SHENANDOAH
A MILITARY COMEDY
BRONSON HOWARD
THE AMERICAN DRAMA
=BOSTON MUSEUM=
PEACE
WAR
ACT FIRST
ACT SECOND
ACT FIFTH
SHENANDOAH
ORIGINAL CAST OF CHARACTERS
COSTUMES
FOR PROGRAMME
ACT I.
ACTS II. AND III.
ACT IV.
SHENANDOAH
SCENE. A Southern Residence on the shore of Charleston Harbour. Interior.—Large double doors up centre, open. Large, wide window, with low sill. Veranda beyond the doors, and extending beyond window. A wide opening with corridor beyond. Furniture and appointments quaint and old-fashioned, but an air of brightness and of light; the general tone of the walls and upholstery that of the old Colonial period in its more ornamental and decorative phase, as shown in the early days of Charleston. Old candlesticks and candelabra, with lighted candles nearly burned down. Beyond the central doors and the window, there is a lawn with Southern foliage, extending down to the shores of the harbour; a part of the bay lies in the distance, with low-lying land beyond. The lights of Charleston are seen over the water along the shore. Moonlight. The gray twilight of early morning gradually steals over the scene as the Act progresses.
ACT II.
SCENE. The Ellingham Homestead in the Shenandoah Valley. Exterior. Three Top Mountain in the distance. A corner of the house, with projecting end of veranda. Low wall extending up from veranda. A wide opening in the wall, with a low, heavy stone post, with flat top, on each side. Beyond the wall and opening, a road runs across stage. At the back of this road, elevation of rock and turf. This slopes up behind wood wing. It is level on the top about twelve feet; slopes down to road, and also out behind wood wings. The level part in the centre rises to about four feet above the stage. Beyond this elevation the distance is a broad valley, with Three Top Mountain rising on the right. Foliage appropriate to northern Virginia—walnut, cottonwood, &c. Rustic seats and table. Seat near veranda. A low rock near the stone post. Sunset when curtain rises. As the act proceeds this fades into twilight and then bright moonlight. The number references for the trumpet signals, in this and the next act, are to the official book, entitled "Cavalry Tactics, United States Army," published by D. Appleton & Co., N.Y., 1887. The number references for the Torch Signals, in this act, are to the General Service Code. This code may be found, with illustrations and instructions, in a book entitled "Signal Tactics," by Lieutenant Hugh T. Reed, U.S. Army, published by John Riley & Sons, N.Y., 1880. At rise of curtain, Trumpet Signal No. 34 or No. 35 is heard very distant. GERTRUDE and MADELINE discovered on elevation up center. GERTRUDE is shading her eyes with her hand and looking off. MADELINE stands a little below her, on the incline, resting her arm about GERTRUDE'S waist, also looking off.
ACT III.
SCENE. Same. It is now bright daylight, with sunshine flecking the foreground and bathing the distant valley and mountains.
ACT IV.
SCENE. Residence of GENERAL BUCKTHORN, in Washington. Interior. Fireplace slanting upward. Small alcove. Opening to hall, with staircase beyond, and also entrance from out left. Door up stage. A wide opening, with portières to apartment. Upright piano down stage. Armchair and low stool before fireplace. Small table for tea, etc. Ottoman. Other chairs, ottomans, etc., to taste.
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