Part 16

UNA [stretching it out to him without looking at him]. Here it is.

GEORGE [taking it]. Thanks. [Approaching her.] Buck up, Miss! You meant well.

UNA. I suppose I was too daring.

GEORGE. If you ask me, I think the trouble was you and that Shaw fellow wasn't daring enough. Marriage is a very particular sort of business. Now if you'd come up to me in the street and just asked me to---- [UNA and BRAITHEWAITE look at GEORGE.] Well--I--I guess I'll go. But remember my tip next try, Miss.

Curtain.

III. OVERTONES

A One-Act Play

By Alice Gerstenberg

Author of "Unquenched Fire," "The Conscience of Sarah Platt," and Dramatization of "Alice in Wonderland," etc.

Copyright, 1913, by Alice Gerstenberg

"Overtones" was produced by the Washington Square Players under the direction of Edward Goodman at the Bandbox Theatre, New York City, beginning November 8, 1915, to represent an American one-act play on a bill of four comparative comedies, "Literature" by Arthur Schnitzler of Austria, "The Honorable Lover" by Roberto Bracco of Italy, and "Whims" by Alfred de Musset of France. In the cast were the following:

HETTY. Josephine A. Meyer HARRIET, her overtone. Agnes McCarthy MAGGIE. Noel Haddon MARGARET, her overtone. Grace Griswold

The scene was designed by Lee Simonson and the costumes and draperies by Bertha Holley.

"Overtones" was subsequently presented in vaudeville by Martin Beck, beginning at the Palace Theatre, Chicago, February 28, 1916, with Helena Lackaye as star, with the following cast:

HARRIET, a cultured woman Helene Lackaye HETTY, her primitive self. Ursula Faucett MARGARET, a cultured woman Francesca Rotoli MAGGIE, her primitive self. Nellie Dent

The scene was designed by Jerome Blum.

CHARACTERS

HARRIET, a cultured woman HETTY, her primitive self MARGARET, a cultured woman MAGGIE, her primitive self

TIME: The present.

SCENE: HARRIET'S fashionable living-room. The door at the back leads to the hall. In the centre a tea table with a chair either side. At the back a cabinet.

HARRIET'S gown is a light, "jealous" green. Her counterpart, HETTY, wears a gown of the same design but in a darker shade. MARGARET wears a gown of lavender chiffon while her counterpart, MAGGIE, wears a gown of the same design in purple, a purple scarf veiling her face. Chiffon is used to give a sheer effect, suggesting a possibility of primitive and cultured selves merging into one woman. The primitive and cultured selves never come into actual physical contact but try to sustain the impression of mental conflict. HARRIET never sees HETTY, never talks to her but rather thinks aloud looking into space. HETTY, however, looks at HARRIET, talks intently and shadows her continually. The same is true of MARGARET and MAGGIE. The voices of the cultured women are affected and lingering, the voices of the primitive impulsive and more or less staccato. When the curtain rises HARRIET is seated right of tea table, busying herself with the tea things.

HETTY. Harriet. [There is no answer.] Harriet, my other self. [There is no answer.] My trained self.

HARRIET [listens intently]. Yes? [From behind HARRIET'S chair HETTY rises slowly.]

HETTY. I want to talk to you.

HARRIET. Well?

HETTY [looking at HARRIET admiringly]. Oh, Harriet, you are beautiful to-day.

HARRIET. Am I presentable, Hetty?

HETTY. Suits me.