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In Booth Tarkington's The Trysting Place: A Farce in One Act, the reader is drawn into a witty and comedic story set in the context of early 20th-century American literature. The play unfolds with hilarious dialogue and farcical situations, showcasing Tarkington's adeptness at satirizing society's norms. The absurdity of the characters and their interactions adds to the light-hearted tone of the play, making it an entertaining read that captures the essence of comedic theater of its time. Tarkington's clever use of language and stage directions enhances the reader's experience of the play, offering a glimpse into the playwright's unique style. The Trysting Place is a delightful piece of literature that serves as a testament to Tarkington's talent in creating humorous and engaging works that stand the test of time.
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The professional stage rights of this play are reserved by the Author. The amateur stage rights are held by the Ladies Home Journal. For permission to produce the play application should be made by professional producers to Mr. Booth Tarkington, Indianapolis, Indiana, and by amateur producers to the Editor of the Ladies Home Journal.
Printed in the United States of America
Mrs. Curtis, The Young Woman, twenty-five or perhaps even a little older.
Lancelot Briggs, The Boy, slim and obviously under twenty.
Mrs. Briggs, his mother, a handsome woman of forty-five or fifty.
Jessie, his sister, a pretty girl of about twenty.
Rupert Smith, The Young Man, about twenty-five.
Mr. Ingoldsby, a man of fifty-five or, possibly, sixty.
The Mysterious Voice, male and adult.
The scene is a room just off the “lounge” of a hotel in the country. However, this is not a “country hotel;” but, on the contrary, one of those vast and elaborate houses of entertainment that affect an expensive simplicity in what is called the colonial manner, and ask to be visited—by those financially able to do so—in the general interest of health and the outdoor life. The wall at the back of the stage is broken only by symmetrically spaced pilasters of an ivory color; each of the side walls is broken in the same manner; but here the pilasters help to frame two rather broad entrances, one at the right and one at the left, and beyond these entrances, on both sides, we have glimpses of the two corridors that lead to them. There are a few old prints—or new prints from old plates—upon the walls; and there are flowering plants on stands in the corners. The furniture consists of some chintz-covered easy-chairs, a light wicker settee with a chintz cushion and a valance that reaches the floor; and there are two wicker tables with a vase of jonquils upon each of them. In the rear right-hand corner of the room, near the stand of plants, there is a tropical-looking chair, wicker, with a back of monstrous size—a Philippine Island chair—and in the opposite corner is its mate.