Christmas Candles: Plays for Boys and Girls
SCENE II
_A gallery in the Manor House. R. front, fireplace[27] with glowing red fire. Beside it, at right angles, settle. R. back, door. Back Center, the portraits of_ SIR PHILIP _and_ LADY GERALDINE, _in tall old frames reaching down nearly to floor, so that only a short step is necessary when the figures come out. L. back, window, with snow-covered trees in distance, and moonlight. L. front, door. Hangings, a few quaint chairs, etc. Center of stage clear. Curtain shows empty stage._ DICCON _and_ GILLIAN _cross from L. to R., talking_--GILLIAN _enters first, as if in haste_, DICCON _trying to stop her. Stage lights very dim._ GILLIAN _carries a candle, which she shades with her hand._
[Footnote 27: See note on Fireplace, p. 313.]
DICCON [_calling softly_]. Gillian, Gillian! Hang the wench! Wilt not wait, good Gillian? I've somewhat of great import to tell thee.
GILLIAN [_impatiently_]. Were I to believe thee, Master Diccon, _all_ thine affairs are of great matter. Mayhap thou thinkest _my_ business is ever of small consequence?
DICCON. Nay, then, Gillian--but this news is thine and mine and my lord's and my lady's too!
[GILLIAN _turns, a little curious, and waits for him._
GILLIAN [_scornfully_]. A strange matter, methinks, that can be thine and mine and theirs, too!
DICCON. But list a moment, and you shall hear. Giles, the horse-boy, hath been in the village this day, and heard that which bodes ill to us. Giles heard them talking in the tavern----
GILLIAN. Heard whom talking, Diccon? I can make naught of thy twisting tales!
DICCON. Why, the Roundhead knaves, be sure. And the pith and kernel of Giles' tale--an thou'lt not hear the how and the when--is this! that they mean to come hither this night and search our house.
GILLIAN [_gives a little scream and claps her hand over her mouth_]. Oh, Diccon, Diccon,--what can they want here? We be peaceful folk. In sooth 'tis known we are all good King's men, but no harm have we done to any! Oh, Diccon!
DICCON. Sst! silly wench! They'll not harm thee. But hark to what else Giles heard. They be coming to search for Master Rufus!
GILLIAN. Master Rufus! But he hath not been here these many weeks.
DICCON. Sst! Speak more cautiously, Gillian. The knaves did say they have certain knowledge that Master Rufus is here in hiding.
GILLIAN [_looking fearfully and suspiciously about_]. Oh, Diccon, dost believe it?
DICCON. In good sooth, how can I tell? But I am in great fear.
GILLIAN. Thou afeard, Diccon? Oh, what dost think the Roundhead villains will do to us?
DICCON [_angrily_]. A pest upon thee, wench! They'll do naught to _us_! 'Tis for my young master I am troubled. If they take him, 'tis doubtless to a rebel prison he'll go, and then--it's rough fare for such a young lad,--and gentle born and bred to boot.
GILLIAN [_curiously_]. But can he be here, think you, Diccon?
DICCON [_anxiously_]. He may be. And I do fear to ask my lord or my lady of the matter. [_Going towards door._] I would I knew my duty, Gillian.
[_Exeunt (R.). After a moment enter (L.) the three children in nightgowns, the little girls in caps, also. They do not speak, but motion to each other excitedly, and run about, choosing a fit hiding-place._ ALLISON _takes a small stool and plants it directly in front of portraits, sits down, and folds her hands to wait. The others, consulting by signs, do not at first see her, then rush upon her in alarm and drag her away, taking stool with them, and making reproving gestures. All go to settle, place stool by fire, and allow_ ALLISON _to sit on it._ CICELY _kneels at end of settle, partly concealed by its arm._ RAFE _lies full length upon it, alternately ducking below arm and peeping over it. They shake fingers at each other, touch lips to insure silence, and when_ ALLISON _turns as if to speak._ CICELY _claps a quiet hand over her mouth. Business of settling into place. When there has been a moment's pause, a bell is heard in the distance striking midnight. The portraits slowly turn their heads, take a long and deep breath, and begin to move; soft music is heard (minuet, from Mozart's "Don Giovanni"); they bend forward, step with one foot from the frames and clasp hands across the space between; then step forth entirely, and bow and courtesy low and slowly to each other. Then they take hands, and to the music go through such part of the old French minuet as is practicable for two alone. When this has continued as long as is desirable, there is a sudden noise without. Instantly the music ceases and the figures go back with all swiftness and resume pose in frames. Children also much startled._
CICELY [_in alarmed whisper_]. Oh, Rafe, what was that?
RAFE. I don't know. Sh-sh-sh!
[_Enter_ RUFUS _(R.), silently and furtively. Goes to window and peers out. Comes back hurriedly and without seeing children. Exit (R.)._ RAFE _springs up and follows to door, gazing out after_ RUFUS.
CICELY [_aloud, but still cautious, though in great fright_]. Oh, Rafe--I saw a man! Who was that?
ALLISON. So did I, sister! Let's _run_!
CICELY. Mother! Mother! I'm frightened!
ALLISON. Oh, Gillian, come get us!
[_Both rush screaming out of door (L.)._ RAFE _comes quickly and silently back. Goes to window and stands peering out._
RAFE. That was brother Rufus. I wonder how he came hither.... And there is someone ... away out there in the snow ... men ... coming this way. [_Leaves window and stands directly in front of portraits, with his back to them, and a little way off. Stares anxiously straight before him, and speaks low and quietly._] Perhaps they are soldiers ... or wicked people come to seek for him and take him away.... Rufus went up the little stairs to the Tower.... There's no place to hide in the Tower! [_His voice gradually rising._] They'll find him as soon as they get here.... Oh, _what_ shall I do--what shall I do? [_Stands with hands clenched, listening and thinking, wide-eyed. The portraits move and bend toward him._]
LADY GERALDINE [_leaning forward and smiling tenderly_]. Little Rafe, little Rafe, thou must play the man this night!
SIR PHILIP [_leaning forward and speaking earnestly_]. Little lad, little lad, thou art little and young! Go and fetch thy father!
RAFE [_does not turn at all_]. My father will know what to do.... Mayhap he will even open the secret door Gillian telleth of.... Surely, surely he cannot be angry now. [_Turns and rushes wildly out (R.)_].
[_Enter_ PHYLLIS _(R.), all shaking and trembling._
PHYLLIS [_calls softly_]. Rufus! Rufus! Where art thou? [_To herself._] Oh, where can the rash boy have gone? He was safe for the time in the Blue Chamber. And now---- Oh, what can I do! I must warn him! [_Wrings her hands and goes to window._] Gillian hath told me they are coming to seek him. He must be warned! Oh, where can he have gone? [_Goes to door (L.), then to window once more. Enter_ RAFE, _dragging_ SIR GILBERT _by the hand._]
RAFE [_breathless_]. You needs must listen, Father! Brother Rufus came in at this door and went to the window, softly, to peep out. Then he ran out again and I got me up speedily and ran to the casement. [_Tries to draw_ SIR GILBERT _to window, but he resists and stands frowning (R. Center)._] And I looked out, Father, and there was someone coming--men--away over toward the village. I saw them. And Rufus is gone up the Tower stairs---- [PHYLLIS _starts forward to door, but turns back._]
PHYLLIS. The Tower, saidst thou, Rafe?
RAFE. Yes! The Tower! And thou knowest, Father, there is no way of escape from the Tower! Father, tell us what to do!
PHYLLIS [_coming to his side with clasped hands_]. Oh, good Uncle, save him while there is yet time!
RAFE. I know _thou_ canst find a way, Father!
[_Enter_ LADY KATHERINE, _the two little girls clinging to her skirts._
LADY K. [_in amazement_]. What can be the meaning of all this coil? The children crying to me in fright some old wives' tale about the family portraits--someone in the gallery--the soldiers---- My poor wits cannot fathom it!
RAFE [_still clinging to his father's hand_]. Oh, lady Mother, Rufus is hiding in the Tower, and the soldiers are coming, and Father must save him!
LADY K. [_cries out_]. Rufus, saidst thou? [_Shakes off the children and hurries toward_ RAFE.] Where is he, boy?
RAFE [_seizes her hand and draws her to door (L.)_]. Here, Mother, here, up in the Tower. [_Exeunt._ CICELY _and_ ALLISON _cling together._]
CICELY. Oh, Allison, sweet sister, it was brother Rufus we did see in the gallery. And the Roundhead soldiers are coming.
ALLISON. Will they drag him away from here?
PHYLLIS. Oh, Uncle, dear Uncle, surely thou knowest some secret place in this old house where he can lie safe until danger be past?
[_Enter_ RAFE _and_ LADY KATHERINE _with_ RUFUS _(R.)._ LADY KATHERINE _hastens to window, glances out, then goes to quiet children, who are sobbing._ RAFE _rushes to his father, and_ RUFUS _at first starts to him._
RAFE. Father, here he is. Now what's to do?
RUFUS. Father, I would----
SIR G. [_interrupting_]. Not a word from you, sirrah! How dare you enter this house whence you went but to disgrace my name? You are no son of mine!
[RUFUS _draws back and stands proudly a little aloof. The rest cry out in protest._
LADY K. Oh, my lord, you cannot mean the words you speak!
PHYLLIS. Uncle!
RAFE. Oh, Father, poor Rufus!
DICCON [_without_]. Sir Gilbert! Sir Gilbert! Where art thou, master!
GILLIAN [_without_]. Oh, mistress! Oh, my lady!
[_Enter_ DICCON _and_ GILLIAN _in greatest excitement._ DICCON _carries a pair of candles, which he places hastily on the chimney-piece. Raise lights._
DICCON. My lord, the soldiers are coming! [_Rushes to window._] They be at our very gates!
GILLIAN. Oh, mistress, the murthering knaves will burn the house above our heads!
LADY K. Hold thy peace, silly wench!
[_General hubbub. Children cling crying to their mother._ DICCON _and_ GILLIAN _at window._ RAFE _now running to window, now tugging at his father's hand._ PHYLLIS _at his other side._
DICCON. They come down the long hill!
GILLIAN. I see them, the knaves!
PHYLLIS. Oh, Uncle, prythee forgive Rufus--save him quickly!
SIR G. [_angrily_]. He doth not desire forgiveness.
PHYLLIS. Oh, Uncle, he would have asked it but now. Thy bitter words did check him, and thou knowest he is proud. He could not ask it then.
GILLIAN. Here they be!
DICCON. At our very gates!
LADY K. [_above noise_]. My lord, thou dost know some secret place. Do but disclose it to me. Remember he is thine own flesh and blood.
DICCON. Hark, ye can hear them! [_Silence falls. In the distance the carol of the_ WAITS _is heard._]
PHYLLIS [_relieved_]. 'Tis the waits at their carols.
LADY K. [_thankfully_]. 'Tis not the soldiers, after all!
DICCON [_turning from window_]. Would it were not, my lady! Ye do hear the waits singing beneath the hall windows, 'tis true, but these at our gates be no peaceful carollers. [_Turns back to window. All are silent for a moment, listening, until the refrain of "Peace on earth" is reached._]
SIR G. [_startled_]. "Peace on earth, good will to men!" Now Heaven forgive my angry spirit! Here, Rufus--quick, lad! [_Touches spring at R. of portrait. Panel opens, and_ SIR GILBERT _thrusts_ RUFUS _through, and it closes behind him._ SIR GILBERT _turns and takes command._] Clear the room--this throng will never do--guilt and suspicion sit upon our very faces. Wife, Phyllis! take these children to bed. Gillian! to the kitchen, wench, and do all in thy power to quiet the maidens there. Hasten to the gate, Diccon, and say that your master throws open his doors to their search. Bear yourselves, all, as if nothing had befallen! Now, haste!
[_Rapid clearing of the room._ LADY KATHERINE _and_ PHYLLIS _hurry the children out (L.), trying to quiet them. Exeunt_ DICCON _and_ GILLIAN _by the door (R.). Unnoticed_, RAFE _springs into box of settle, and closes lid over him. When all are gone_, SIR GILBERT _goes quietly about room to put all in order. Looks out at window. Sounds from without, of beating on doors, etc. Cries, "Down with the false King!" "Death to traitors!" etc._ SIR GILBERT _goes to panel for a moment._
SIR G. [_tapping_]. Rufus! Rufus!
RUFUS [_within_]. Yes, Father!
SIR G. Cheerly, good lad! Lie thou quiet, no harm shall come to thee. [SIR GILBERT _goes to chimney, takes an old book from shelf, and sits on settle. Noises of search gradually come nearer. Enter_ DICCON, _followed by soldiers._]
DICCON [_torn between his fear and hatred of the soldiers and his wish to propitiate them_]. Here is my lord, your masterships! He bade me give you free welcome [_bows politely, but as they pass him he snarls aside_], and a pest upon all of ye!
SIR G. What would you of me, my men? Why, Diccon, these be all old neighbors--not soldiers.
[_The men are disconcerted, and advance awkwardly, pulling at their forelocks._
STEPHEN. Yes--Sir Gilbert--no, Sir Gilbert--we be verily soldiers--soldiers of the Parliament.
SIR G. You have taken up arms against your King? I had thought to see old neighbors and friends and loyal men. [_Rises, laying down book._]
STEPHEN. We do be loyal men----
ANDREW. Loyal to the Parliament.
WAT. And soldiers of Cromwell.
SIR G. What, then, would you of me? Ye do know I am a subject of King Charles.
STEPHEN. My lord, we have orders to search this house.
SIR G. So be it, then. Obey your orders. What do ye look to find here?
ANDREW. 'Tis a false traitor Cavalier.
WAT. He lurketh here and we mean to have him, too.
STEPHEN. We would do our work peaceably, my lord. But our general must have the country cleared of all Malignants.
SIR G. You have my free consent. My house is open to you from turret's peak to the bins in the cellar.
DICCON. There be more of 'em, my lord--a round dozen. And they waited not thy permission. They be already both on tower and in bins.
SIR G. Disturb them not, good Diccon. [_Turns back to settle, takes up book and pretends to read, but keeps a careful eye on soldiers._]
STEPHEN. Do your work with thoroughness, men.
ANDREW. That will we, captain!
WAT. There be many lurking--places in these old rats' nests.
ANDREW. We'll ferret him out!
WAT. Aye, aye--the false villain.
[_They go carefully about room, lifting hangings, tapping walls and floor, trying to see behind picture-frames, coming very near secret door._
STEPHEN. Have ye tested the walls?
WAT. Aye, and the floors.
ANDREW. There be no secrets here.
STEPHEN. Then we'll look further. Give ye good even, Sir Gilbert.
ANDREW. Mayhap we'll meet again----
WAT. Aye,--on the field of battle!
[_Exeunt soldiers, with angry gestures._ SIR GILBERT _rises and bows slightly, signing to_ DICCON _to follow._ SIR GILBERT _waits an instant, follows to door, then goes to window and watches._ RAFE _jumps out of box, and stands beside settle. Enter_ LADY KATHERINE, _followed by_ PHYLLIS _and_ GILLIAN, _stealing in to peep out at window. Enter_ CICELY _and_ ALLISON, _catching at_ GILLIAN'S _skirts._
ALLISON [_piteously_]. Gillian! Gillian!
CICELY. Oh, Gillian, don't leave us alone!
GILLIAN [_turns back_]. Never! my lambs. Have never a fear of that. [_Sits in chair (L.), gathers_ ALLISON _into her lap, drawing_ CICELY _beside her._ GILLIAN _still looks anxiously towards window._]
PHYLLIS. There they go, those wicked men!
LADY K. Now Heaven be praised! [RAFE _runs to stand at panel. Enter_ DICCON.]
DICCON. My lord and my lady---- [_All turn._ SIR GILBERT _crosses stage to meet_ DICCON.] The knaves be all gone, sir. I shut the gate upon them with my own two hands. [_Everyone takes a breath of relief._ RAFE _touches spring and_ RUFUS _steps out and strides to his father._]
RUFUS. Father, let your son's first word be to crave pardon for all his willfulness!
SIR G. [_clasping his hand warmly and putting an arm across his shoulder_]. Nay, lad, 'tis freely given. Methinks I should first ask thine for all my hardness of heart.
[PHYLLIS _goes to_ LADY KATHERINE, _who turns and kisses her affectionately. They stand side by side._
PHYLLIS. Our little Rafe has played the man and saved Rufus for us all.
LADY K. He is a brave little lad! But tell me, children, what doth it mean that you were out of your beds at such a strange hour?
RAFE. We got up to see our ancestors dance.
ALL. Ancestors dance!
SIR G. What meaneth the child?
RAFE. Why, sir, Gillian's grandam hath said to her, that when the midnight tolled on Christmas Eve, my lord and my lady here did step forth, clasp hands, and dance.
ALLISON. And so we came to see.
CICELY. And soothly, it was so. They came forth and danced, here in the shine of the fire. A brave sight, Father!
SIR G. Now, saints defend us! What is a man to make of this?
LADY K. Never heed them--'twas just a sleep-heavy fancy. A beautiful Christmas-tide dream.
RAFE. Nay, lady Mother, it was no dream. It was the spell of Christmas brought it all to pass.
SIR G. Now doth the lad speak truth, good friends! Verily it _is_ the spell of Christmas which hath saved us all from sin and much sorrow this night. The spell of "Peace upon earth, good will to men." Hark, the waits are singing still--as angels sing, and ever shall sing the world around, on Christmas Eve.
[_All stand listening for a moment to distant singing, then join in carol._
CURTAIN
NOTES ON COSTUME, MUSIC, AND SETTING
Adult parts in this play taken by boys and girls of fifteen or sixteen. In contrast to these, the smaller the children playing Rafe, Cicely, and Allison, the better--Rafe not over eight, Cicely and Allison six and five years.
Costumes follow the Van Dyke pictures of Charles I and those of his children. Very helpful illustrations may also be found in "Merrylips," by Beulah Marie Dix. (The Macmillan Company.)
SIR GILBERT and RUFUS wear sleeveless jerkins made of tan-colored canton flannel to represent leather. Rufus wears boots and a broad-brimmed hat with plumes, and long cloak of the same color as his suit. These suits should be of rich colors in contrast to the sober colors of the Puritan soldiers, who also wear leather-colored jerkins and boots.
Cavaliers wear broad lace collars and cuffs, while the PURITAN SOLDIERS wear square linen collars and cuffs, and under-sleeves with stripes running around them of black and orange, the colors of the Parliament. Orange baldric over right shoulder. If possible, metal helmets, or firemen's helmets silvered to represent the steel caps of the time; otherwise, broad-brimmed felt hats with band or scarf of orange and black. They carry swords, cross-bows, or other arms.
LADY KATHERINE and PHYLLIS. Full, quilted petticoats, broad, deep-pointed lace collars and cuffs. Dressed in rich colors. Lady Katherine wears a small lace cap upon her hair.
RAFE. Suit like the picture of Prince Charles. May wear a broad fringed sash, and fringed bows at his knees. Lace collar and cuffs. Sleeves may be slashed.
CICELY and ALLISON. Little short-waisted, quilted dresses, with flowered panels set in. Lace at the square necks and the elbow sleeves.
GILLIAN. Plainly made dress of flowered material. Skirt full, but not quilted. Short caps to the sleeves. White kerchief, apron, and plain white cap.
DICCON. Plain suit, like the Puritans, but less sober in color, and without the leather jerkin. Square linen collar and cuffs.
THE PORTRAITS. Costumes of an earlier century.
SIR PHILIP. Slashed doublet and trunks of rich color, and long stockings to match. Ruff, and plumed cap or hat of same material as doublet. Wears a dagger.
LADY GERALDINE. Dress of rich color to harmonize with Sir Philip's. Puffed and slashed sleeves, figured panel in front of skirt and waist, and panniers on hips. Ruff, and small beaded cap.
To stand in absolute stillness for so long a time is a difficult matter. Therefore the portraits must be careful to take poses which they can hold without too great a strain throughout the act.
MUSIC
Choose songs which, through their quaintness, may be in keeping with the atmosphere of the whole.
For the children:
"Waken, Christian children,"[28]
[Footnote 28: Words printed in "A Puritan Christmas," p. 136.]
"The first Nowell the angel did say,"
or some other simple old carol.
For the Waits:
"From far away we come to you."
These three carols are all to be found in "Christmas Carols New and Old," Novello & Company. The last has been modernized and set to new music more suitable for children's voices by Mr. W.W. Gilchrist, and is to be found in a book containing many good carols for children ("The First Nowell" among them), "The New Hosanna."[29] Mr. Gilchrist's version omits the quaint refrains of the original--"The snow in the street, and the wind on the door," and "Minstrels and maids stand forth on the floor," and substitutes "Sing 'Glory to God' again and again," and "Peace upon earth, good will to men." These last words are necessary to the sense in two places, in the text of the play. When the play was first given, the Waits used the old refrains, and Mr. Gilchrist's, for alternate verses, thus gaining in quaintness of effect and at the same time avoiding monotony. For the midnight dance, use the Minuet from Mozart's "Don Giovanni."[30]
[Footnote 29: See p. 315.]
[Footnote 30: See note, p. 146, in regard to the English, following "A Puritan Christmas."]
SETTING
If the first scene, which requires little furniture,--the table, a chair for Gillian, and low stools for the children,--can be set in front of the second, much time will be saved in the changing. One scene will serve for both acts, if the frames of the portraits can be covered with hangings during the first act. Mission furniture may be used, but if it is possible to obtain a carved chair and table, and appropriate objects to hang upon the wall,--one or two pieces of armor, a pair of antlers, etc.,--the effect can be much enhanced.
The secret door in the second act must be planned in accordance with the possibilities of one's stage. If scenery is used, one section may be opened wide enough for Rufus to pass through. Otherwise, arrange hangings so that he may appear to go through a door behind them.
THE BABUSHKA
A RUSSIAN LEGEND, IN ONE SCENE
CHARACTERS
THE BABUSHKA. THE BARON. PRINCE DIMITRI } PRINCESS DAGMAR } His children. KOLINKA } MARIE } MATRENA } Children of a peasant family. SASCHA } NICOLAS } PAVLO } OLD SEMYON } IVAN, his grandson } The village fiddlers. MICHAEL, SERGIUS, LEO, BORIS, PETER } SOPHIA, NADIA, FEODOSIA, MASHA, } Village children. MALASHKA, KATINKA, PRASKOVIA }
THE BABUSHKA
TIME: _Christmas Eve._
SCENE: _Interior of a Russian "isba," or hut. Back R., door; L., window; through them a dreary winter landscape is visible. In the corner, by the window, a ledge with ikons and decorations. Right, Russian oven, with ladder to top. Bench runs under window and along wall. For other furniture, a few stools and a table, or large chest used as a table [L.], with a cloth, a loaf of bread, and a knife upon it. Down stage [R.], a cradle. On the floor, bear skins, or other furs. At rise of curtain_, MARIE, _seated by the table, braids a basket_; MATRENA _rocks cradle_; KOLINKA _sits by window, knitting_; SASCHA _lies on top of the oven_; NICOLAS _and_ PAVLO _play on the floor. Children are singing the "Carol of the Birds."_
[Music: CAROL OF THE BIRDS]
BAS. QUERCY.
Whence comes this rush of wings afar? Following straight the Noël star? Birds from the woods in wondrous flight, Bethlehem seek this Holy Night.
2. "Tell us, ye birds, why come ye here, Into this stable, poor and drear?" "Hast'ning we seek the new-born King, And all our sweetest music bring."
3. First came the Cock, ere break of day, Strutting along in plumage gay, Straight to the humble manger flew, Chanting aloud _Coquerico_.
4. Then, near the Babe a Goldfinch drew, Chirping with mirth _Tir-li-chiu-chiu_; _Chiu_ said the Sparrow in reply, _Pal-pa-bat_ was the Quail's quick cry.
5. Blackbirds then raised their sweetest notes; Warbled the Linnets' tuneful throats! Pigeons all cooed _Rou-cou-rou-cou_, Larks sang with joy _Ti-ro-li-rou_.
6. Angels, and shepherds, birds of the sky, Come where the Son of God doth lie; Christ on the earth with man doth dwell, Join in the shout, Noël, Noël!
KOLINKA. How lonely it is with Father away!
MARIE. Yes, and isn't it strange to think that all the houses in the village are just as quiet as ours?--on Christmas Eve, too.
SASCHA. I don't believe it ever happened before that the whole village had to turn out and hunt wolves on Christmas Eve.
MARIE. And if they hadn't had to do that I suppose Mother wouldn't have had to spend the day taking care of Petrovitch's sick wife, either.
KOLINKA. If the men were at home somebody would be coming in, or at least passing by.
MARIE. Oh, I do hope they will kill all those dreadful wolves so we shan't have to be afraid any more.
MATRENA. I'm so afraid Father will be hurt!
SASCHA [_with scorn_]. _Hurt_, Matrena! Of course he won't be hurt. Hasn't he always hunted wolves, every winter? But that's the way with you and Kolinka. I tell you _I'm_ not afraid. I only wish I were older and bigger--then I could have gone, too. It's very slow to have to stay at home and take care of you girls. [_Yawns and stretches._]
MARIE [_turning indignantly_]. Indeed, Sascha, it wouldn't be slow at all if you would do something beside lie up there on the stove and sleep. Here's the bowl you began to carve a month ago, not finished yet. Just come down now, and do it.
SASCHA. Oh, no! I like this better. And you know you would rather have me stay up here and tell you the news. [_Teasingly._]
KOLINKA. News, indeed! What news can _you_ have to tell, I should like to know?
SASCHA [_triumphantly_]. Just this. That the great castle up on the hill has been thrown open once more.
MARIE [_surprised_]. _Has_ it? Why?
KOLINKA. I don't believe it.
SASCHA. It's true, though. Our father the Czar has pardoned the Baron, and he has come back from Siberia.
KOLINKA. Are you _sure_, Sascha? Where is the Baroness?
SASCHA. The men said so at the well this morning, so it must be true.
MATRENA. Did the Baron bring the little Prince and Princess with him?
SASCHA. _Of course_ my lady and the children weren't in Siberia with the Baron. They've been in some foreign country--I forget where--all these years. And now the Baron has sent for them, and they have all come back to the castle to keep Christmas together.
MATRENA. Oh, how glad I am!
SASCHA. What are you glad for? It won't make any difference to _us_.
MATRENA. But I'm glad, anyway!
KOLINKA. Of course she is, and so we all are, Sascha--glad for the Baron and the lady, and the children, too.
NICOLAS. Did you say they were coming here, Sascha?
PAVLO. Are we going to see them?
SASCHA. No, of course not. They've come to the castle, and it will be the wonder of wonders if _we_ see them.
KOLINKA [_kindly_]. Perhaps they will drive through the village in their beautiful sleigh, Nicolas, and then you and Pavlo will have a chance to see them.
SASCHA. They did say, at the village well, that now the Baron is home, there will be more strangers in the village again.
MARIE. All the better for the village, and that's a very good reason for you to come down and work, Sascha. We can sell what we make to these same strangers, and earn a few kopeks for poor Father.
SASCHA. That's so, Marie. [_Comes down ladder and begins to examine work._] I believe I'll make some more forks and spoons. [_Consults_ MARIE _in pantomime._]
NICOLAS. Let's play wolf hunt, Pavlo! I'll be a wolf---- [_Covers himself with a skin._]
PAVLO. And I'll be a hunter with a club! [_Jumps up and arms himself._ NICOLAS _growls realistically._ PAVLO _prepares to strike._]
KOLINKA [_suddenly, in a startled voice_]. What's that outside!
NICOLAS. Bears!
PAVLO. No, it's a wolf! [_They throw down skin and club and fly to the top of the stove._]
PAVLO _and_ NICOLAS [_terror-stricken_]. Wolf! Wolf!
[MARIE _and_ KOLINKA _go to window._ SASCHA _tries to see out, then goes to unbolt door._
MATRENA [_running to foot of ladder and shaking her finger at_ NICOLAS _and_ PAVLO]. You bad boys! you've waked the baby!
KOLINKA. Be quiet, boys! It's not a wolf at all.
MATRENA. Nor a bear, either. [_Rocks cradle, and pats and hushes baby._]
MARIE. It's some poor body lost in the snow, perhaps.
[SASCHA _gets door open and runs out._
SASCHA [_without_]. Have you lost your way? Come with me. Here is our door. It's a bitter cold night.
[MATRENA _leaves cradle and stands by_ MARIE. _Enter_ SASCHA _with_ PRINCE _and_ PRINCESS. NICOLAS _and_ PAVLO _watch with interest._
KOLINKA [_going forward hospitably_]. Come in; you are very welcome. [_Sees the strange guests._] Oh----
MARIE [_aside_]. Oh, Matrena, who can it be?
MATRENA [_aside_]. Marie, just see how beautifully they are dressed!
[_Children stand back abashed._ SASCHA _remains by door._
PRINCE [_who leads_ PRINCESS _by the hand_]. We thank you for taking us in. I am the Prince Dimitri from the castle, and this is my sister, the Princess Dagmar.
PRINCESS. And we have lost our way.
KOLINKA [_timidly_]. We--we didn't know who it was. I'm so glad we heard you.
MARIE [_gently taking_ PRINCESS' _hand_]. Oh, Matrena, how cold her hand is! Come near our stove, my lady, and warm yourself.
[MARIE _and_ MATRENA _rub the_ PRINCESS' _hands while the boys on the stove peer down curiously. The_ PRINCE _puts his hands against stove._ SASCHA _and_ KOLINKA _stand staring at the strangers._
SASCHA. How did you get lost?
PRINCE. We wanted to see our beautiful forest----
PRINCESS. You see, we have only been here for a few days.
PRINCE. So we started out for a little walk. We didn't mean to go far at all, but before we knew it we had lost sight of the castle.
PRINCESS. And though we tried and tried to find it again, we kept getting deeper into the forest.
SASCHA. But how did you come to the village? It isn't very far from the castle, but it is hard to find unless you know the road, or just the right path in the forest.
KOLINKA. Yes, how did you come here?
PRINCESS. An old woman found us wandering about trying to find the path, and she brought us here. Such a strange old woman, all wrinkled and bent.
PRINCE. _She_ seemed to know just how to come here, though I couldn't tell what was guiding her.
PRINCESS. And she was so good and kind to us--but she never spoke once, all the way.
MARIE [_clapping her hands_]. It must have been the Babushka!
SASCHA. Of course it was!
KOLINKA _and_ MATRENA. How wonderful!
NICOLAS _and_ PAVLO. Babushka! Babushka!
PRINCE [_puzzled_]. The Babushka?
PRINCESS. Who is she?
SASCHA. What! you, Russian children, and don't know that!
KOLINKA [_aside_]. Hush, Sascha, don't be rude. You forget they have been away ever since they were babies, almost. [_To_ PRINCE.] We can tell you all about the Babushka, Prince. Sit down, and Marie will tell you the story. Marie knows it best. [KOLINKA, SASCHA, _and_ MARIE _draw benches forward and all sit down_, MARIE _in the center, the rest not too close to her._ PRINCE _and_ PRINCESS _on bench to R._, MATRENA _on end of_ MARIE'S _bench._ SASCHA _stands near_ MATRENA. KOLINKA _behind the group, knitting._ NICOLAS _and_ PAVLO _watch gravely._]
NICOLAS. There aren't any bears or wolves coming, Pavlo?
PAVLO. No. And Marie's going to tell a story.
NICOLAS. Let's get down. [_They scramble down the ladder, and seat themselves at_ MARIE'S _feet._]
MARIE. Was the old woman in the forest all dressed in gray?
PRINCESS. Yes, all in a long gray cloak, with a queer white cap on her head.
MARIE. Yes. Then I'm certain it was the Babushka. She is sure to be wandering about on Christmas Eve.
PRINCE. Is she?
PRINCESS. Why?
MARIE. That's what the story is about. Once upon a time, hundreds and hundreds of years ago, there was a lonely little house out in the fields where four great roads met.
SASCHA. And by the house there was a big guidepost that pointed four ways at once, to show people which road to take. [_Stretches out both arms and swings his body slowly to show how the post points._]
MARIE. Babushka lived all alone in the little cottage. In the summer the place didn't seem so lonely, for the banks at the roadside were covered with bright flowers, and the days were long and full of sunshine. But in the winter everything was white as far as Babushka could see, and the wind howled, and the wolves howled, and the birds were all gone. And Babushka was poor, and old, and lonely. One winter day, when she was hurrying to get her work all done and her house tidied before the dark came down, because she was too poor to buy candles for herself, she heard a strange sound outside like silver bells ringing above the whistling wind. She looked out of her little window and saw a great train of people coming down the broadest of the roads toward the crossroad. She never had seen anything so strange before, for the leaders were not traveling in sleighs or on horseback, but on three great splendid white camels. The silver bells were hung about the camels' necks, and their saddles were decorated with silver ornaments. And on the camels rode Three Kings. Babushka knew they were kings because they were so richly dressed and because each one wore a golden crown on his head. And after them followed a long train of servants and guards. The Kings did not know which road to take, and one of the servants was sent to knock on Babushka's door and ask the way. At first the old woman was so frightened that she wouldn't open the door, nor answer at all, and the Kings themselves had to get down from their camels and come to speak with her. The servants frightened Babushka, but the Kings were so kind to her that she soon told them all she knew about the four great roads. It wasn't very much, for she had never traveled further than the nearest village, but she told the Kings that there they could find shelter for themselves and their camels and their servants.
Then the first King said: "We have journeyed a very long way, Babushka. We have been guided on the road by a glorious, shining Star, and we know that by and by the Star will lead us to a little new-born Baby."
The poor old Babushka wondered very much, and said: "Who is the little child, my lord, that you should take such a long, hard journey to find him?"
And the first King said: "He is a great King--the King of all the earth. When we find Him we will lay our crowns at His feet, with these gifts we have brought--gold, and frankincense, and myrrh. We are called Gaspar, Melchior, and Balthazar."
Babushka listened and looked. She saw the gold crowns, and she saw that each one of the Kings bore in his hand a gift--one held a richly embroidered bag which looked heavy, and it was, for it was filled with gold. Another carried a beautiful crystal jar full of something clear and golden. Babushka knew this must be myrrh, and suddenly she knew, too, that the fragrance of spices filling the poor little house must come from the incense in the stone vase she saw in the hands of the third King.
She listened and looked, and then she said: "Kings have no need of gifts, my lord. Why do you carry these gifts to the little child?"
And the first King said: "Because this King of all the Earth is the King of Love, or He would not have come down into the world as a little child. And because we love Him more than everything else, we are bringing Him the very best that we have."
And the second King said: "Come, Babushka, go with us on our journey to find the Christ-Child. He has come into the world to love and help just such poor old creatures as you."
And the third King said: "There is room in His heart for you, and we will gladly help you on the journey to Him."
And all the Kings begged her to go with them. But Babushka was afraid and unwilling. She saw how cold and dreary it was outside, and she knew that she was warm and dry in her little hut, even if she was so poor. She didn't know anything better than just to have enough to eat, and a fire to keep her warm. She looked up into the dark, threatening sky, and couldn't see any marvelous star through the thick clouds. And, besides, she wanted to finish sweeping up her house. She must surely do that first of all. But the Kings could not wait, so they mounted their camels again, and soon Babushka heard the music of the silver bells growing fainter and fainter in the distance. All the next day, and the day after, and the day after that, and every day all the year, and through all the years, Babushka thought of her strange visitors. And still more she thought of the little Child. And the more she thought, the more she grew to love Him, until at last she began to wish she had gone with the Three Kings. She grew more and more unhappy about it, until one day she made up her mind that she would set out alone to try to find the Child. She forgot how many, many years had gone by since the visit of the Kings, and she didn't know that the Child had gone back to His Throne in Heaven again. She locked her little cottage and set out, going from village to village and from house to house, everywhere seeking for the Christ-Child. When she found a little child who was kind and loving and true, she said to herself: "This little one looks as the Child I am seeking must have looked," and it made her very happy. But still she didn't find the Child the Kings had found.
And, Princess, though it all happened such hundreds and hundreds of years ago, the Babushka is still hurrying over the world in winter time, looking in every nursery and every cottage for the little Christ-Child. She comes in softly with just a rustle of her skirts, and bends over the beds where little children lie asleep. She always puts some small gift on the pillow, and steals silently out again. It is only the children that are good and quiet who ever see her, and she makes friends with them and gives them Christmas presents. But she loves the babies best of all, I know, because she still hopes to find among them the Baby who was laid in a manger on the first Christmas.
MATRENA [_after an instant's pause, pointing to window_]. Someone is at the window!
PRINCESS. I see her--it's the old woman who led us out of the forest!
SASCHA. It's the Babushka!
KOLINKA. Perhaps she will come in. Let's be very quiet.
MATRENA. Let's sing--the Babushka loves our carols.
[_Children sing softly the carol of the Birds. Enter_ BABUSHKA, _very quietly. Lays her hand on_ PAVLO'S, _then on_ NICOLAS' _head, and gazes earnestly at them._
[_Kneels by cradle, bending over the baby, and kisses it. Rises, stands watching the children a moment, then glides silently out. Children see her pass window, then the song ceases._
PRINCESS [_suddenly springing up_]. Oh, Dimitri, why didn't we beg the Babushka to take us home to the castle? Our Father and Mother will be so terribly frightened when we don't come back!
PRINCE [_hurrying to door_]. Perhaps it isn't too late.
SASCHA [_catching his arm, and standing before the door_]. No, no! you couldn't catch her.
KOLINKA. And you mustn't go out in the cold again.
PRINCESS [_in great distress_]. But we must let our father know we are safe!
KOLINKA. We will send a messenger as soon as we can, but there is no one in the village to-night----
SASCHA. The wolves have been so bad that all the men have gone out to hunt them.
KOLINKA. Perhaps someone will be back soon, and then we can send. It isn't safe for the boys to go alone into the forest so late.
SASCHA [_to_ PRINCE]. Father made me promise not to go away until he came home. I'm not a bit afraid, though.
KOLINKA. Sascha, run and ask old Semyon what he thinks. [_Exit_ SASCHA.] Sascha will bring Semyon back with him.
NICOLAS. Perhaps Ivan will come, too.
MATRENA. Ivan and Semyon play their violins and sing--Ivan is Semyon's grandson, you know.
PAVLO. And we sing, too.
NICOLAS. We'll sing for you when they come.
PRINCE. Will you? That's nice.
MARIE. We sing all the songs we know on winter nights. And while we sing we work. See, Princess, this is our winter work.
[PRINCE _and_ PRINCESS _go to table and look over wooden articles and baskets, with_ MARIE _and_ MATRENA. KOLINKA _stands by window._
NICOLAS [_to_ PAVLO]. I'm glad I wasn't big enough to go wolf-hunting, aren't you, Pavlo, because now we've seen the Prince and the Princess.
PAVLO. And Sascha said they wouldn't come here--but they did. Let's go up on the stove again, Nicolas. [_They climb upon the stove._]
KOLINKA. There they come. [_Opens door. Enter_ SASCHA, SEMYON, _and_ IVAN.] Did you tell Semyon, Sascha?
SASCHA. Yes, and he says we must wait.
SEMYON. Good-evening to you all.
CHILDREN. Good-evening.
SEMYON [_bowing_]. It's a poor, cold welcome home we give to our Prince and Princess, but we are glad to see them among us again.
PRINCE. I'm sure they've all been kind, little father.
SEMYON [_bowing again, to Prince_]. I'm sorry, my lord, that there is no way to send a message to the Baron, but our boys are too young, and I am too feeble. The men will be at home soon, I hope, and meanwhile you must be patient.
MARIE. Oh, Semyon, let us have some carols [_to_ PRINCESS], and then the time will go quickly.
SEMYON. Ivan and I are always glad to make music on Christmas Eve.
IVAN. Or any other eve, either, Grandfather.
[SEMYON _sits in center of stage_, IVAN _standing beside him. They play their violins and sing the ballad of King Wenceslas, all the children joining in the chorus._
NICOLAS. Sister, sister, I hear somebody shouting, outside!
SASCHA [_rushing to door_]. The men come back from the wolf hunt!
IVAN. Let's see what they've killed. [_Exeunt_ IVAN _and_ SASCHA.]
KOLINKA. No, it's not our father--they're all men that look like soldiers.
MARIE. It's the people from the castle come to look for you!
[_Door flies open. Enter_ IVAN _and_ SASCHA _with_ BARON. PRINCE _and_ PRINCESS _rush to him._
PRINCE _and_ PRINCESS. Father! Father!
BARON. My children! Are you both safe?
PRINCESS. Oh, yes, Father. These children have been so good to us.
BARON. Have they, my dear? Then they have been good to me, too, and I thank them with all my heart.
KOLINKA. Oh, we haven't done anything, sir!
PRINCE. Tell us how you found out where we were, Father?
BARON. In rather a queer way, my son. We didn't miss you just at once, but as soon as we knew you were gone everyone was in a great fright, you may be sure. I started out with Sergius and Smoloff, and half a dozen others to search for you in the forest. We hadn't gone a hundred yards from the castle when we met the strangest little old woman I ever saw, all dressed in gray, and wrinkled and bent----
PRINCESS [_clapping her hands_]. The Babushka, Father, the Babushka!
MARIE, SASCHA, _and_ KOLINKA. The Babushka took the message!
PRINCE. It was she who brought us here!
SEMYON. Have you never heard of the Babushka, Baron?
BARON. Yes, yes! I know the old story of the Babushka, but I never saw her before.
IVAN. She always comes to our village at Christmas time. We don't all see her every year, but somebody always sees her.
PRINCE. What did she do, Father?
BARON. She did not speak at all. She looked at us for a moment with the softest eyes imaginable, and then she stooped down and pointed to your footprints in the snow. Then she pointed toward the village, smiled, and beckoned to us to follow her. It seemed as if she must have guessed our trouble, and she seemed so sure and so full of cheer, that we couldn't help believing we should find you, and followed her at once. I must reward her liberally for the great service she has done me and mine this night.
MARIE. The Babushka wants no reward, Baron. You know what it is she has been searching for all these years? Grandmother says it was Love the Babushka wanted, and she has surely found it, for every little child in Russia loves her dearly, dearly, and watches for her at Christmas time.
IVAN. And when she comes, the children sing their carols for her. But the one she loves best is the "Golden Carol"--that's the song of the Three Kings, you know, sir.
SEMYON [_in doorway_]. The Babushka is coming now, with her followers, my lord. Here they are! [_Enter a troop of village children, the_ BABUSHKA _in their midst, smiling on them, and now and then patting some little one on the head. She stands in the center of the stage and distributes gifts to the children from a quaint basket, answering their cries and questions by nods and smiles, each child exclaiming "Thank you!" "How nice!" etc., as he receives his gift._]
CHILDREN. Oh, Babushka! dear, good Babushka!
SOPHIA. Have you got something for everybody?
MALASHKA. Are you quite sure?
SERGIUS. Me, too, Babushka!
MASHA. I've tried to be good, all the whole year!
CHILDREN. We all have, _truly_, Babushka.
SERGIUS. I've had good lessons--you can ask the school-teacher.
KATINKA. My mother says I've been a good girl--aren't you glad?
PETER. Please, Babushka--I--I'm afraid I haven't been a very good boy. But I'm sorry, and I'll try to do better next year. I'll be bigger, then.
PRASKOVIA. We'll all be very, very good next year--won't we, children?
CHILDREN. Indeed we will, Babushka.
BORIS. Perhaps it will be easier next year.
FEODOSIA. Oh, please, Babushka, I have a baby brother at home. Could you give me something for him?
LEO. My big brother has gone wolf-hunting with the men, but he'll be sorry enough he missed you, Babushka.
MICHAEL. So has mine, and he'll be sorry, too.
NADIA. Dear Babushka, I've kept the present so carefully that you gave me last year.
MALASHKA. Oh, _did_ you? Mine got broken and I cried.
CHILDREN. Oh, Babushka, we love you, we love you! Why can't you stay with us always? Live here with us--in our village.
SASCHA. Babushka! You must have something for the Prince and Princess, haven't you?
[_As the_ BABUSHKA _gives them something, the_ BARON _turns to the children._
BARON. Children, the Babushka has given the best present of all to me.
[_Children stare in surprise._
MARIE. Oh, I know! I know what it was!
BARON. Yes, some of you can guess. The Prince and the Princess were my Christmas present, for the Babushka gave them back to me.
[_Children laugh and clap._
SEMYON [_tapping his violin for quiet_]. Come, children, we must sing for the Babushka!
CHILDREN. Yes--we always do. [_Applaud again._ SEMYON _and_ IVAN _play, while children sing "The Golden Carol."_]
[Music: THE GOLDEN CAROL
of MELCHIOR, BALTHAZAR, and GASPAR.]
We saw a light shine out afar, On Christmas in the morning, And straight we knew Christ's star it was, Bright beaming in the morning. Then did we fall on bended knee, On Christmas in the morning, And praised the Lord, who'd let us see, His glory at its dawning.
2. Oh, ever thought be of His Name, On Christmas in the morning, Who bore for us both grief and shame, Afflictions sharpest scorning. And may we die (when death shall come) On Christmas in the morning, And see in heaven, our glorious home, That Star of Christmas morning.
CURTAIN
NOTES ON SETTING, MUSIC, AND COSTUME
RUSSIAN OVEN. Made from a wooden packing-case, five or six feet in height, covered with cambric, and painted to represent stone, brick, or tiles. These stoves are decorated with rich panels in bold conventional designs of flower or animal forms, or combinations of geometrical figures. They are often so large that in the bitter weather whole families may sleep on their tops, or on a platform above.
IKONS. Pictures of the Christ, the Madonna, and the Saints, much ornamented with gilt, and placed on a ledge in "the beautiful corner," with candles in silver candlesticks, sweet-smelling grasses, and flowers, real or of paper. Sometimes a carved wooden pigeon is also placed before the ikons--the emblem of the Holy Spirit. The wall in this corner is hung with long towels, either covered with embroidery, or embroidered at the ends. Everyone who enters the room makes an obeisance, and crosses himself, before the ikons. They are specially decorated for Christmas.
Make the towels with stencils, as described in the notes on girls' costumes.
The same characteristic designs are placed on ledges, cupboards, and shelves, on the chest, or coffer, and ceiling beam, on carved wooden boxes, dishes, and jugs, which are often displayed on a sideboard. The knife and loaf placed on the coffer constitute a symbol of hospitality.
The decoration of the stage need be limited only by time and resources.
MUSIC
Search for information in regard to carol-singing in Russia having been unsuccessful, old carols have been chosen which lend an atmosphere of quaintness. The "Carol of the Birds" is old French, the others English, "The Golden Carol" of the Magi being especially appropriate to the story.
The sources for "Good King Wenceslas" are given on p. 316. The singing of this carol (also the "Golden Carol") is accompanied by the Village Fiddlers on their violins. Semyon sings the part of the King, Ivan that of the Page, all the children the narrative parts.
Others, with better knowledge of the subject, may be able to obtain music more strictly suitable. The author would be glad to gain any accurate information in regard to the use of Christmas carols in Russia.
COSTUMES
BOYS wear Russian blouses, and dark trousers, their legs bound, from feet to knees, with yellowish rags; shoes suggesting moccasins. Blouses may be made of canton flannel, white, or dull colors, or of unbleached muslin, reaching halfway to knees. Neck finished in a band; opening from collar down left side is not more than six or eight inches, giving just room enough to put the head through. Trim this collar and opening, also sleeves, with fur; or put on a conventional border with stencil and paints, narrow at neck opening, broad on sleeves. Tie in at waist with a short sash, ends hanging, of bright color to match borders.
Outdoor winter costume of boys is a very thick, very full-skirted coat of dark color, immense boots, cap of fur, or fur-bordered, and bright scarf about neck, ends tucked into breast of coat. The village children, however, may be supposed to rush in from their houses, after the Babushka, without coats, but dressed as above, which is both simpler and more picturesque.
GIRLS' costumes vary a little more.
1. Sleeveless dress, to ankles; white guimpe, long full sleeves. Dress of bright colors, with band of plain color edging bottom of skirt, neck, both of dress and guimpe, and bordering white sleeves. Apron, white, with stenciled designs in various colors.
2. Skirt to ankles, of soft faded blue or red, worn high on the short white waist, which has full sleeves, gathered in a band at the elbow. Trimmed with stenciled bands in bright colors, at hem of skirt, on neck and sleeves, and also at the edge of an immense handkerchief worn on the head and knotted under the chin. This is large enough to spread out over shoulders, and is straight across the back.
3. Plain narrow skirt of soft color, with a long-sleeved apron (cream white), low-necked in front, and cut like an Eton jacket in the back. This skirt has a band of plain color at the hem, but the apron is trimmed with many rows of stenciled patterns at the bottom, a narrow pattern at neck and hand, and a broader one around the back at the waist. White chemisette in front, also with band of trimming.
Girls wear knots of ribbon hanging from the ends of their braids, many strings of bright beads on the neck, and large gold hoops, or enameled earrings in their ears. They may wear low shoes with bows or buckles, or the soft, thick moccasin-like shoes worn by the boys.
Some few may be bareheaded. Others wear the large handkerchiefs described above, and still others the picturesque "kokochnik," a velvet, bead-trimmed crescent, worn forward on the head as in the picture of "Marie." These are easily cut from cardboard, covered with velvet, and trimmed in different patterns with small beads.
The stenciled patterns above-mentioned take the place of Russian embroideries. They are repeated conventional designs, Greek patterns, and fantastic forms of flowers, birds, and animals. Stenciling is suggested as being the easiest and quickest way of getting the desired effect.
THE BABUSHKA. Long robe, and hooded cloak of light gray canton flannel. The hood is worn over the head. She carries a quaint basket filled with cheap little toys.
An adult is needed for this part, or an older girl of sufficient insight and appreciation to carry out the simple pantomime and fill it with the love and deep yearning of the Babushka, who is really a spirit, and not a human being at all.
THE BARON. Long military coat, below knees; cream-colored, trimmed on breast with a pattern in gold braid, a band of same around the edge and up the slits at the sides. Double collar, standing up behind head and lying flat across back, scarlet with a gilt pattern. Scarlet sash with sword or dagger. Red boots with blue heels. Spurs. Sleeves open from shoulder to fur-trimmed cuff, and worn hanging. Under-sleeve, and lining of coat-sleeve of a rich color. Hat with flat-topped crown about eight inches high, scarlet, with gold pattern; standing brim, dark brown, three inches high, cleft in front to show more of red and gold. Gilt cockade in front.
PRINCE. Russian blouse with military trimmings, scarlet and white. Khaki trousers, boots, fur cap.
PRINCESS. White cape and hood, trimmed with fur and silver. Dress underneath not unlike the little peasants', but more richly trimmed.
OLD SEMYON. Long brown robe, halfway below knees, skirt rather full. Legs bound in tan-colored rags. Moccasins. Coat has broad collar with long reveres, and plain high vest inside, of same material as coat. Hat made of the same, low, with rolling brim, giving a turban-like effect. Long white hair and beard.
Marie, the eldest of the children, is perhaps fourteen; Kolinka, twelve; Matrena, nine; Sascha, Ivan, and the Prince, eleven or twelve; Pavlo and Nicolas, five or six; the Princess, nine. The Village children should be rather small.
Satisfactory pictures of Russian homes and costumes are very difficult to find, but there is a series of fairy-tales in Russian, beautifully illustrated in color, which will be found most helpful to those wishing to make costumes for this play. These books are to be had at the Russian Importing Company, 452 Boylston Street, Boston, and may also be seen in some of the larger Public Libraries.
A CANVAS CHRISTMAS
IN TWO ACTS
CHARACTERS
PETER PEPPER, Ringmaster, and owner of Pepper's Perennial Circus. HARRY HOPKINS } LIMBER JACK } otherwise MARCO BROTHERS, Acrobats. BARNEY O'BRIEN } } SIGNOR FRENCELLI } JERRY PICKLE } otherwise } SIGNOR COCODILLA } Clowns. BEN JACKSON, otherwise MR. BARLOW, Minstrel and hand. DUTCH, peanut-man and general factotum. MIKE MCGINNIS, otherwise PROFESSOR WORMWOOD, Animal-trainer. TIM, one of the hands. SCHNEIDER, the Dog. JOCKO, the Monkey. FARMER SIMPSON. BENJAMIN FRANKLIN SIMPSON--"BUB"--(Eight years old.) } DANIEL WEBSTER SIMPSON--"SONNY"--(Five years old.) } his boys.
A CANVAS CHRISTMAS
Written for a club of boys from twelve to seventeen.