e-Ac

ce Ger

nscience of Sarah Platt," and Dramat

913, by Alic

ginning November 8, 1915, to represent an American one-act play on a bill of four comparative comedies, "Literature" by Arthur Schnitzler

osephine

overtone. A

. Noel

r overtone.

Simonson and the costumes an

n Beck, beginning at the Palace Theatre, Chicago, February 28

ltured woman

imitive self.

ltured woman F

rimitive self

s designed b

RAC

a cultu

er primi

, a cult

her prim

The pr

t the back leads to the hall. In the centre a tea ta

sting a possibility of primitive and cultured selves merging into one woman. The primitive and cultured selves never come into actual physical contact but try to sustain the impression of mental conflict. HARRIET never sees HETTY, never talks to her but rather thinks aloud looking into space. HETTY, however, looks a

er.] Harriet, my other self. [The

Yes? [From behind HARRIET'

want to t

IET.

admiringly]. Oh, Harriet

I presenta

. Sui

d to make the best

can't keep on the mask as you do. I'm crude

you wish the world

e part of me that

am your edu

ng river; you are the

m your subtl

are one woman, the wi

gree with you, Hetty,

. Harriet, how can

have to be the one who talks to him. If I gave you a

], I don't love hi

my calm, suave manner hides your hatred. Considering the amount of

, if you

y feelings. It isn't my

d you object to cal

on of a man who is managed only th

I am still the one who suffers. I can't forget he is my hus

to remember John, just becau

. She may be here at any moment. I want to adv

have a most annoying habit of talking to me when people are present. Someti

Impre

, is it not my custo

I hat

can't let h

her because sh

after you ha

RIET]. Was it my faul

hat's righ

r would be able to do anything in painting. Look at him now, k

at the time. It was much safer to

hn married Margare

. Out o

gawky-looking t

urope improved her. She was

e her jeal

e haughty or cordi

e you must let her k

s, I do that qu

must put

T. Nev

her I love

. My hu

u going to qu

quarrel with you. It is quite too uncomforta

RIET]. You were a stupid fool to make me r

Don't get me all excited. I'll be in no co

I could choke you fo

reating]. Do

know how you ha

'S emotion surge through her and trying to conqu

dless. Nothing but

I can't let her see that I have

an it has cost me to be married to Charles. But it's the pain here in

g to conquer e

ows HARRIET

[weakly]

er HARRIET]. He is

into a chair]. Don't-don't-y

Say he'

T. He'

phone rings]. T

hone but HARRIET reg

telephone girl down there hear my real self. It

xcited, my hear

r]. A nice state you'

let her see y

ir and drapes it on HETTY, covering her face. The chiffon is the same color of their gowns but paler in shade so that it pales HETTY'S darker gown t

production did not

use at the rise of

hiffon the same dar

wn

and fascinating-boast of our fri

make her ask J

my thought-if John

an wear an ex

e him fall in

[schemin

nds her hand. MARGARET is followed by her counterp

MAGGIE]. T

oice throughout]. It's enc

voice throughout]. I'

T]. Wasn't our meet

thought of you so often, HARRIET; and to

t of table]. Mr. Goodrich

MARGARET].

, Mr. Goodrich i

RIET]. Tell h

RGARET]. Won't

chair]. What a b

lamps! (In vaudev

? I'm afraid Charles pa

ETTY]. I don

wn. To HARRIET]. I a

wn]. How well you a

not. There are cir

aven't eaten since bre

IET]. How well yo

have hard lines about y

. Don't let her kn

houldn't I look well? My lif

E. I

ear]. Tell her we

RIET]. My life i

and cannot make a living. He will kill himsel

our studio. John has been doing some excellen

]. Tell her we ha

RET]. Do you take

cream. It's

tly at tea things]. No, cre

a things]. Only cakes

MARGARET]. H

GARET]. Sugar

se. I used to drink very sweet cof

believe you wer

, but it is none

Have you been in Turk

RGARET]. Chan

ere. You have so much taste in dress

she going to

]. John painted seve

you stop her bragging and te

e across the table

ows HARRIET. MAGGIE reaches claws out for the cake and groan

nd places cake upon her plate and bites

HARRIET].

suggestion that she would make a good model for John.

ng MAGGIE]. What

ARRIET]. There's your

re are always a great many people buying it at Harper's. I sat in my au

RET]. Make her o

s you must have noticed the new gowns at Henders

my chauffeur

e an automobile, I hea

artist's eye as John does. The one yo

er see you're anxi

ntly]. Oh, it's j

]. Don't seem anxio

wn itself but the way you wear it that pleases t

, I'm very

GARET]. You fla

n for you. I remember how beautiful you were-as a girl. In fact

gloating becau

re childhood days

trying to make you feel that

om the country. There is a fair chanc

and I am bitter

ret, your experience in economy and your ability to endure har

s sneering at

ficult at first, not the luxurious

ied Charles for his money. [HARRIET de

enial in our tastes, that we were im

Do you love each oth

ou have all the romance

. She's taunting you

vered John's genius, and introduced him royall

re you telling the t

ies there, you must have had great in

We did, but not t

ricans travelling in France, too, and th

is he going

ned]. What name

of Oregon is posing. You may not know the name, but she is

e are many Western peopl

fe in New York very interesting, Harrie

no need to remind us that o

ily made everything delightful f

MARGARET].

y that you had made yourself very popul

ased]. Who t

E. No

uspected-respected, I mean. They said, too, that y

I make no

r. Goodrich interested

TY.

eed, Charles and

E. I

o have ano

s. [Again her claws extend

took me to the Ritz and we are invited to the Bedfords' for dinner-they have such

E. St

o MARGARET

IE.

elf for you. Wealth, position, a happy marriage, every opportu

since I gave up John. All these years without him-a future with

mes think it is unfair for any one to be as happy as I am. Charles and I are just as

I could die for him. I'm going through hunger and wa

our studio. John has some sketches to show. Not many, because all the portraits

RIET]. Don't

ARGARET]. As

hat John is in the foremost rank of artists to-day. A pi

lie. He is growin

s he paint a

raws advertiseme

you and your husband come

an get the advertise

ve while he has a sitter, and John

her ask fo

Le Grange offered to

nge's reputation isn't

've heard his wo

he is doing s

y praised by the masses. He is accep

. Must I really p

thought I would m

GARET]. Let he

. Why don't you let Le Grange

t seem anxious to

pted by artists, it would be a waste

Yes, I thi

e]. Give us the order. John is so despondent he c

RIET]. Don't

charges only a thousand

nd have a portrait really worth while? John might be induced to do you for a l

n glee].

That's very nice of you to su

r]. For God's

John would. He is very peculiar in these matters. He sets his

You needn't try to

ion to him that inasmuch as you have many infl

. Finish what I d

ARRIET]. He

ns will follow the exhibition

ARRIET]. Be

be able to introduce you

relieved

ke pleasure, for your sake, in telling him about your be

ARGARET]. We

on't let her think sh

sure to add my name to your h

RGARET]. Run home and t

times that it would develop into business arrangements. I had no idea, Harriet, that you had

]. Run home and tel

the order very neatly. She doe

rtrait I shall blame you, Margaret, dear. I a

esn't suspect what you came

ys had a brillian

it is you wh

You don't have to st

es not flatter when

e going or you will have me

]. Yes, do go. I have

ARGARET]. Oh,

HETTY]. I

but I hope we shall see each other often

MAGGIE]. I

t is indeed gratifying t

TTY]. I came

]. How delightful it

m going to make you an

kind regar

]. He has forgot

He will be so happ

I can hardly wait t

wait, then, until

l speak to John about it as soon

and MAGGIE rush at each other, throw back their vei

ove him-I

starving-I'

ng to take him

your money-and

E. I'm going to

go out and come up again slowly, leav

ARRIET]. I've had such

er hand]. It has be

etly to HARRI

RGARET as she kisses h

rt