CHARACTERISTIC INCIDENTS

While still in its infancy, the work of The Little Country Theater has already more than justified its existence. It has produced many festivals, pageants, and plays and has been the source of inspiration to scores of country communities. One group of young people from various sections of the state, representing five different nationalities, Scotch, Irish, English, Norwegian, and Swede, successfully staged “The Fatal Message,” a one-act comedy by John Kendrick Bangs. Another cast of characters from the country presented “Cherry Tree Farm,” an English comedy, in a most acceptable manner. An illustration to demonstrate that a home talent play is a dynamic force in helping people find themselves was afforded in the production of “The Country Life Minstrels” by an organizationof young men coming entirely from the country districts. The story reads like a fairy tale. The club decided to give a minstrel show. At the first rehearsal nobody possessed any talent, except one young man. He could clog. At the second rehearsal, a tenor and a mandolin player were discovered. At the third, several other good voices were found, a quartet and a twelve piece band were organized. When the show was presented, twenty-eight different young men furnished a variety of acts equal to a first class professional company. They all did something and entered into the entertainment with a splendid spirit. “Leonarda,” a play by Björnstjerne Björnson with Norwegian music between acts, made an excellent impression.

A Farm Home Scene in Iceland Thirty Years Ago

Perhaps the most interesting incident that has occurred in connection with the work in this country life laboratory was the staging of a tableau, “A Farm Home Scene in Iceland Thirty Years Ago,” by twenty young men and women of Icelandic descent whose homes are in the country districts of North Dakota. The tableau was very effective. The scene representedan interior sitting room of an Icelandic home. The walls were whitewashed. In the rear of the room was a fireplace. The old grandfather was seated in an armchair near the fireplace reading a story in the Icelandic language. About the room were several young ladies dressed in Icelandic costumes busily engaged in spinning yarn and knitting, a favorite pastime in their home. On a chair at the right was a young man with a violin, playing selections by an Icelandic composer. Through the small windows rays of light representing the midnight sun and the northern lights were thrown. Every detail of their home life was carried out, even to the serving of coffee with lumps of sugar. Just before the curtain fell, twenty young people, all of Icelandic descent, joined in singing the national Icelandic song, which has the same tune as “America.” The effect of the tableau was tremendous. It served as a force in portraying the life of one of the many nationalities represented in the state.

When “The Servant in the House” by Charles Rann Kennedy was presented, it wasdoubtful in my mind whether a better Manson and Mary ever played the parts. Both the persons who took the characters were country born. Their interpretation was superb, their acting exceptional. In fact, all the characters were well done. Three crowded houses greeted the play.

An alert and aggressive young man from one part of the state who witnessed several productions in the theater one winter was instrumental in staging a home talent play in the empty hayloft of a large barn during the summer months. The stage was made of barn floor planks. The draw curtain was an old, rain-washed binder cover. Ten barn lanterns hung on a piece of fence wire furnished the border lights. Branches of trees were used for a background on the stage. Planks resting on old boxes and saw-horses were made into seats. A Victrola served as an orchestra. About a hundred and fifty people were in attendance at the play. The folks evidently liked the play, for they gave the proceeds to a baseball team.

Scene—“Leonarda”By Björnstjerne Björnson

Every fall harvest festivals are given in differentsections of the state, with the sole purpose of showing the splendid dramatic possibilities in the field of agriculture. A feature in one given a few years ago is deserving of special mention. Country people in North Dakota raise wheat. The state is often called the bread basket of the world. A disease called black rust often infests the crop and causes the loss of many bushels. In order to depict the danger of this disease, a pantomime called “The Quarrel Scene between Black Rust and Wheat” was worked out. The character representing Wheat was taken by a beautiful fair-haired girl dressed in yellow, with a miniature sheaf of grain tucked in her belt. The costume worn by Black Rust was coal-colored cambric. The face was made up to symbolize death. Wheat entered and, free from care, moved gracefully around. Black Rust stealthily crept in, pursued and threatened to destroy Wheat. Just about the time Wheat was ready to succumb, Science came to the rescue and drove Black Rust away. Wheat triumphed. Several thousand people saw this wonderful story unfolded in the various places where itwas presented. Everybody caught the significance of it at once.

Just the other day a farmer from Divide County who had planned a consolidated schoolhouse came to the theater, in order to find out how to install a stage “so the people in his community could enjoy themselves” as he put it. Divide County is some three hundred miles from The Little Country Theater.

One young man from the northwestern part of the state wrote me a letter well worth reading. He said in part:

“Dear Sir:—I thought you might like to know how we came out on the play ‘Back to the Farm,’ so I am writing to tell you of the success we had.“In the first place we had a director-general who didn’t believe in doing things by halves. For nearly a month we rehearsed three times a week. That means after the day’s work was done we ate a hasty supper, hurried through the chores, cranked up the Ford and ‘beat it’ to rehearsal. And when we did give it we didn’t waste our efforts in a little schoolhouse with a stage consisting of a carpet on the floor and a sheet hung on a wire for the curtain. Nix! We had an outfit that any theater in a fair sized town might well be proud of.“Well, we had a full house and then some, they even came from Minot fifty miles north of here and from other neighboring towns. After it was over we got all kinds of press notices, nice complimentary ones, too. Our fame even went as far as Washburn and the County Supt. of Schools asked us to come down and give it at the Teachers’ Institute, Nov. 4, to give the teachers an idea what could be done in other communities y’see? We didn’t go though, didn’t have any way to pay expenses as he wanted to give it free. However, we went to Garrison, Ryder, Parshall, Makoti and drew a full house every time except once and that was due to insufficient advertising, only two days. We collected enough money to buy chairs and other furnishings for our new ‘Little Country Theater’ and also the salary of an instructor to our orchestra we are just starting.“Our stage is surely ‘great.’ The wings, interior set and arch are made of beaver board, with frames of scantling, the frame of the arch, however, is not scantling, but two by fours. It is all made in such a manner that it can be knocked down and packed away, when we wish to use the building for basketball or other games. The back drop is the most beautiful landscape I have ever seen, a real work of art.“The front drop curtain is what made it possible for us to get the entire outfit. It has the ad of nearly every business man in Ryderand represents something like $240. The complete stage cost us $200 so we still had some left over.“The theater which is not yet completed is in the basement of the new brick consolidated school. It will be steam heated and later electric lighted, two dressing rooms back of the stage, and well I guess that’s enough for a while. The auditorium will be about 19 x 40 ft.“Now I believe what we can do others can do as we are only an ordinary community, our director was a college graduate with a lot of pep and push, that’s all.“Do you ever loan out any of your scenery? Another party who has ‘caught the fever,’ is going to try the same stunt with modifications. I am getting to be a sort of an unofficial agent for your Extension Div. as people here are getting interested in these ‘doin’s’ so don’t be surprised if you get a letter from us now and then.“Yours truly,“A. R.”

“Dear Sir:—I thought you might like to know how we came out on the play ‘Back to the Farm,’ so I am writing to tell you of the success we had.

“In the first place we had a director-general who didn’t believe in doing things by halves. For nearly a month we rehearsed three times a week. That means after the day’s work was done we ate a hasty supper, hurried through the chores, cranked up the Ford and ‘beat it’ to rehearsal. And when we did give it we didn’t waste our efforts in a little schoolhouse with a stage consisting of a carpet on the floor and a sheet hung on a wire for the curtain. Nix! We had an outfit that any theater in a fair sized town might well be proud of.

“Well, we had a full house and then some, they even came from Minot fifty miles north of here and from other neighboring towns. After it was over we got all kinds of press notices, nice complimentary ones, too. Our fame even went as far as Washburn and the County Supt. of Schools asked us to come down and give it at the Teachers’ Institute, Nov. 4, to give the teachers an idea what could be done in other communities y’see? We didn’t go though, didn’t have any way to pay expenses as he wanted to give it free. However, we went to Garrison, Ryder, Parshall, Makoti and drew a full house every time except once and that was due to insufficient advertising, only two days. We collected enough money to buy chairs and other furnishings for our new ‘Little Country Theater’ and also the salary of an instructor to our orchestra we are just starting.

“Our stage is surely ‘great.’ The wings, interior set and arch are made of beaver board, with frames of scantling, the frame of the arch, however, is not scantling, but two by fours. It is all made in such a manner that it can be knocked down and packed away, when we wish to use the building for basketball or other games. The back drop is the most beautiful landscape I have ever seen, a real work of art.

“The front drop curtain is what made it possible for us to get the entire outfit. It has the ad of nearly every business man in Ryderand represents something like $240. The complete stage cost us $200 so we still had some left over.

“The theater which is not yet completed is in the basement of the new brick consolidated school. It will be steam heated and later electric lighted, two dressing rooms back of the stage, and well I guess that’s enough for a while. The auditorium will be about 19 x 40 ft.

“Now I believe what we can do others can do as we are only an ordinary community, our director was a college graduate with a lot of pep and push, that’s all.

“Do you ever loan out any of your scenery? Another party who has ‘caught the fever,’ is going to try the same stunt with modifications. I am getting to be a sort of an unofficial agent for your Extension Div. as people here are getting interested in these ‘doin’s’ so don’t be surprised if you get a letter from us now and then.

“Yours truly,

“A. R.”

When “The Little Red Mare,” a one-act farce was given, Hugh’s father came down to see me and tell me that if there was anything needed in the country it was more life and good entertainments for the young people. He wasa very interesting character and a bit philosophical. When I told him about the mistakes made in the work, he pulled out a lead pencil, placed it between his fat thumb and finger and looking straight at me said, “if it wasn’t for mistakes we’d never have rubbers on the ends of our pencils.” His son, Hugh, who took the character of the old deaf fellow in the play, did a superb piece of acting.

Over in the village of Amenia they have a country theater. It is located on the second floor up over a country store, and has a seating capacity of about one hundred and seventy-five people. The stage is medium size. The curtain is a green draw curtain. The lighting system is unique, containing border lights, foot lights, house lights, and a dimmer. The plays selected and produced are only the best. One villager said he never thought plays would change the spirit of the community so much.

Scene—“The Servant in the House”By Charles Rann Kennedy

Up near Kensal, North Dakota, about four miles out from the town, the McKinley Farmers’ Club have a place modeled in some ways after The Little Country Theater. The country people formed a hall association, soldstock to the extent of three thousand dollars, donated their labor, and put up the building. The site was given by a country merchant. It is a typical rural center, consisting of auditorium, stage, rest rooms, dining room, and kitchen. An excellent description of its activities is contained in a letter from one of its members dated April 17, 1918, which I shall quote in part:

“The club year, just closed has been satisfactory in all events. From a social standpoint, this community through the efforts of the McKinley Club has enjoyed the fellowship of their neighbors and friends in a manner that is foreign to most rural communities.“The officials of the past year have injected literary work into its meetings or rather at the close of the club meeting. Meetings are held on the second and fourth Saturday evenings of each month. The men of the club meet in the auditorium and transact regular business while the Ladies’ Aid of the Club meet in the dining rooms. At the close of the business session all congregate in the auditorium where a program made up of songs, recitations, readings, essays, debates, dialogues, monologues, the club journal, four minute speeches, etc., is given. With the program or literary over, all retire to the dining rooms, where the ladies have a lunch arrangedwhich is always looked forward to. Home talent plays and public speakers are from time to time in order and always enjoyed. A five piece orchestra composed from amongst the membership play for dances, at plays, etc. The dramatic talent of the club has just played ‘A Noble Outcast’ and despite a rainy evening the proceeds counted up to $93.00. The proceeds were used to pay for the inclosing of the stage and stage scenery. They will put this on again, the proceeds to go to buy tobacco for the boys ‘Over There.’ Last June the club members and their families in autos made a booster trip boosting the play ‘Back to the Farm,’ presented by The Little Country Theater Players. They canvassed ten towns in a single day, driving one hundred and twenty miles. The result was that when the ticket force checked up $225.00 had been realized. The club celebrates its anniversary in June of each year.“The Ladies’ Aid of the club have been a great help and their presence always appreciated. To date they have paid for out of their funds, and installed in the club hall, a lighting system that is ornamental and is of the best, a piano, kitchen range, and a full set of dishes with the club monogram in gold letters inscribed on each piece.“The stage is enclosed and scenery in place so that the dramatic talent of the community have an ideal place for work.“I have in a hurried manner given you some of our doings in general.“Respectfully,“J. S. J.”

“The officials of the past year have injected literary work into its meetings or rather at the close of the club meeting. Meetings are held on the second and fourth Saturday evenings of each month. The men of the club meet in the auditorium and transact regular business while the Ladies’ Aid of the Club meet in the dining rooms. At the close of the business session all congregate in the auditorium where a program made up of songs, recitations, readings, essays, debates, dialogues, monologues, the club journal, four minute speeches, etc., is given. With the program or literary over, all retire to the dining rooms, where the ladies have a lunch arrangedwhich is always looked forward to. Home talent plays and public speakers are from time to time in order and always enjoyed. A five piece orchestra composed from amongst the membership play for dances, at plays, etc. The dramatic talent of the club has just played ‘A Noble Outcast’ and despite a rainy evening the proceeds counted up to $93.00. The proceeds were used to pay for the inclosing of the stage and stage scenery. They will put this on again, the proceeds to go to buy tobacco for the boys ‘Over There.’ Last June the club members and their families in autos made a booster trip boosting the play ‘Back to the Farm,’ presented by The Little Country Theater Players. They canvassed ten towns in a single day, driving one hundred and twenty miles. The result was that when the ticket force checked up $225.00 had been realized. The club celebrates its anniversary in June of each year.

“The Ladies’ Aid of the club have been a great help and their presence always appreciated. To date they have paid for out of their funds, and installed in the club hall, a lighting system that is ornamental and is of the best, a piano, kitchen range, and a full set of dishes with the club monogram in gold letters inscribed on each piece.

“The stage is enclosed and scenery in place so that the dramatic talent of the community have an ideal place for work.

“I have in a hurried manner given you some of our doings in general.

“Respectfully,

“J. S. J.”

I shall never forget the night referred to in the above letter when “Back to the Farm” was given in the hall. Automobiles loaded with people came from miles around. The hall was packed. Children were seated on the floor close up to the stage. Fifty persons occupied a long impromptu plank bench in the center aisle, with their bodies facing one way and their heads looking toward the stage. They stood on chairs in the vestibule at the back. The windows were full of people. Three men paid fifty cents each to stand on a ladder and watch the play through the window near the stage. It was as enthusiastic and appreciative a crowd as ever witnessed a play. They still talk about it, too.

One of the most artistic pieces of work ever done in the Theater was the part of “Babbie” in Barrie’s play “The Little Minister.” The charming young lady who took the character seemed, as the folks say, “to be born for it.”“Little Women” a dramatization of Louisa Alcott’s book was also cleverly acted.

A group of twenty young men and women from fifteen different communities dramatized “The Grand Prairie Community School Building” project in five scenes. The first scene told the story of the organization of the Grand Prairie Farmers’ Club in the old one-room country school, and the endorsement of the new structure. The second showed the plans and specifications of the proposed building, by means of an illustrated lecture given in the old town hall. In the third and fourth parts the basement with the installation of the lighting system and the preparation of the lunch in the kitchen for the visitors were portrayed. The last scene displayed the auditorium and stage in the community school building complete, together with the dedication ceremonies. The scenery, properties, curtains, and lighting effects were arranged by these young men and women. The two hundred people who saw this dramatic demonstration will never forget the effect it had upon them. It proved that any community which is farsighted enough can withimagination and organization erect a similar structure or remodel a village hall so the people can have a place to express themselves. The essentials are an assembly room and a stage, that’s all.

Scene—“Back to the Farm”By Mereline Shumway

Three outdoor spectacles, “The Pastimes of the Ages,” “The Enchantment of Spring,” and “The Master Builder” revealed the infinite possibilities of the drama in picturing “tongues in trees, books in running brooks, sermons in stones, and good in everything.” All of these pageants and many more aim to teach the people who live in God’s gardens to appreciate their surroundings. “The Pastimes of the Ages,” as well as the other two outdoor plays, was presented on a flat prairie, a parade ground about three or four hundred feet from The Little Country Theater. Over fifteen thousand people saw the spectacle and twelve hundred people took part in it. The scene was a most impressive one. At one end of the natural outdoor amphitheater the silent sphinx and three pyramids rose in all their Oriental grandeur. At the other stood a temple of glittering gold, in which the Spirit of Mirth reigned supreme.The play opened with Mirth running out of the temple singing and dancing. In the distance she saw a caravan approaching the pyramids. She beckoned them to come forward. The grand procession followed. On entering the temple the sojourners were greeted by flower maidens. Mirth then bade the caravan to be seated on the steps of marble and witness some of “The Pastimes of the Ages.” The Greek games were played. An Egyptian ballet was danced. Forty maidens clad in robes of purple with hands stretched heavenward chanted a prayer. Two hundred uniformed Arabs drilled. The chimes rang. Mirth gestured for all to rise and sing. The bandsen massestruck the notes of that song immortal, written by Francis Scott Key. The caravan, having seen all the pastimes in which men and women have indulged in ages gone by, journeyed back to the place from whence it came. And the story of the most gorgeous spectacle ever seen, on the Dacotah prairie ended.

“The Enchantment of Spring” was a pageant in two episodes, with its theme taken from the field of agriculture. The setting wasThe Temple of Ceres. The Herald of Spring came to the temple with Neptune the God of Water, Mother Earth, Growth, Apollo the God of the Sun, Persephone emblematical of the vegetable world, Demeter the Goddess of Grains, Flora the Goddess of Flowers, and Pomona the Goddess of Fruits, to announce the approach of Spring. The trumpeters signaled the coming of the east and west and north and south winds. They met, they quarreled and Fate drove the north wind away. The three winds then counseled with Neptune, Apollo, and Mother Earth, companions of Growth, as to her whereabouts. They finally discovered Growth at work and bade her to go to the temple. The welcome and the rejoicing followed. At the entry of Spring, the flowers awoke. Ceres called to Spring to come to the steps of the temple. The Crowning of Spring ended the pageant. When it was produced, it opened up the vision of many people as to the latent possibilities of the drama in the vocation of agriculture.

Festival—“The Pastimes of the Ages.”By Alfred Arnold. Parade Grounds, North Dakota Agricultural College, Fargo, North Dakota

Just recently “The Master Builder” was presented. The scene of the story was laid in theGreat Outdoors. The play centers about a man who builds, a mechanic called the Master Builder. In his dream a vision comes to him, a picture of a beautiful temple that he has longed for years to construct. Around him and about him the dream children dance. They are the messengers that tell him that the workmen are coming. Before him in a procession, passes Ahura Mazda and the Sun Worshipers, Vulcanus and the torch-bearers, Atlas and his men of power, the Great Architect and his associates, Praxiteles and the stone-cutters, Tubal Cain and the blacksmiths, Joseph and the carpenters, and Michael Angelo and the painters. After he consults with the architects and approves the plans, they sing and rejoice. Nature’s forces—light, power, and fire—combine to help him realize his dream. Even the flames, often the elements of destruction, turn their energies into power to help him. Finally, Praxiteles and the stone-cutters begin the temple, and Joseph and the carpenters, Tubal Cain and the blacksmiths, Michael Angelo and the painters complete it. The Anvil Chorus plays, Enlightenment awakens the Master Builderfrom his dream, and Achievement shows him that his vision has been realized. The beautiful temple stands before him.

All three of these spectacles show untold dramas in fields of thought yet untouched. They were mediums through which the ideals, the traditions, and the beauties of nature and human nature could be expressed.

The great mass of people in the state love good plays. Just like most folks, they want something with a homely story mixed with a few bits of comedy. Ninety out of a hundred persons are usually human, anyway. “David Harum,” a three-act comedy by Eugene Noyes Westcott, seemed to hit the right spot with hundreds of the Dacotah folks. Personally, I do not believe a finer piece of non-professional acting has ever been done in America than that of the young man who took the part of David Harum. His phenomenal success in the character is all due to the fact that he lived the part every time he acted it. Naturally, he had strong support in the presentation of the play.

One incident in regard to the place of its production I shall never forget. During thepast twenty-five years it has been my good fortune to see plays and programs presented in village halls, schoolhouses, churches, homes, country stores, gymnasiums, auditoriums, theaters, hotels, barns, parks, groves, streets, and other places. But I have never had the good fortune to see a baseball diamond used for a theater, and on the Fourth of July, with a play like “David Harum.” It all happened down at Lisbon. The second baseball game had just finished. It was about six-thirty in the evening. A frame of two-by-four scantling was erected and braced like a city billboard. The center of the frame was exactly nine feet from the home plate. On it fourteen foot green draperies were hung. A large soiled canvas was laid on the worn ground for the stage. Three electric bulbs with a few batteries and two good sized automobiles furnished all the light necessary for the production. The baseball pits, where the players stay before they are called upon to bat, were used as dressing rooms. The crowd began to assemble at half past seven, and at eight o’clock the bleachers were brimful. The overflow crowd was seated on planks close upto the stage. For two solid hours and on the Fourth of July, mind you, several hundred people sat, watched, and listened to David Harum. Not a soul left. The interest manifested by the audience was tense at all times. It was one of the most unique instances ever experienced by the writer.

Scene—Sitting Bull-Custer.By Aaron McGaffey Beede

An Indian drama called, “Sitting Bull-Custer,” written by an Episcopal priest, now a judge in Sioux County, told the story of the Redman’s version of the Custer Massacre. It was presented on a Dacotah prairie at sunset, seven years ago. The scene represented an Indian village on the Little Big Horn River. It was dawn, June twenty-fifth, eighteen hundred and seventy six. A thick clump of trees, in which the Indian characters, Echonka, Gall, Rain-in-the-Face, Old-man, Old-woman, and Old-Woman-Diviner were hidden, furnished the background. There, secluded as spies, they anxiously awaited the arrival of Sitting Bull, believing that he would unfold valuable secrets in regard to the coming battle. Fool-mink, an Indian story teller and singer, the comedian of the play, was everywhere present. He sangand he danced. His music irritated Rain-in-the-Face, because it reminded him of the time Tom Custer handcuffed him. In several sharp encounters which ensued between Fool-Mink and Rain-in-the-Face, Gall acted as the peace-maker. Silence reigned. Sitting Bull arrived. He looked at the dawn wistfully, started a fire, and sat down beside it. He spoke with rapid tongue. He told the story of the Redman, the most misunderstood creature on earth. He gave the reason why his race feared the white man—he wanted to be left alone and have food to eat. He foretold the battle. Suddenly his body became as rigid as a statue. Mid pauses, he spoke in a far-away ghostly voice.

“Great Custer speaks. I hear him say,Brave action crushes calumny.No lies can crush a glittering fact,If man, ignoring self, will act.I’m not a man without a flaw,What man has not his foibles? Pshaw!Courtmartial me! For what? To blightMy name! I swear, by yonder lightOf morning, I’ve no serious wrong!The truth will flame abroad ere long.Their teeth shall bite the dust to-day,A soldier’s grave can sing a layOf praise, while foibles dare not peep,And those who twisted foibles sleepForgotten. They suppose I shrinkFrom death as they do. As they thinkThey judge me. Open your sweet jaws,Brave death, and swallowing petty flaws,Make Custer’s rightful honor brightAnd clean, as youthful morning light!To die! To die gives them the shame,And me, I ask no word of fame,Save this,—that ere I slept in dust.He pauses, waves his lifted hand,He’s beckoning toward the spirit land.”

“Great Custer speaks. I hear him say,

Brave action crushes calumny.

No lies can crush a glittering fact,

If man, ignoring self, will act.

I’m not a man without a flaw,

What man has not his foibles? Pshaw!

Courtmartial me! For what? To blight

My name! I swear, by yonder light

Of morning, I’ve no serious wrong!

The truth will flame abroad ere long.

Their teeth shall bite the dust to-day,

A soldier’s grave can sing a lay

Of praise, while foibles dare not peep,

And those who twisted foibles sleep

Forgotten. They suppose I shrink

From death as they do. As they think

They judge me. Open your sweet jaws,

Brave death, and swallowing petty flaws,

Make Custer’s rightful honor bright

And clean, as youthful morning light!

To die! To die gives them the shame,

And me, I ask no word of fame,

Save this,—that ere I slept in dust.

He pauses, waves his lifted hand,

He’s beckoning toward the spirit land.”

In this reverie he pictured Custer as the idol of the Redman. The arrival of the herald from the enemy’s camp awakened him from his stupor. A council of war was hastily called. It was noon and after. The battle was on. The smoke rose in every direction. Soldiers and warriors appeared and disappeared. Echonka was seen. His gun failed to discharge. A bullet laid him low. Winona, Echonka’s lover, came running, looked at him with an agonized face, lifted her hands toward heaven, and shrieked. She knelt at his side and cried as if her heart would break. The fatal day soon ended. It was after sunset. SittingBull in searching among the dead found the body of Custer. The wailing for the dead could just be heard. He uttered a soliloquy, covered Custer’s face with a silk handkerchief, lifted his own face and hands in prayer, and was silent. The play ended.

The effect upon the three thousand persons who witnessed the Indian play was excellent.

Religious dramas, sometimes in prose and poetry and often in tableau and pantomime, are given. “The Evergreen Tree,” “The Nazarene in Song and Story,” and “The Man of Galilee” were especially well presented. Every year a series of one-act plays is produced for the sole purpose of training young men and women to be able to stage dramas in the districts where they expect to live. Programs containing features characteristic of the activities of a community are frequently given.

A great many original plays have been written and presented to large crowds. “The Prairie Wolf,” “Bridging the Chasm,” “Every Ship Will Find a Harbor,” “The New Country Woman,” “The Country Side,” not to mention dozens of others, are productions whichhave come out of the country people themselves. The place was crowded at the presentation of every one of these plays. Over eighty per cent of the audiences were country people, who had come to see dramas of their own creation, plays that had come out of the soil. “The Prairie Wolf” was written by a young man who was interested in horses and cattle. It pictured in a most vivid manner the financial troubles of a great many farmers. The central thought in “Bridging the Chasm” brought out the gap between city and country. A city girl and a country boy had fallen in love with each other. The city prejudice against country people made her hesitate before she said yes. “Every Ship Will Find a Harbor” was worked out by a country lad who was very fond of machinery and electricity. The action of the play took place in a country store, in the woods near the Langer farm, and in the sitting room of a farm home. The play told the story of a lazy country boy who decided to leave the farm and go west in search of adventure, and to study about machinery with the aid of a correspondence course. He didn’t like school.After being in the employ of a western power company for a few years, he returned home. His arm was broken. While at home he became interested in the community where he was born. In order to help his people enjoy life he showed them how to harness nature’s power, so that the drudgery of the farm might be done by machinery instead of man power. The crowd which witnessed this play was a very responsive one. “The New Country Woman,” written by a girl of French descent, brought out the leadership of woman in improving the social conditions in the country. There were ten characters in the play. The action took place in three scenes. The existing rural conditions in the state were splendidly portrayed in “The Country Side.” It was exceptionally well written, the thought and the English well nigh perfect.

Scene—“American Beauties”—A One-Act Playby A. Seaman

Whenever possible, the young people who are competent are broken in as directors on the original plays as well as on the others. This is done to give them the experience, so that they can help when called upon in their communities to assist. It also develops leadership.In other words, The Little Country Theater is not only a laboratory to try out different kinds of plays and entertainments for country folks, but also a place to train country-life workers.

One could go on indefinitely with hundreds of incidents which show the magnitude of the work of this particular country-life laboratory in the Northwest.

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