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- Herausgeber: Booksell-Verlag
- Kategorie: Gesellschafts- und Liebesromane
- Sprache: Englisch
In 'Green Stockings,' A. E. W. Mason crafts a delightful and intricately plotted social comedy that revolves around themes of love, societal expectations, and the tension between seclusion and engagement. Set against the backdrop of early 20th-century England, Mason employs sharp wit and engaging dialogue, reflecting the era's blend of romantic and realist literary traditions. The characters navigate the complexities of emotional entanglements and class distinctions, with the titular green stockings serving as a symbol of both rebellion and identity within the bounds of societal scrutiny, making it a keen observation of its time. A. E. W. Mason, an English author and playwright, drew on his varied experiences, including his time as a war correspondent, to infuse his narratives with rich detail and layered character development. His background in theater provided him with an acute understanding of dialogue and characterization, elements that shine brightly in 'Green Stockings.' Mason's keen awareness of the societal norms of his contemporary England underscored his writings, establishing him as a notable voice in early 20th-century literature. 'Green Stockings' is a must-read for aficionados of British literature who appreciate a clever intertwining of humor and romance. It not only entertains but also provokes thought about the constraints placed by society on personal relationships. Mason's witty examination of love and societal expectations ensures that it remains a relevant and engaging read for modern audiences.
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Veröffentlichungsjahr: 2021
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Green Stockings
Table of Contents
A COMEDY IN THREE ACTS
By
A. E. W. MASON
Copyright, 1910, by Louis Nethersole Copyright, 1912, by Margaret Angil Hull Copyright, 1914, by Margaret Angil Hull
All Rights Reserved
CAUTION: Professionals and amateurs are hereby warned that "GREEN STOCKINGS," being fully protected under the copyright laws of the United States of America, the British Empire, including the Dominion of Canada, and all the other countries of the Copyright Union, is subject to royalty, and anyone presenting the play without the consent of the owners or their authorized agents will be liable to the penalties by law provided. Applications for the amateur acting rights must be made to Samuel French, 25 West 45th Street, New York, N. Y. Applications for the professional acting rights must be made to Alice Kauser, 1402 Broadway, New York, N. Y.
New York
London
SAMUEL FRENCH
SAMUEL FRENCH, Ltd.
Publisher
26 Southampton Street
25 West 45th Street
STRAND, W.C.2
GREEN STOCKINGS
All Rights Reserved
Especial notice should be taken that the possession of this book without a valid contract for production first having been obtained from the publisher confers no right or license to professionals or amateurs to produce the play publicly or in private for gain or charity.
In its present form this play is dedicated to the reading public only, and no performance, representation, production, recitation, public reading, or radio broadcasting may be given except by special arrangement with Samuel French, 25 West 45th Street, New York.
This play may be presented by amateurs upon payment of a royalty of Twenty-five Dollars for each performance, payable to Samuel French, 25 West 45th Street, New York, one week before the date when the play is given.
Whenever the play is produced the following notice must appear on all programs, printing and advertising for the play: "Produced by special arrangement with Samuel French of New York."
Attention is called to the penalty provided by law for any infringement of the author's rights, as follows:
"SECTION 4966:--Any person publicly performing or representing any dramatic or musical composition for which copyright has been obtained, without the consent of the proprietor of said dramatic or musical composition, or his heirs and assigns, shall be liable for damages thereof, such damages in all cases to be assessed at such sum, not less than one hundred dollars for the first and fifty dollars for every subsequent performance, as to the court shall appear to be just. If the unlawful performance and representation be wilful and for profit, such person or persons shall be guilty of a misdemeanor, and upon conviction shall be imprisoned for a period not exceeding one year."--U. S. Revised Statutes: Title 60, Chap. 3.
Printed in the United States of America by
THE RICHMOND HILL RECORD, RICHMOND HILL, N.Y.
The following is a copy of program of the first performance of GREEN STOCKINGS as produced at the Thirty-ninth Street Theatre, New York, on October 2, 1911:
Liebler and Company
presents
GREEN STOCKINGS
A Comedy in Three Acts
By A. E. W. MASON
CAST OF CHARACTERS
Colonel J. N. Smith, D.S.O.
H. Reeves Smith
William Faraday, J. P.
Stanley Dark
Admiral Grice, R. N.
Arthur Lawrence
Honorable Robert Tarver
Ivo Dawson
James Raleigh
Wallace Widdecombe
Henry Steele
Henry Hull
Martin
Halbert Brown
Celia Faraday
Margaret Anglin
Evelyn Trenchard
Mrs. Ruth Holt Boucicault
Madge Rockingham
Helen Langford
Phyllis Faraday
Gertrude Hitz
Mrs. Chisholm Faraday
Maude Granger
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 SteeleandJames 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)andEvelyn (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.
Green Stockings
ACT I
Scene: A room inMr. Faraday'scountry 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 Trenchardto left of table, and a sewing-bag forAunt Idato 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, Phyllisplays for a moment or two.
At Rise: Discovered: Phyllisat piano, playing. Lady Trenchardseated at upper end of sofa, smoking a cigarette and reading a periodical. Madgewriting a letter at writing table up stage. Aunt Idaseated in armchair at R. of table L,. knitting. The girls andAunt Idaare in evening dress. Phylliscontinues 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.
(Madgegoes 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.
(EnterMartin 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. (Martinexits R.I.)
Aunt Ida. (Looking around at girls, who are all occupied and quite oblivious ofCelia'sdiscomfort. 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. (AddressingEvelyn) 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 courage enough to take the bull by the horns and beard the lion sulking in his tent.
(EnterTarverin evening dress, dejectedly, R.U., coming down center.)
Aunt Ida. What an extraordinary proceeding.
Phyllis. (Running up toBobbyand taking him by the arm) Oh! Bobby, Bobby! What news?
Tarver. Well, I'm afraid it's hopeless, though I spoke with singular force. (Sits in chair left of table R.)
A
Phyllis. (Stands L. of chair, L. of table R.) Oh, Bobby, how splendid of you! How did you put it?
Tarver. In the form of a question. I said to your father, "Are you aware, sir, that I love your daughter and wish to make her mine?"
Evelyn. What did Father say?
Tarver. Oh, he said, "Has it escaped your observation, sir, that I still have two marriageable daughters?"
Phyllis. (Protestingly) But he hasn't, he hasn't.
Aunt Ida. Eh?
Phyllis. You know what I mean, Aunt Ida. I'm marriageable, but Celia--well--Celia's just--unmarried.
Evelyn. (With smiling sarcasm) And very likely to stay so.
Aunt Ida. (Grunts) Huh!
Tarver. That's just it, but tell me, what is your father's dearest wish in life?
Phyllis. To get rid of us both, of course.
Aunt Ida. Phyllis Faraday!
Evelyn. (Putting magazine on sofa and putting out cigarette on ashtray) Yes, so that he can give up this house to live at his club, but he promised poor mother to wait till we were all married----
Tarver. Yes, and he knows there's a better chance of getting Celia off his hands as long as Phyllis is about, because people will go on talking of her and Celia as the two Faraday girls, and lumping good old Celia into the girl division just out of habit. He won't risk letting Miss Celia put on a third pair of green stockings. (Tarverlooks around for ashtray, sees one on upper end of table, rises, goes to upper end of table, flicks ashes on tray and strolls down right of sofa and sits lower end of fender.)
Aunt Ida. Eh? Will you tell me what all this has to do with Celia's stockings?
(Phyllissits in chair L. of table R.)
