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Page 86 text:
The Abbot Circle 19 2 1 " ftfje roobe " By George Middleton Sara had stayed at home with her mother while Connie, her younger sister, went to college. Now Connie had graduated and was home and Sara thought that she, at last, would be able to go away from it all, for she felt that she was getting into a groove and she had set her heart on being a nurse. But matters weren ' t just as she had expecte:! to find them, for her attractive young sister Connie had fallen victim to Cupid ' s arrow and it seems that her beloved Paul was going to Brazil within two months. He was most anxious to take Connie with him — and who could blame him for wanting such an attractive girl as Ruth Holmes made? But one of them had to stay with their mother. One must give up her heart ' s desire, and each unselfishly offered to do it. But Sara finally persuaded her younger sister that it was only right for her to go with Paul. Annetta Richards as Sara .made us feel with her how great this sacrifice really was and how little happiness the future held for her. ENGLISH V PLAYS " Jfflargot ' s little affair " By Mary Elizabeth Polk Margot Smythe, a very modern flapper, is " dragged " home by an hysterical mother, a furious father, and a cynical brother because she has turned a perfectly proper dance into a shocking and disgraceful affair by leaving " Steve " in the middle of the floor and dancing with a " common Italian saxophonist " , thereby lessening her mother ' s chances of social success and her brother ' s chances, which depend on " Steve " , of business success. Margot, merely having " expressed " herself, thoroughly enjoys her family ' s scoldings and threats. In fact, she con- siders the situation quite dramatic and further shocks the family by announcing her intention to marry the notorious Guido. She admits that he knows nothing of the plan, but is perfectly confident that he will force her to marry him. At the crucial moment of her startling announcement, a very furious and rumpled Guido enters, demanding " that w ' at ees hees " . Margot, seeing in him a very different person from her late dancing partner, changes her mind much to the 66
Page 85 text:
The Abbot Circle 1922 " Joint ( toners in £ pain " By Alice Brown Perhaps this play has solved the problem which arises with the occasional misunderstanding with one ' s room-mate. Miss Dyer and Mrs. Blair at least solved it for themselves and they had the reputation of being the worst persons to room with in the old ladies ' home. The scene is laid in a bedroom of the home and at the opening of the play Emily Holt as Mrs. Fullerton is moving her things from the room with the aid of Mrs. Mitchell, the manager of the home. Miss Dyer is seated on the other side of the room and it is hard to believe that this complaining old lady could be Esther Wood. At the entrance of Mrs. Blair, Miss Dyer ' s new room-mate, we are quite breathless to see what the outcome of this new combination will be, for Mrs. Blair has a most violent disposition. At first the two old ladies are in a state of continual warfare, but finally Dorothy King, who plays the part of Mrs. Blair, thinks of a plan. They mark a chalk- line exactly through the center of the room. One-half is to be Miss Dyer ' s home and the other, Mrs. Blair ' s. If one wishes to speak with the other she must go over to her home and knock at the door to obtain admission. We find that the plan works excellently and that through this little game all their troubles are soon ended. 65
Page 87 text:
Th-e. Abbot Circle 19 22 relief of her family, and bids the angry Guido " good evening " . He, however, very determined, rushes at her and she with his " gentle " aid discovers a diamond stickpin caught in the front of her gown. The pin is, of course, what Guido has come for and Margot, hardly believing that he has come for a pin instead of her, watches him, not regretfully, be ushered out of her life by Mr. Smythe and Austin. When father returns, he accompanies poor mother, who is quite over- come, to her room. Margot, still not understanding, reflects on the incident and immediately comes a blinding realization. Guido, of course, came after her but seeing her amid her usual surroundings could not presume to ask her to marry him and very cleverly used the pin as an excuse. " How perfectly simple! " The explanation is, however, perfectly satisfactory to her and she settles down for a nice long talk with poor old Steve, over the ' phone, while Austin appropriately closes the scene with a ceremonious " Amen " on the piano. " iou J2eber Can Wtll " By Marian Rugg Lillie went away for the summer engaged to two men because she felt she could not ruin either ' s life by refusing him. But during the summer she met Don who, she was sure, was the only man in the world for her. Now they both were home, at one of the dances, and Don insisted that they announce their engagement. Lillie was forced to admit she was already engaged to Jack and Dick. Don forgot his anger as he realized they were both at the dance, but demanded that Lillie break with them that evening. Lillie agreed hesitatingly, feeling she was about to give a death blow to two men she rather liked. But Jack entered with an indifferent swing and started to talk rapidly. He informed Lillie, without giving her a chance for a word, that he was really in love, for the first time in his life, with Eleanor Atkins. Jack left Lillie gasping as Dick entered for his dance. Lillie, this time, talked fast and furiously to prevent a similar disaster, but Dick interrupted her as she reached her crisis to tell her he loved another girl — Eleanor Atkins — and his feeling for Lillie was merely brotherly affection. Don returned to a subdued Lillie who tremblingly asked him if he knew — Eleanor Atkins!!? Lillie almost fainted as he drew out a letter from her, but it was just a note announcing her coming marriage to Billy Rowley. Lillie ' s spirits soared at this news — perhaps a little higher as she thought of Jack and Dick. So Lillie and Don, all their complications being settled, once more pledged their love and danced happily out of sight. 67
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