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Belles of Canterbury : a Chaucer tale out of school : a play in one act for eleven girls / by Anna Bird Stewart. Stewart, Anna Bird. 400dpi TIFF G4 page images University of Kentucky, Electronic Information Access & Management Center Lexington, Kentucky 2002 b92-248-31689663 Electronic reproduction. 2002. (Beyond the shelf, serving historic Kentuckiana through virtual access (IMLS LG-03-02-0012-02) ; These pages may be freely searched and displayed. Permission must be received for subsequent distribution in print or electronically. Belles of Canterbury : a Chaucer tale out of school : a play in one act for eleven girls / by Anna Bird Stewart. Stewart, Anna Bird. Samuel French, New York : 1912. 20 p. ; 19 cm. Coleman French's international copyrighted edition of the works of the best authors, no. 246. Microfilm. Atlanta, Ga. : SOLINET, 1994. 1 microfilm reel ; 35 mm. (SOLINET/ASERL Cooperative Microfilming Project (NEH PS-20317) ; SOL MN05028.05 KUK) Printing Master B92-248. IMLS This electronic text file was created by Optical Character Recognition (OCR). No corrections have been made to the OCR-ed text and no editing has been done to the content of the original document. Encoding has been done through an automated process using the recommendations for Level 1 of the TEI in Libraries Guidelines. Digital page images are linked to the text file. THE BELLES OF CANTERBURY A CHAUCER TALE OUT OF SCHOOL 2l Plan in One Ect for Eleven 1trio BY ANNA BIRD STEWART, A.M. DLI)ICATll) l () M 1IS8 1) 0 I()I'l-IY' ('ON R F V CoPyRIrIII 1912 BY SAMUEL FRENCH NOTICE. -The Professional acting rights of this play are reserved by the publisher, and permission for such performances must be ob- tained before performances are given. This notice does not apply to amateurs, who may perform the play without permission. All professional unauthorized productions will be prosecuted to the full extent of the law. ALL RIGHTS RESERVED PRICE 25 CENTS NEW YORK SAMUEL FRENCH PU'BLISH1ER 28-3( ,NVSTX;:)I STiREE T LONDON SAMUEL FRENCH, LTD. 26 SOUTHAMPTON STREET ST'RAND This page in the original text is blank. THE BELLES OF CANTERBURY PERSONS IN THE PLAY. FRESHMAN SOPHOMORE JUNIOP R .......... .Pupils at a girls' school SENIOR ) CHARACTERS FROM THE CANTERBURY TALES. WIFE OF BATH ................ From the Prologue PRIORESS .................... " " FIRST UN ................... SECOND NUN.................. EMIiLY .................. From the Knight's Tale HIPPOLYTA........ 9 GRISELDA ............... " Clerk's " COSTUMES. Tle simplicity of the costuming as well as of the :tavgre setting makes the play an easy one for amateurs to p)roduce. Tlilie dress of the four school girls should be as modern as possible. Their hair should be elaborately arranged. 3 4 THE BELLES OF CANTERBURY HIPPOLYTA should wear the dress of an Amazon, armor if possible, or a short skirt, sandals laced high with crossed strings, waist to match the skirt, a crown, and a shield on the left arm. The shield can be made by gilding or covering a barrel-head with silver paper. EmnIY wears a long gown of pale dull green cheese cloth, falling straight from the shoulders and girded in at the waist by a curtain cord. She must have fair hair which should be braided down her back. GRISELDA should wear a similar costume of pale gray and lavender, with a tall headdress of wire cov- ered with white gauze and tinsel. The WIFE OF BATH wears a short skirted costume of very bright colors, red stockings, very broad shoes, a straw hat with a broad brim and no trimming, if possible one of the sun.hats worn by farmers. The PRIORESS and her NUns wear black skirts and white waists. Over this they wear black scholastic gowns such as are worn by graduates of academies and colleges, girded in with a leather strap. A yard of white cloth cut down one side for about ten inches, and then a circle cut out of the center, makes the white guimpe for the NUN, the curved part being put under the chin. and the two cut ends fastened on top of the head. A second piece of white cloth is bound across the forehead for a bandeau. Two vards of black material make the Yeil which falls on either side of the face and dowir the back. THE BELLES OF CANTERBURY SCENE:-A school room or in the room of one of the girls if preferred. If possible, a piano is in- eluded in the furnishings, which may be as elab- orate or as simple as desired. Two entrances must be provided, one covered by a square frame- work supposed to represent a bookcase. Books are across the top. In front of it hangs a full curtain. It will be very effective to have the frame-work representing the bookcase directly in the center of the stage at back, so that it is in full view of the audience. A table with books, etc., can be placed at one side of the stage. A few chairs can be set around the room but not in a way to hide the bookcase. As the Curtain Rises SOPHOMORE and FRESH- MAN are seated at the table. SOPHOMORE. Now, the Seniors weren't that way last year. You're only a Freshman, so of course you can't judge, but I never saw so slow a class as this year's, why they haven't said a word about the enter- tainment, and yet everyone knows they ought to give us a Thanksgiving party. (any other festival can be substituted here) FRESH3MAN. A party What do they have to eat SOPHOMIORE. They're not likely to have anything 5 THE BELLES OF CANTERBURY this year. I f I lsa(l known that last Tlinkagiving 1 vouid have eaten twice as much. I haven't anything to be thankful for. FRESTIMA-.Y-. But you passed in History. Why don't you tell the Seniors what they ought to do SoI'Iio-roRE. Sh- here comes one of them. (rises and goes to meet SENIOR) (Enter SENIOR, tired out, she sits down with a great sigh of relief.) FRESHMAIN and SOPHOMORE. What's the matter SENIOR. Matter Why, I'm half dead thinking. SOPHOMORE. (giggles) Thinking ! SENIOR. Say, did you ever hear the word Sopiho- moric (severely) That's the sort of a joke that was. FRESHMAN. What were you thinking about SENIOR. Trying to get up some new and original kind of a Thanksgiving party for the school. SOPHOMORE. You darling! (embraces her) FRESHMAN. We were afraid you had forgotten. SENIOR. (rises and joins others) I wish I could forget for a while but they made me chairman of the committee so I have to get up something. If I can't think of any thing better we'll have an ordinary spread and get just what everybody likes. SOPHOMORE. Grand! Welsh rarebit for me. FEShI;IMA-N'. I want chocolate eclaires. SENIOR. We ought to ask one of the Juniors too, that wouldn't be enough variety. SOPHOMORE. Ask Laurine. SENIOR. Where is she FRESHMIAN . She told me she was going to study her Chaucer. SENIOR. She didn't mean it. She never does. SOPHOMORE. (going to door and calling) Lau- rine, Laurine. JUN-IOR. (outside) All right. 6 THE BELLES OF CANTERBURY SENIOR. Maybe she's thinking up a new class sou- venir to go with their rings and hatpins and pins and banners. FRESHMAN-. Tell her we want to ask her advice, then she'll hurry. SOPHOMORE. (calling) Laurine, how soon are you coming JUNIOR. (beginning before she enters with a Chau- cer in her hand) "Whan that Aprille with his shoures soote "-I came much more quickly than I'll ever get that old stuff in my head. (she throws the book down) SENIOR. Don't you like Chaucer We just loved him. JUNIOR. So do all the rest of our class except me. I just can't get him into my head. SOPHOMORE. Poor thing! I should hope not. SENIOR. What wculd you like to eat at the Thanks- giving spread JUNIOR. Eat! Everything you're going to have. (suspiciously) This isn't one of those stupid puns on Chaucer is it SOPHOMORE. I should say not. FRESHMAN. We are helping make out the menu. There's Welsh rarebit and chocolate &claires already. JUNIOR. Have you any angel food SOPHOMORE. Oysters! FRESHMAN. Fudge! SENIOR. And olives. Quick, give me a pencil so I can write it down. (goes to table and writes) JUNIOR. Hurrv, before the bell rings. That's much more fun to talk about than Chaucer. I'm glad I didn't live in his day. Imagine being praised for not putting sour fingers in the gravy and spotting up your shirt front! T wager that old Prioress wvas a stick. T shouldn't want her on our basket hall tealt. There isn't a sensible womani in the whole of Chau- cer so far as I can see. (the curtain at the front of 7 8 THE BELLES OF CANTERBURY the bookcase begins to shake slightly, becoming more violent as the JUNIOR continues) The Wife of Bath was a regular Mormon, five husbands, that's what she had, and she wore red stockings. Such taste! SENIOR. (rises and goes to JUNIOR) Laurine, don't talk so much. Come help us decide between dill pickle and strawberry jam, we can't have both. SOPHOMORE. Laurine car't help talking. Her whole class does it. JUNIOR. And what about your class, Miss And the angelic Seniors They never talk, do they. Thank Goodness, we're not like that old patient Griselda in Chaucer. She was afraid to open her head. FRESHMAN. I think you know a lot about Chaucer. I never will remember all those names. JUNIOR. Oh, there are a lot more of them. One was a silly girl named Emily. She didn't do any- thing but have " hair a yard long I guess" and for that she had two lovers. I am going to get a hair tonic. That's how silly men were in Chaucer's day, before they learned how to play football, or had fra- ternities. SOPHOMORE. Oh, girls, if you .had only seen the hero in the matinee yesterday. He was simply grand! And he had such pretty curly hair. (The bell rings.) SENIOR. I know I could think of lots more things to eat if I only had more time. SOPHOMORE. Well, come on, I have to go to His- tory. (she starts out) FRESHMIA&X. Wait for me. (Exeunt SENIOR, SOPHOMORE and FRESHMAN.) JUNIOR. Here's where I die. Where's that hateful book It won't do any good to lose it, there are a dozen more copies in the bookcase. (sings) THE BELLES OF CANTERBURY "Hang Geof Chaucer on a sour apple tree, Hang Geof Chaucer on a sour apple tree, Hang Geof Chaucer on a sour apple tree, Our teacher marks us on! " (exit as she sings) (The curtain in front of the bookcase shakes more violently than before. Then frosa behind the curtain comes the voice of the WIFE OF BATH.) WIFE. Ladies, I prithee harkneth for the best. Can Chaucer's children swich words hear, and rest This is the point, to speken short and pleyn, We, one and all, were used with desdeyn. (She comes out of the bookcase.) Come forth and whan we've made our reckoning That girl perchance another tune will sing. (Enter the PRIORESS.) What word, sweet Eglantine, would you employ To tell us of your vengeful wrath PRIORESS. (with deep intensity) St. Loy! WIFE. Then Chaucer's uttered sooth about her oath ! Odsbodikins! That cannot do us both! PRIORESS. Come hider, my two nonnes to my side, Till that my mighty anger shall sub- side. (Enter two NUNTS who stand on either side of the PRIORESS.) That girl, alas! hath made my speech too tarte Who once was conscience al and tendre herte. 9 IO THE BELLES OF CANTERBURY o Emelye, whose hair is in a tresse Behynd your back, a yarde long. WIFE. (aside) I guesse. (Eonter EMILY.) PRIORESS. 0 Emelye, let that hair's golden ray Shine on our vengeance ere another day. EMILY. The path of duty plain is to be seen. (Enter HIPPOLYTA, the queen.) EMILY. Ladies, this is Hippolyta, the queen. (They all bow, the PRIORESS with delicate grace, the WIFE with a clumsy courtesy.) EMILY. My sister is a famous Amazon. HIPPOLYTA. I have no grievance, but I want the fun. PRIORESS. In courtesye lay ever my desire. (Aside to NUNS.) How charming with a real queen to conspire. FIRST NUN. Madame, your smiling is full simple. SECOND NUN. And coy. WIFE. Come, how can we that saucy wight de- stroy EMILY. (musingly) She, as a servant, would befit my station. FIRST NUN. (to PRIORESS) Or feed your hounds. (The SECOND NUN nods in agreement.) PRIORESS. (catching sight of the WIFE'S look of disapproval-aside) Or scour her reputation! WIFE. Pray, madam, if it's all the same to you Perhaps the rest would like a word or two. PRIORESS. I fear you ask too little, for I know That you have answered "yes" five times or so! THE BELLES OF CANTERBURY WIFE. A spiteful thing! Perhaps if you'd had one, He might have taught you how to curb your tongue. (There is a weak cry from the bookcase.) EMILY. Surely 'twas not to quarrel that we came. (A second cry from the bookcase) PRIORESS. Hark. 'Tis a voice I hardly dare to name. (Enter from behind the curtains, GRISELDA.) ALL. (as GRISELDA appears) Griselda! HIPPOLYTA. (disapprovingly) You for patience always quoted! GRISELDA. 'Twas only to my Duke that was de- voted. Now, further patience would but be disgrace. I move we put that Junior in our place! (ALL signify emphatic agreement.) ALL. Where is she FIRST NUN. That, alas, we none can tell. SECOND NUN. Heaven help us! (A bell rings outside.) PRIORESS. Hark! the ringing of the bell. (They draw into the background as the JUNIOR comes in. She throws the Chaucer on the floor. All the Canterbury characters jump and cry out as if in pain as it hits the ground.) JUNIOR. I knew that I didn't know a word of that Chaucer lesson. I don't believe English people ever spoke like those old Canterbury pilgrims. If I studied a year I'd never know whether a letter was 11 12 THE BELLES OF CANTERBURY silent or wasn't silent. I think it ought all to be made silent, and I think we ought to be allowed to read George Barr McCutcheon or somebody inter- esting instead of old fogies that died in- Dear me! When did old Chaucer die anyway (The PRIORESS comes forward with dignity and speaks to the evident wonder of the JUNIOR.) PRIORESS. Mademoiselle, were you from Strat- ford-at-the-Bowe, Where I learned French, some man- ners you might know. JUNIOR. Bats in my belfry all right. PRIORESS. Alas, my child, try while that you are yonge To make your Englislhe sweet upon the tonge. You should speak always in fair Charity. WIFE. Yea, but how harshly did you speak of me! JUNIOR. I'm blessed if I know what you are, so how could I say anything HIPPOLYTA. We are Dan Chaucer's children, he who hath But love for all men. WIFE. I'm the wife of Bath. What did you say of me What did you say (JUNIOR looks around wildly.) EMILY. Look out, be careful, or she'll run away. JUNIOR. Honest, you've got me so muddled I don't know what I'm doing. Do you want me to believe that you're people out of a book Why those old Canterbury Tales' characters never did live, Chaucer just made them up. If you aren't somebody dressed up to tease me, I've got 'em. THE BELLES OF CANTERBURY PRIORESS. Ladies, hear that which maketh the last straw. I plead for justice and demand the law. Not live, when we are deathless Chaucer, dear, I pray that you that heresy can't hear! HIPPOLYTA. Hark one and all, while judgment I pronounce: If that this maid her treason will renounce, Most humbly on her knees our grace beseech, And duly quote some lines of praise for each, Then we will pardon grant Do all consent (All bow.) If not, wito the bookcase she is sent. JuNIOR. Say something about each one of you! I never could in the world. That's why I hate Chau- cer so. (as she says hate Chaucer the characters all cringe) I never could learn the old stuff. (as she saijs old siuL/ they sigh and raise their eyes in silent protest) FIRST 'NUN. It will go hard with thee for that same sin. (SECOND NUN nods to these words.) EMILY. Prithee, delay no longer but begin. (The JUNIOR looks around until her eye meets the PRIORESS.) JUNIOR. Are vou the Prioress PRIORESS. I am v-cleped Madame Eglantine. JUNIOR. What rhymes with Eglantine Wine (the PRIORESS looks duly shocked) Thine Divine 13 14 THE BELLES OF CANTERBURY I know. Itfs something about singing through your nose the service divine. FIRST NUN. The seemly way to sing. SscoxD u.N. The seemily way. GRISELDA. Hlcre, Eglantine, you can't take up all day. PRIOREss. I'd prove my vocal method without peer. HIIPPOLYTA. Perhaps she could. WIFE. Suppose she does it here! JuN-IOR. Never mind, Miss Eglaiitine. Did they call you Sister in those days -Never mind. I'll play your accompaniment on the piano. ALL. Piano JuNIoR. Why, yes, Oh I never thought that you wouldn't know that. There's a piano. (The following passage can be omitted if a piano is not convenient.) (They go over looking curiously at it. The WIFE touches the keys by accident. ALL jump at the sound.) JUNIOR. What do you want to sing PRIOREss. (slightly affected) Alas, I cannot sing without my notes. WIFE. Surely that is a line each reader quotes! JUNIOR. Do you know the Yama-Yama Girl (substitute any popular song) (Tke PRIORESS looks blank.) JUNIoR. Nor even the Merry Widow PRIORESS. Why 'tis a thing that Chaucer never had, In his day seemly widows all were sad. You speak of folk of whom I have no ken. FIRST NUN. One song, Madame, you know. THE BELLES OF CANTERBURY SECOND NUN. 0, try it then! (The PRIORESS sings to the tune of the Old English Ballad, " Drink to Me Only lVith Thine Eyes.") Oh! We are Chaucer's children here, And well we love his name We live in hearts that hold him dear. Are nourished by his fame. Oh, listen now, while thus we sing Our songs of olden days, When court and king and common folk United, voiced his praise. When I was once a little lasse At Stratford-on-the-Bowe I hastened daily to my classe, My one dream was to know. I studied there, full seemly deep, With ne'er the smallest hint That other maids would some day weep, At seeing me in print. I thought of nothing but my booke, To make my mind grow fair So I'm afraid I never took The pains to do my hair! (She looks at the JUNIOR'S hair.) Perchance if now I went to school, And sought its culture wide, Of coiffures strange I'd learn the rule, And scorn what was inside. Oh, gentle Chaucer, could you see The world around us here, Perhaps you'd change your poetry And call no pilgrim queer And could you see the ladies' dress, 15 16 THE BELLES OF CANTERBURY And what they wear the while, You'd know what made the critics guess You had a simple style. WIFE. (to EMILY) Look at her smile upon that silly miss! Look, Emilye, did we come here for this As to her singing, well, I have heard worse! I fear her verses will make her perverse. PRIORESS. (to HIPPOLYTA) To punish her would make my conscience prick. GRISELDA. 0 Madame, be not flattered, think of stick. PRIORESS. Alas 'tis true! EMILY. Fire up your dying wrath. WIFE. (to JUNIOR) What can you say about the Wife of Bath JuNIOR. I don't know. I can't remember any- thing. WIFE. (severely) Did you not say my hosen were of red JUNIOR. Well, they are, aren't they WIFE. And what of that Is that a case for scorn My gear is eke as fine as e'er was worn. EMILY. What about me JUNIOR. (puzzled) Who are you I just can't remember. HIPPOLYTA. Do you not recognize her by her hair EMILY. 'Tis falling out because of grief and care! JUNIOR. Then I suppose you're Emily. But who is that (points to GRISELDA) GIIISELDA. Ignorance!! (she stamps her foot) ALL. Griselda! You impatient! JUNIOR. Are you the one they used to call " Pa- tient Griselda " I never should have known you. And who are you (to HIPPOLYTA) HIPPOLYTA. You did not mention me so I excuse THE BELLES OF CANTERBURY Your ignorance. And yet your suit you lose. Come, ladies, come, draw close while we confer, The instruments of Justice must not err. (They draw together and hold a whispered consulta- tion, the JUNIOR vainly trying to pinch herself into reality.) JUNOR. I know it's all a dream, but I just can't wake myself up. HIPPOLYTA. For her mad crime, she's judged and in disgrace The sentence is to put her in our case. (They take hold of the JUNIOR and begin pushing her toward the bookcase at the back of the stage.) JUNIOR. Why, I thought you were only joking. PRIORESS. Chaucer alone it is, with whom we jest. Come, nonnes both, and push her in with zest. JUNIOR. Oh, let me stay out. Don't make me go into that stuffy bookcase. There never will be room for me with all those other books. It will squeeze what little I do know out of me. (Relentless, they push her behind the curtains into the bookcase. Her voice grows weaker, finally dying away.) WIFE. Life sentence is not much to pay for this. PRIORESS. (to her NUNS who nod in agreement) I think a little mercy not amiss. EMILY. She's quite filled up the space that once was ours. HIPPOLYTA. How are we going to pass our leisure hours 17 18 THE BELLES OF CANTERBURY FIRST NUN. (to SECOND) Perhaps she'll sing again. SECOND NUN. Perchanee she will. WIFE. (to HIPPOLYTA) Say something quick, that we may hold her still. EMILY. Hark, did I hear a pleading little voice Ah, ladies, in her punishment rejoice! JUNIOR. (meekly, in a weak, timid tone from be- hind the curtain) Dear ladies all, whom Father Chaucer loved, Hippolyta, and Emily, Mrs. Wife of Bath and Sister Prioress, and the two nuns, and Griselda and anybody else I haven't mentioned, I'm sorry, and I'll never do it again. HIPPOLYTA. Justice and law demand your pun- ishment. PRIORESS. My tender heart would bid me cry "relent ". JUNIOR. (crying) Please, ladies, for sweet Chaucer's sake. (They look at each other, moved by the mention of Chaucer's name.) JUNIOR. 0 Chaucer, you who loved all people, come to my aid! HIPPOLYTA. Sorrow has taught the maid the surest key, That will unlock our hearts to charity. PRIORESS. Come forth, you are forgiven for your crime, WIFE. Our duty's done, to leave it is full time. JUNIOR. (enters out of bookcase) I'm sure I'm much obliged and if you'd only stay awhile longer I'd like you to meet some of the other girls. HIPPOLYTA. We thank you for your courtesy in- indeed, Since you believe, there is no further need. THE BELLES OF CANTERBURY (They start toward the bookcase.) GRISELDA. From all my mates some lesson you might learn. EMILY. Forget us not, in case we ne'er return. JUNIOR. Let me see, what I can learn from each: (as she speaks each name, the character disappears in bookcase) Griselda,-patience; Hippolyta,-cour- tesy; the Good Wife red stockings-well, that clothes don't matter. Emily-no rats! (hides her face for a moment) The Prioress-(the two NUNS disappear) PRIORESS. Read the last line that Master Chau- cer penned About me, and believe it without end! (She disappears. The JU-N-IOR looks at the bookcase curtain which slowly stops swinging.) JUNIOR. The last line! (she picks up the book she hats thrown upon the floor and finds the passage) "And thereon hung a brooch of gold full sheen, On which there was first writ a crowned A, And after Amor Vincit Omnia." Amor vincit omnia, love conquers all. I believe I do love Chaucer now. And to think they all live! (Enter the FRESHMAN, SOPHOMORE and SENIOR.) SENIOR. What on earth have you been doing JUNIOR. Talking to the Canterbury Pilgrims. SOPHOMORE. (tapping her head) Sand in her gear box. F' RESHMANT. I should think it would make her crazv to study that queer English so hard! SENIOR. Poor dear! I'm going to make some fudge, that will make her feel better! (They start out of the room.) JUNIOR. Oh, girls! 1ig 20 THE BELLES OF CANTERBURY (They stop and turn around. The JUNIOR starts io tell them, hesitates.) JUNIOR. They'll never believe it. But I know. SEN-IOR. What did You call us back about (The JUNIOR catches sight of the bookcase.) JUNIOR. (with a little smile they do not under- stand) Oh, nothing, I'm just glad that isn't a sec- tional bookcase! (The others look at her blankly.) CURTAIN. JUST PUBLISHED What Happened to Jones An Original Farce in Three Acts By GEORGE H. BROADHURST CAST OF CHARACTERS JONES, who travels for a hymn-book house EBENEZER GOODLY, a professor of anatomy AN-TOXY GOODLY, D.D., Bishop of Ballarat RICHARD HIEATHERLY, engaged to Marjorie THOMIAS HOLDER, a policeman WILLIAM BIGBEE, an inmate of the Sanitarium HENRY FULLER, superintendent of the Sanitarium MRS. GOODLY, Ebenezer's wife CISSY, Ebenezer's ward MARJORI 'P,`Ebenezer's daughters MINERVA,) ALVINA STARLIGHT, Mr. Goodly's sister HELMA, a servant SYNOPSIS OF SCENES ACT 1.-Handsomely furnished room in home of Ebenezer Goodly ACT 2.-The same. ACT 3.-The same. This is the jolliest sort of a farce, clean and sparkling all the way through. A professor of anatomy is lured to a prize fight and the police make a raid on the "mill." The professor escapes to his home, followed by Jones, a traveling salesman, who sells livmn books when he can and playing cards when he cannot. Ine police are on the trail, so Jones disguises himself by putting on a Bishop's garb, and a lot of funny complications ensue. The other funmakers are aided not a little by an escaped lunatic. This celebrated farce has been a tremendous success for years on the professional stage and is now published for the first time. PRICE. 50 CENTS JUST PUBLISHED IN FRENCH'S STANDARD LIBRARY EDITION THE GREAT COLLEGE PLAY ENTITLED BROWN OF HARVARD A Play in Four Acts By RIDA JOHNSON YOUNG THE CAST OF CHARACTERS ToM BRowN. GERALD TIIORNE, stroke oar of the "Varsity Eight," who Is not hlis own master. WILFRED KENYON. (LAXT0)S MADDEN, JOHN CARTWRIGHT, "TUBBY" ANDERSON', "IIAPPY" THURSTON, -Students with properly developed college spirit. WALTER BARNARD I WARREN PIERCE, J TIOMiPSoN, COYNE. "BCe" I1HALL, "Varsity Coach." VICTOR ('OLToS, who wants the English crew to defeat his Alma Mater. CODRINOTON, lManager of the English 'rew. ELLIS, Na3nager of the Vnrsitv crew. CAPTAIN HlobfEs, GEORGE SELWYN, JAMES VAN RENSSALAER, 'Membern of the Varsity crew. ARTIHU BLAKE, AUSTIN LATCHOW. OLD CLOTiHES MAN. MaRS. KENYON. MARrAn THORNE. DOORKEEPER. EMELYN KENYON. EDITH SINCLAIR. BUTLER. SYNOPSIS OF SCENES. ACT I PLACE.-Cambridge, Mass. ScENE.-Tom Brown's and Claxton 'Madden's apartments in "The WVetherby," a students' apartment house. ACT II SCEN.-YaTrd at Harvard. The exterior of a dormitory. ACT III SCENE.-"The Varsity Boat ulb" on the day of the race with the En-lish Amateurs. The scene Is laid in the large ball of the boathouse. ACT IV SCEN-E-Same as Act One. "-Rrown of Harvard" has the genuine college atmosphere, with mo- mesnts ,f excitement and even of sentimental interest. To begin with. lilere is. of course. Brown himself, a paragon of all the ordinary vir- tues, with the additional and rare one of modesty. Then, there Is Wilton Ames, who is not his own master, and Victor Colton. who wants the English crew to defeat his Alma 'Mater, and who Is not abvOVe Using the weaker studenl to accomplish his own villainous pur- pose. For the rest, theyv are college bos of various types, girls of the sort who like to come to afternoon tea in the fellows' room and who whoop it up for tbeln when any sort of a contest is on. The play's cti.-f appeal come-s from the fact that It reflects In its entirety the buoyant, wholesome spirit of youth. Some lively and entertaining glimpses of college life are shown. m Wimpses into typical student sanetums. the fun and frolic of goodf-'ilowship. the chat of the crew, snatches of college songs. the harmless flirtations of the town and carmpus-these are all pleasant featuros of the piece. All this and a stirring boat-Iace scene adl-d mnak('s a play of college life that fairly teems with the varsity atinosphere. Ithe characters are well drawn and there is action and movewerit tht'oughout the four ac'ts. Plays a full evenlig. iRtL1E. 50 CE.\TS