded on one end so as to not rip the canvas. As with most companies the stage and bandstand are numbered and stored in a predetermined sequence on the stage struck. This facilitates the assembly and disassembly process which at one time was so important when tent-repertoire companies moved from town to town. The stage for the Rosier Players is twenty feet wide and fourteen feet deep with back— stage areas of eleven feet by twelve feet on each side of the playing area. The bandstand, located stage right, and shaped somewhat like an irregular triangle, is fourteen feet long and eleven feet wide at the large end next to the stage. The stage and bandstand, which are thirty—six inches high, are held up by adjustable A-jacks. The A—jacks are notched on the apex to hold the two by six boards which are laid directly over the A-jacks for support. These boards are notched on the top to hold the two by four braces which are then laid crosswise on them. The stage floor and bandstand floor is then laid. It is made of one by twelves each of which is pleated so that each board fits snugly and properly into place. The notches and pleates are important as they allow the entire stage and bandstand to be erected without nails or screws. 317 While the Rosier tent is somewhat smaller than many of the tents which toured throughout the United States from 1900 to 19U0 it is quite typical in most respects. Their scenery appears to be better than many of the poorly ill- equipped shows of the past. While he asserts that scenery in a tent theatre can be less elaborate than that employed for indoor theatres Rosier stresses that quality should be 3 evident in what is presented. Rosier, loc. cit. BIBLIOGRAPHY 318 BIBLIOGRAPHY Books American Country Life Association. Proceedings of the Thirteenth American Country Life Conference. Madison, Wisconsin, 1930. . Proceedings of the Eighteenth American Country Life Conference. Columbus, Ohio, 1935. Proceedings of the Twenty-First American Country Life Conference. Lexington, Kentucky, 19381 Archer, William. Play-Making. London: Chapman and Hall, Ltd., 1912. 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Unpublished Ph.D. dissertation, University of Illinois, 1963. 328 Sortomme, Richard. "The Indispensable Ingredient for the Production of Good Theatre." Paper written for independent study project, Aichigan State University, August, 1967. Wood, Ted. ed. Community Theatre News (Jackson, Michigan), 1960. Other Sources Brighton, Michigan. Letter written by Mrs. Nannie M. Woodruff to Harold Rosier, August 25, 1968. Fort Worth, Texas. Telephone interview with Jack Cogdill, March 12, 1969. Hillsdale, Michigan. Interview with Merritt Green, February 21, 1969. Jackson, Michigan. Letter written by Mrs. Gerald Jimmerson, August 29, 1968. Jackson, Michigan. Interviews with Harold Rosier, November 15, 22, 25, 1968; December 8, 1968; January 13, 27, 1969; February 7, 1969; April 22, 1969; May 23, 1969; June 12, 1969; July 2, 1969. Jackson, Michigan. Interview with Mrs. Ray Ludlow, February 21, 1969. Lansing, Michigan. Interview with Bert Arnold, March 11, 1969. Petosky, Michigan. Interview with Donald Nelson, November 18, 19680 St. Johns, Michigan. Interview with Mrs. Hila (Axtell) Bross, June 17, 1969. Ypislanti, Michigan. Letter written by Parker Zellers to Harold Rosier, April 22, 1969. HICHIGnN STATE UNIV. LIBRRRIES 1NWNWW“WWWIIHIH‘IIUWWI 31293102298506