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Page 18
A comedy hit on Broadway. The four Masters children, ranging in age from
14 to 19, are enjoying their usual summer sojourn at Provincetown.
Without much enthusiasm they are looking forward to the imminent
marriage of their mother to the professor who has summered next door.
Then word comes that their mother, who is just completing the last two
weeks of her contract as dress designer in a Hollywood motion picture
studio, has invited their own father to visit them and make arrangements
for a divorce. They haven't seen him for twelve years and they are
determined he shan't treat them like children. James Masters, the
father, comes. Although he has a sense of humor and would sincerely like
to make friends with his children, he antagonizes them at once. For a
week the father struggles against the professor and his influence. After
the various problems have been more or less solved the children suddenly
decide that they prefer their own father as a member of the family and
set to work in a businesslike way to help him win their mother back.
(Royalty, $25.00.) Price, 75 cents.
ANNE OF GREEN GABLES
L.M. Montgomery's most popular novel, dramatized into a tender and
amusing play in 3 acts by Alice Chadwicke. 4 males, 10 females, 1
interior set. Modern costumes.
Mark Twain, the celebrated humorist, was so taken with the quaint charm
of L.M. Montgomery's tremendously popular novel that upon reading it for
the first time he said: "In 'Anne of Green Gables' you will find the
dearest and most moving and delightful girl since the immortal Alice."
[Anne is played by a girl in her middle teens.] And for years this
fascinating book has headed the list of best sellers. It has been made
twice as a movie, once a silent picture and only recently as a talkie,
but it has remained for the distinguished dramatist, Alice Chadwicke, to
make the first and only dramatization of this magically beautiful story.
Green Gables is the home of lovable Matthew Cuthbert and his stern
sister, Marilla Cuthbert. Nobody suspects that beneath her hard exterior
there lurks a soft and tender heart. When Matthew, after a great deal of
reflection, finally decides to adopt an orphan boy to help with his farm
work, Marilla grudgingly consents. Through a rattlebrained friend of
theirs, one Nancy Spencer, they agree to take a boy from the Hopeton
Orphanage. Marilla makes ready to receive the boy and Matthew drives to
the station to get him. Fancy his consternation when he finds little
Anne Shirley waiting for him! There has been a mistake and Anne has been
sent to Green Gables in lieu of a boy whom the Cuthberts plan to adopt.
From the instant Anne and Matthew meet a strong attachment grows up
between the little orphan and the man who has been starving for
affection without realizing it. Anne, with her vivid imagination, her
charitable viewpoint, her refreshing simplicity, touches the old
bachelor's heart. But not so with Marilla. She determines to send Anne
back to the orphanage the following day. But she reckons without Anne
who is so enchanted by everything at Green Gables and who cries and begs
and pleads so hard to remain that even Marilla finally gives in and
consents. Anne is the sort of part that every young girl will adore
playing, and the other parts offer splendid opportunities to the various
members of the cast. The play breathes of youth, is thoroughly modern in
spirit, very simple to prepare and present and Miss Chadwicke has
written into it such an abundance of warmth, wit, and motion that it
becomes an endless delight.
(Royalty, $25.00.) Price, 75 cents.
GROWING PAINS
Comedy. 3 acts. By Aurania Rouverol. 7 males, 8 females, 1 set (patio).
Modern costumes.
Produced originally at the Ambassador Theatre in New York. George and
Terry are the son and daughter of Professor and Mrs. McIntyre who
struggle valiantly to lead their children through the difficult phases
of adolescence, so familiar to us all. Terry is shown outgrowing the
tomboy stage, and unable to play with the boys on an equal status. She
finds herself thrown back on her feminine resources; and how she tries
out her "resources," makes this play an illuminating study of feminine
psychology. George McIntyre, the boy adolescent, goes through the
customary symptoms of his age--begging his parents for a car--and
falling victim of the wiles of Prudence, a successful "vamp" in the
neighborhood. At a party George is sent out for some more ice cream. In
his rush to get back for his dance with Prudence, he passes a traffic
light, and is pursued home by an officer, subsequently is hauled off to
jail, loses Prudence, but discovers a new blue-eyed blonde in the
neighborhood.
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