Green Stockings: A Comedy in Three Acts
CAST OF CHARACTERS
SYNOPSIS OF SCENES
ACT I. Room in Mr. Faraday's House, February 11th. Evening.
ACT II. Same as Act I. Eight months later. About six o'clock.
ACT III. Morning room in Mr. Faraday's house. Evening same day.
DESCRIPTION OF CHARACTERS
Admiral Grice (Retired), a testy old gentleman of about sixty-five, with the manner of an old sea dog, of ruddy complexion, with white hair and whiskers.
William Faraday, a well-preserved man of about sixty-five. Fashionable, superficial and thoroughly selfish.
Colonel Smith, a dignified, dryly humorous man of military bearing, about forty years old.
Robert Tarver, an empty-headed young swell.
Henry Steele and James Raleigh, two young men of about thirty and thirty-five respectively.
Martin, a dignified old family servant.
Celia Faraday, an unaffected woman of twenty-nine, with a sense of humor.
Madge (Mrs. Rockingham) and Evelyn (Lady Trenchard), handsome, well-dressed, fashionable women of twenty-five and twenty-seven respectively.
Phyllis, the youngest sister, a charming and pretty but thoughtlessly selfish girl of twenty.
Mrs. Chisholm Faraday, of Chicago (Aunt Ida), a florid, quick-tempered, warm-hearted woman of fifty or thereabouts.
ACT I
Scene: A room in Mr. Faraday's country house; at the upper left corner a little room is recessed, in which is a folding card table and four chairs. Windows at back. On table are two decks of cards, an ashtray and two bridge-markers and pencils. Hanging over table, a shaded electrolier. There is no door, but people sitting at the card tables are practically off the stage, though they can be seen and heard. At right corner balancing left corner exactly is seen a portion of the morning room (backing used is part of Act III set). Directly against back is a small table, between two chairs, both of which are facing it. On table, a lighted lamp and an English periodical, also an ashtray and a vase of spring flowers. Note: All flowers used in this set are spring flowers. Between card room and morning room on back flat, a tapestry is hung, against flat a baby grand piano, keyboard facing right up and down stage; on piano are a scarf, photograph frames, vase of flowers and a lamp. In the center of the left wall of the room, proper is hung a large picture; beneath this stands a large cabinet on which is formal garniture. Below this is a door (L.I) which leads into the hall; above door and to left center, a table on which is a sliding book rack holding several books and an English army list. Also a shaded lamp, a purse for Lady Trenchard to left of table, and a sewing-bag for Aunt Ida to right of table.
In R.I is a door balancing that in L.I. It leads to hall. Above door R. is a large mantel. Above this is hung a large picture, balancing that on left wall. On the mantel, a formal garniture of vases; against mantel, a club fender with upholstered top, fireirons inside fender, grate with lighted coal fire; below fender, facing sofa, an armchair. Opposite and facing the fender and about three feet from it is a large comfortable sofa, with a number of cushions; against the back of this, a long magazine table. On this are, beginning at upper end, an English timetable, a large shaded lamp, large cigarette box containing cigarettes, ashtray, match-holder, vase of tulips, photo frame, and at extreme lower end of table seven or eight English periodicals. On these, a large blue linen envelope, unsealed, flap being turned in. This contains a few spring fashion plates. With this are four ordinary letters, containing circulars (all of these letters are important). Below table, a square tapestry stool, left of table an armchair, under table a waste-paper basket. Between piano and entrance to morning room is a small light writing table. On this, a small lamp or a pair of shaded candles, a blotting pad with paper, envelopes, ink and pens. Above this a chair. Off L. a door bell and set of chimes. Electric light switch on R. wall to R. of morning room opening. Bell push on L. of back flat. The entire room should convey the impression of quiet, dignified, tasteful elegance. Complete darkness at windows, suggesting a rainy night. On rise of curtain, all lamps are lighted and fire aglow.
Before the curtain rises, Phyllis plays for a moment or two.
At Rise: Discovered: Phyllis at piano, playing. Lady Trenchard seated at upper end of sofa, smoking a cigarette and reading a periodical. Madge writing a letter at writing table up stage. Aunt Ida seated in armchair at R. of table L,. knitting. The girls and Aunt Ida are in evening dress. Phyllis continues to play softly under conversation, something cheerful but not too fast. The opening scene should be played brightly and quickly.
Madge. (Rises. Brightly) Oh, Evelyn-
Evelyn. Yes, Madge.
Madge. (Coming down to chair L. of table R. with letter in hand) I do want this letter to my husband to catch the Indian mail. Do you know anything about the postal service in this benighted village?
Evelyn. (Continuing to read and speaking over her magazine) No, Madgie, I don't. Celia always attends to those things. She's away. Ring for Martin.
(Madge goes to bell in upper flat L., rings it, and then comes L.C.)
Aunt Ida. (Without looking up from her knitting) Has anyone gone to the wharf to meet Celia?
Evelyn. (Indifferently) Why, no. She's coming home to-night, isn't she?
Aunt Ida. (Vehemently) You got her telegram.
Madge. (Unconcerned) What time is her boat due?
Aunt Ida. At eight, and now it's nearly nine.
(Enter Martin R.IE. and stands.)
Aunt Ida. (Continuing) She'll have been waiting for an hour on that dreadful wharf.
Evelyn. (Still reading and speaking over her book) Oh, Martin, the motor must go at once to the wharf to fetch Miss Celia.
Martin. Yes, your Ladyship, but hadn't I better send down some extra wraps; it's a very wet night.
Evelyn. (Looking up for a moment) Wet? Dear me, is it raining?
Aunt Ida. Cats and dogs.
Evelyn. (Returning to her reading) Oh, very well, then, Martin, attend to it at once.
Martin. (Turns to go to door R.) Yes, your Ladyship.
Madge. (From L.C.) Attend to me first, Martin, if you please.
Martin. (Turns back) Yes, madam.
Madge. How late can I post in order to catch the Indian mail?
Martin. Up till ten o'clock, madam.
Madge. (Going back to desk) Oh, then I have time to write a longer letter. (Martin exits R.I.)
Aunt Ida. (Looking around at girls, who are all occupied and quite oblivious of Celia's discomfort. With a deep sigh and shaking her head) Poor Celia.
Phyllis. (Gives a slight bang on the piano, rises and comes quickly down center. Indignantly) Poor Celia. Well, she's coming back home just at a moment that's going to complicate-the-whole-situation.
Evelyn. Why, what do you mean?
Phyllis. (Addressing Evelyn) Well, you know how father feels about letting me get married-while Celia is settling down day after day into a permanent old maid. If she'd stay away a little longer, he might forget for a while, but here she's turning up just this very night, just as Bobby has gained