The Changed Valentines, and Other Plays for St. Valentine's Day

The Queen of Hearts.
Her Maidens, eight girls.
St. Valentine.
His Attendants, eight boys.
Little Sir Cupid.
The Fairy.
The Queen’s Pages, two small girls.
St. Valentine’s Pages, two small boys.

COSTUMES

Dress the Queen in a white robe, cut like a Grecian robe, with flowing sleeves. It has a border of golden hearts, cut from gold paper. She has a girdle of heavy gold cord, with a heart at each end, also a tiara of lighter gold cord, surmounted by a heart of gold. She carries a sceptre of gold, surmounted by a heart. Choose a pretty girl for the part.

Her Maidens are in pale blue and silver. The dresses are made from crepe paper, with double skirts, full waists, and large sashes. The waists have Dutch necks and short puffed sleeves. Trim the neck, sleeves and both skirts with silver tinsel. The stockings may be blue or white, the slippers white or black. The hair should be flowing, held back from the face with a band of blue, edged with the silver, tied in a bow at the side, little silver hearts dangling from the ends of the bow. On the upper skirt, or tunic, is a row of silver hearts. Each carries a scarf or ribbon about two yards long, and four or five inches wide. These may be of some sheeny lining material. Point the ends, and hang a silver heart from each end, and from the centre. When the scarfs are not in use, they are thrown over the head, and hang down, in front, over the shoulders. They may be blue, to match the costume, or pink, of a shade that will harmonize with the blue.

St. Valentine wears a long, white robe, girded with red and decorated with red hearts. He has a long white beard, easily removable, also a red cap or hood, to which is sewed long white hair. He carries a large, handsome valentine.

His Attendants wear long red robes, girded with white. Each carries a valentine.

His Pages are two tiny boys, in white robes, with red girdles. All these robes should be so fashioned that they may be quickly and easily thrown off. Underneath all are dressed in court costumes, of red and white—long hose, puffed trunks, doublet or tunic, belted in, and puffed sleeves.

The Queen’s Pages are tiny girls in white, fluffy dresses. One has a big sash and hair ribbon of pink, also stockings to match. The other has them of blue. They have also bows at the shoulders, with short loops, and long ends. The blue ribbon has golden hearts attached to the ends; the pink one has silver hearts.

The Fairy is all in fluffy white. Her dress is made of mosquito netting, very short and full, with a full empire waist. White ribbons of varying lengths hang from the folded girdle, also from a band which encircles the low, round neck. To each of these ribbons is fastened a tiny silver bell. The sleeves are merely deep ruffles, cut in points, to each of which is sewed a bell. The slippers have rosettes, with the bells. Around the head is a white band, to the lower side of which the little bells are fastened. To the centre of this, in front, is fastened a silver star. Her wand is white, with a silver star at the end. Below the star are several streamers, with the bells.

Cupid is a tiny boy, in a short, scant slip of pale pink, over very short white trousers or trunks—short enough not to show. The slip is cut straight, with low neck and no sleeves. A drapery of white mosquito netting, passing over left shoulder, and under right arm, nearly covering slip, gives a fleecy, cloud-like effect. He has little wings of pale pink, and wears no shoes nor stockings. He carries a little silver bow and a golden arrow. A quiver holding two or three more arrows may be slung from his right shoulder, and hang at his left side.

SCENE.—The Palace of Hearts. The throne, in the centre background, is a chair, set upon a raised dais, the whole draped with purple. Upon the floor, in the centre of the space left before the throne, draw a large circle. Divide it into eight parts, by lines crossing at centre. Draw a smaller circle inside the other, having for a radius one-third the radius of the larger circle. The little drill or dance by the Queen’s Maidens is done on this diagram. Deck background with gold hearts.

(Curtain rises on Maidens, standing at either side of throne, baskets of flowers in their hands.)

First Maiden.

Oh, where is the Queen? Why so long delay?

She should not be late on her natal day.

Second Maiden.

Hark! She is coming! We ready must be

To join the procession, and bow the knee.

(Maidens pass to entrance, form double line, between which the Queen, her Pages holding up the court train, passes. The Maidens then fall into line, two and two, behind them. The procession should pass entirely around platform, and to C. back. Then, while the Queen and Pages pass down one side, to C. front, the Maidens pass down C. and form aisle to throne, up which the Queen passes. When she reaches the throne, she seats herself, the little Pages seating themselves on the dais, on either side. Maidens arrange themselves on either side, and sing “Hail to the Queen.” The music is that of “Little Stars” in “Festive Songs for Little Singers.”)

HAIL TO THE QUEEN

All hail[1 to her, our lovely Queen, the fairest in the land.

We joy to be her Maidens true, before her throne to stand.

We welcome[2 her with glad accord, to her we bow[3 the knee.

Our hearts[4 are hers in love and truth, and evermore shall be.

Chorus

Hail[5 to our fair Queen! Hail to our fair Queen!

Hail[6 to our fair Queen! The lovely Queen of Hearts.

(Rise during interlude.)

On this, our Queen’s own natal day, we’ve sought in fairest bow’rs,

And bring,[7 as birthday offerings, these baskets of fair flow’rs.

We’re bound to her with links of love—with Love’s own silver chain.

Yes, we are hers in love and truth. Long[8 may she live and reign.

Chorus

(Motions)

1—Baskets in left hands. Raise right hand high. 2—Right hand out, toward Queen. 3—Sink on one knee. 4—Right hand on heart. 5—Wave right hand high, through line. 6—Raise right hand high as possible, hold through line. 7—Hold baskets, in right hands, out toward Queen. 8—Raise baskets high, in right hand. In singing second chorus, they do not kneel. At 5, swing baskets, high, through line. At 6, raise them high to right. Hold to end of line. At close of song, they march in front of throne, and lay baskets on lower step of dais, leaving room for Queen to step from throne.

Queen.

Thank you, my maids. They are offerings rare.

Never were blossoms more sweet and fair.

But I somehow am sad on my natal day.

Third Maiden.

We will dance, to drive dull care away.

DANCE OF THE MAIDENS

(The music should be joyous and rather quick, the step a light, tripping one. Refer to diagram.)

Fig. 1. Meet in front of throne, and form single line. March down to A. First girl passes down line to E. Next girl passes to O, then to D; third girl to O, then to F, others to C, G, B and H, all first passing to O. Last girl remains at A. During this figure they hold scarfs above head in both hands.

Fig. 2. Each girl tosses end of scarf to next girl. March entirely around circle.

Fig. 3. Face centre, raise scarfs high, still held as in fig. 2, trip sidewise around circle.

Fig. 4. Recover scarfs. Hold them in both hands, right hand high, left low, and march in, along lines, to inner circle. March around inner circle, scarfs in right hands nearly meeting, high in centre, like spokes of a wheel, march back lines to places again.

Fig. 5. Hold strips high over head, turn around in places, once and a half times, bringing faces to centre again.

Fig. 6. Girls at A and E march up lines to meet at O, cross scarfs, march around, then march up to J and N, where each raises scarf above head, turns completely around, and then marches on to A and E. Girls at C and G repeat this figure, then those at B and F, and lastly those at H and D.

Fig. 7. All march completely around circle, swinging scarfs.

Fig. 8. Girls at A, E, C and G march to inner circle, then around it, then halt on J, N, Q and L, and toss ends of scarfs to each other. Raise them high. Remaining girls march down lines, pass between girls, and march in tiny circle inside. They then pass through, between J and L, and march in circle outside them, then pass in again, between J and L, and wind in and out. Repeat this winding, but first girl stop when she reaches R, next one on P, third on M and last on K. Toss scarfs, and raise.

Fig. 9. Scarfs so held, all sidestep around this inner circle, then lower arms and recover scarfs. Step backward to places on large circle.

Fig. 10. Hold scarfs in both hands, dropped easily at sides. Turn as if to march around circle. First girl marches down to J, along inner circle to K, up line to B, along outer circle to C, in on line to L, along to M, and so on, till she reaches A again. As she passes down first line, second girl moves from H to A, next girl from G to H, and so on, all moving up one place. As first girl moves up second line, girl now at A moves up first line, all others moving on one place. As second girl passes up second line, third girl moves down first line, and so on. Each girl performs the whole figure, which is much easier than would appear from description, as each simply follows the one ahead of her, keeping the proper distance between them.

Fig. 11. March completely around circle. Then, led by girls at A and E, half turning each way, march on circle, and up E O and down A O, to centre. Here, leaders cross scarfs, march around, then on to C and G. Next ones do the same, and so on.

Fig. 12. March on, on circle, to B and H, marking time, to allow all to complete fig. 11; then march down lines to F and D, crossing at centre, then on, to places on circle.

Fig. 13. March completely around circle, face centre, march in to inner circle. Girls at J and N raise scarfs, step to centre, back around each other and to place again. Girls at Q and L repeat this; then girls at R and M; and lastly, those at K and P. March backward to large circle.

Fig. 14. Run in to inner circle, waving scarfs, then around inner circle, still waving.

Fig. 15. Girl at J stands still. Girls at R and K run up to B and H, followed by those at Q and L, while one at J steps to centre, and those at P and M move up, and follow, J and N, stepping to P and M. As each reaches B or H, she runs to her place at side of throne, till all are in place.

Queen.

’Twas very pretty, my maidens fair.

(A knock is heard.)

Bluebell, go and see who’s there.

(Page with blue ribbons goes out and steps quickly back again.)

Bluebell.

I think it’s a boy, but he’s got wings.

Queen.

A fairy, or one of those elfish things?

Bluebell.

I really don’t know. He’s pretty and pink,

Too little to do any harm, I think.

Queen.

Well, say he may enter, but not to stay.

(Bluebell goes to entrance again, and Cupid skips in.)

Well, well, little fellow! Who are you, pray?

Cupid (bowing low).

May I tell my tale in song?

It will not take me very long.

Queen.

Ay, sing. But tell us who you are,

And if you’ve journeyed from afar.

(Cupid sings. Tune: “The Rill” from “Festive Songs for Little Singers.”)

Cupid’s Song

I’m Cupid, brave and wild,

Half fairy and half child,

I’m dancing here

And dancing there,

To greet me, earth has smiled.

I’ve wings, on which I fly,

Up to the sweet blue sky,

I travel far

To many a star,

When no one else is nigh.

Chorus

Winging, winging,

Swift o’er land and sea,

Singing little songs of love

Where’er I be.

With silver bow so true,

And golden arrow, too,

I aim my darts

At people’s hearts.

Look out! I may shoot you!

In earth or worlds above,

Where’er I may rove,

The heart, you see,

Once hit by me,

Will surely fall in love.

Chorus

Queen.

Methinks you’re a mischievous child, indeed.

Of you, in this court, we have no need,

For mankind never enters here,

So none can fall in love, ’tis clear.

Cupid.

The fair Queen of Hearts should find her a mate.

To die an old maid is a dreadful fate.

Queen.

Not so, Sir Cupid. A virgin to stay,

Is the fate I wish for, now and alway.

Besides, I have no mate, you see,

For no mere man is worthy me.

Cupid (sings to the tune: “Campbells Are Coming”).

He’s coming, he’s coming, ha, ha, ho, ho!

He’s coming, although you may not think so.

On Valentine’s Day there’s a mate for each lassie,

And one for the fair Queen of Hearts, ho, ho!

Queen.

Now, wee Sir Cupid, please depart.

Although so small, yet you are male,

And none of that sex is allowed

To stay within my kingdom’s pale.

Maidens.

Oh, he’s so pretty and so pink,

Please, dear Queen, let him stay!

He’s just a darling baby!

With him we’d like to play.

Cupid.

Yes, let me stay a while, and rest!

I promise to behave my best.

Queen.

Well, stay, child. You have winning ways;

And with no men-folks here,

You cannot do much mischief

With your arrows, that is clear.

Hark! Hear that silvery, tinkling sound,

And that rap, so light and fair,

It sounds like the touch of a fairy’s wand.

Rosebud, see who is there.

(Page with pink ribbons goes to door, and returns.)

Rosebud.

It is no boy this time, fair Queen,

But the dearest fairy. May she come in?

Queen.

Yes, bid her enter.

(Rosebud goes to door, and Fairy flits in.)

Lovely fay,

What seek you in my courts to-day?

Fairy (sings to the tune: “The Fairies,” in “Festive Songs for Little Singers”).

I’m the dainty little fairy

That’s called Tinkle Bell.

To your court, fair Queen, I flitted

Just to wish you well.

It was whispered ’mong the fairies,

’Twas your natal day,

So our queen, with happy greetings

Bade me haste away.

To the Queen of Hearts a message;

Little Tinkle Bell,

You must carry very swiftly.

’Tis a gift as well.

Tell her that to her I’m sending

My best gift to-day—

The best gift in earth or heaven;

And it’s on its way.

Queen.

What can it be?

Cupid.

I think I know.

Fairy (frowning at him, and raising finger in warning).

Nay, impertinent child!

How can you think so?

(Fairy flits about, tinkling bells. She flits up to Cupid, and remains by him. While the attention of the court is taken up with the next admittance, he aims at the heart of the Queen. It is not necessary to shoot, in fact, he had better not. In each case, throughout the play, he merely aims. Whenever there is opportunity the Fairy and Cupid whisper together, unnoticed by the rest, and Cupid aims at every girl in turn, even the little Pages.)

Queen.

Another knock! Who this time?

Go see, my pages fair.

(Both Bluebell and Rosebud go, but come running back.)

Both.

It’s boys! It’s boys! And an old, old man!

Queen.

Tell them to go away, quick as they can.

(Pages go to door again, remain a minute or two, then return.)

Bluebell.

He says his name’s St. Valentine.

Rosebud.

He claims this natal day of thine.

Bluebell.

He says he of this day is King.

Rosebud.

And that he’s come a gift to bring.

Queen.

Well, bid him enter, but alone,

Since he this day claims for his own.

(They go to door again, and return.)

Bluebell.

He says his attendants must come, too.

He will not enter, unless they do.

Queen.

Then tell him he outside must stay.

(They go to door and return.)

Rosebud.

The old man will not go away.

He says a gift so fair he brings,

It’s worthy of the wisest Kings

Or fairest Queens.

Queen.

Are they young and fair,

The attendants that are waiting there?

Bluebell.

They look sad and sober. Their robes are queer.

Queen.

For a brief space of time they may enter here.

(Pages go to door again, and return, followed by St. Valentine, his Pages holding the train of his robe. The Attendants follow, two and two. He stands before throne, his Attendants on either side.)

Queen.

I hear you claim to be a King;

And that a gift to me you bring.

St. Val.

E’en so, fair Queen. St. Valentine

Am I. This day is surely mine.

Queen.

But ’tis my natal day as well.

St. Val.

Much happiness doth that foretell.

Queen.

But where is the gift you bring to-day?

St. Val.

’Tis my heart I bring. Accept it, pray.

’Tis a gift most rare—this that I bring.

You’re Queen of Hearts, but I am King.

Queen.

St. Valentine is ages old.

Though Love’s a great gift, I’ve been told.

I am too young to mate with thee,

Though thou best King on earth might be.

St. Val.

And if I were not? Were I young and gay,

Fair Queen, would you say “no” to-day?

Queen.

Why, really, I like thee passing well,

Though the reason why I could not tell.

Why, yes. It’s a safe little word to say,

Since you are so old, good saint, to-day.

St. Val.

Love can make the heart grow young, and make the face grow fair.

And the Fairy Love stands in thy court with Cupid, over there.

Queen.

Love? Why, her name is Tinkle Bell.

Fairy.

Fair Queen, my name is Love, as well.

So, Valentine, shed all disguise,

And stand forth, young, before her eyes.

(As she speaks, she touches St. Val., then the Pages, then she flits to either side, and touches all the Attendants. As each is touched, he throws off his robe, St. Val. shedding cap and whiskers, also. These are carried out by the Pages. Have some one at entrance to take them.)

Queen.

Why, can this be St. Valentine?

Young, handsome, gallant, straight and fine?

St. Val.

It is, indeed; and now, fair Queen,

Thy promise true thou must redeem.

Queen.

’Twas won by fraud. Thou wast not true,

And so I cannot wed with you.

St. Val.

It was no fraud, but the power of Love,

The fairy all other fays above.

Fairy.

Fair Queen, he is truly worthy of you.

He is brave and noble, tender and true.

Boys (sing to the tune: “Autumn Leaves,” in “Festive Songs for Little Singers”).

Noblest King in all the world, St. Valentine!

True and tender, brave and good—St. Valentine!

Faithful lover will he be,

True eternally to thee.

Take the gift he brings to thee. ’Tis divine.

Share thy royal throne with good St. Valentine.

Fortunate art thou to have his love as thine.

With him thou wilt happy be,

Sorrow never dwell with thee.

If you’re his, fair Queen, you see, and he’s thine.

Queen.

Truly thy courtiers love thee well,

And noble things of thee they tell.

Truly, my heart inclines to thee.

St. Val.

Then give that heart, fair Queen, to me.

I’ll guard it as my greatest treasure,

And make my trust to seek thy pleasure.

Queen.

I yield. Thou takest what is thine own.

There’s room for both upon my throne.

(Queen moves aside, and St. Val. seats himself beside her. His Pages seat themselves by Bluebell and Rosebud, and the Attendants move into place beside the Maidens, so that all are in pairs.)

Cupid (sings, tune as before. At beginning of sixth line, Fairy joins in, and they sing rest of verse and chorus together).

My aim was good and true!

Fair Queen, I aimed at you.

My golden dart

Has pierced your heart—

Those of your maidens, too.

In earth, or realms above,

Wherever you may rove,

Of gifts so fair,

Both rich and rare,

The best of all is love.

Chorus

Winging, winging,

Swiftly on our way,

We brought you this fairest gift,

Thy natal day.

Queen.

Ah, Cupid, in mischief thou’rt bound to be!

’Twas the opening wedge—admitting thee.

Cupid.

Art thou not glad? Tell me, fair Queen.

Dost wish thou’dst banished me from the scene?

Fairy.

And the little Fairy, Tinkle Bell?

Art sorry that she came, as well?

And all these visitors of thine,

Including brave St. Valentine?

Queen.

Nay, ye are welcome, every one,

As well as he who shares my throne.

Of all fair gifts, from east or west,

I’m very sure that love is best.

All (sing to the tune: “Easter Day,” in “Festive Songs for Little Singers”).

In all the world there’s naught so dear,

There’s naught so rich and rare,

As this fair gift her natal day

Brought to our Queen so fair.

For you may search the whole wide world,

North, south, or east, or west;

You ne’er can find a sweeter gift.

True love is surely best.

Chorus

True love is best, ’tis surely best,

The heart’s most earnest call.

In north or south, in east or west,

The fairest gift of all!

’Tis love that makes the world go round,

That guides it on its way.

’Tis love that builds our homes so dear,

Love that shall live alway!

’Tis love that keeps the heart e’er young.

With us through life ’twill stay;

And last through all eternity,

For love must live for aye.

CURTAIN

(The curtain should rise again, to show the wedding. The Clergyman, in the robes of the Episcopal church, waits at the altar, where is also St. Valentine, his Attendants near. The bridal procession should enter at one side of the back, if possible, pass down to the front, across to C. front, and up C. to altar. Cupid and the Fairy should precede the procession; next should come one of the tiny Pages, with the ring on a velvet cushion. Bluebell and Rosebud follow, as flower girls, then the Queen, followed by her Maidens, two by two. No change is necessary in any of the costumes but to add a long veil of mosquito netting to the Queen’s costume. At the altar, St. Valentine meets her, and they arrange themselves as for the ceremony, the Bride and Groom kneeling before the Clergyman. The curtain may fall on this tableau, or they may rise, and march out, to the wedding march, if desired. Of course, in this case, the order will be changed somewhat.)

CURTAIN

A. W. Pinero’s Plays

Price, 50 Cents Each

MID-CHANNEL Play in Four Acts. Six males, five females. Costumes, modern; scenery, three interiors. Plays two and a half hours.

THE NOTORIOUS MRS. EBBSMITH Drama in Four Acts. Eight males, five females. Costumes, modern; scenery, all interiors. Plays a full evening.

THE PROFLIGATE Play in Four Acts. Seven males, five females. Scenery, three interiors, rather elaborate; costumes, modern. Plays a full evening.

THE SCHOOLMISTRESS Farce in Three Acts. Nine males, seven females. Costumes, modern; scenery, three interiors. Plays a full evening.

THE SECOND MRS. TANQUERAY Play in Four Acts. Eight males, five females. Costumes, modern; scenery, three interiors. Plays a full evening.

SWEET LAVENDER Comedy in Three Acts. Seven males, four females. Scene, a single interior; costumes, modern. Plays a full evening.

THE THUNDERBOLT Comedy in Four Acts. Ten males, nine females. Scenery, three interiors; costumes, modern. Plays a full evening.

THE TIMES Comedy in Four Acts. Six males, seven females. Scene, a single interior; costumes, modern. Plays a full evening.

THE WEAKER SEX Comedy in Three Acts. Eight males, eight females. Costumes, modern; scenery, two interiors. Plays a full evening.

A WIFE WITHOUT A SMILE Comedy in Three Acts. Five males, four females. Costumes, modern; scene, a single interior. Plays a full evening.

Sent prepaid on receipt of price by

Walter H. Baker & Company
No. 5 Hamilton Place, Boston, Massachusetts

The William Warren Edition of Plays

Price, 15 Cents Each

AS YOU LIKE IT Comedy in Five Acts. Thirteen males, four females. Costumes, picturesque; scenery, varied. Plays a full evening.

CAMILLE Drama in Five Acts. Nine males, five females. Costumes, modern; scenery, varied. Plays a full evening.

INGOMAR Play in Five Acts. Thirteen males, three females. Scenery varied; costumes, Greek. Plays a full evening.

MARY STUART Tragedy in Five Acts. Thirteen males, four females, and supernumeraries. Costumes, of the period; scenery, varied and elaborate. Plays a full evening.

THE MERCHANT OF VENICE Comedy in Five Acts. Seventeen males, three females. Costumes, picturesque; scenery varied. Plays a full evening.

RICHELIEU Play in Five Acts. Fifteen males, two females. Scenery elaborate; costumes of the period. Plays a full evening.

THE RIVALS Comedy in Five Acts. Nine males, five females. Scenery varied; costumes of the period. Plays a full evening.

SHE STOOPS TO CONQUER Comedy in Five Acts. Fifteen males, four females. Scenery varied; costumes of the period. Plays a full evening.

TWELFTH NIGHT; OR, WHAT YOU WILL Comedy in Five Acts. Ten males, three females. Costumes, picturesque; scenery, varied. Plays a full evening.

Sent prepaid on receipt of price by

Walter H. Baker & Company
No. 5 Hamilton Place, Boston, Massachusetts

S. J. PARKHILL & CO., PRINTERS, BOSTON, U.S.A.

The Changed Valentines, and Other Plays for St. Valentine's Day

About This Book

COSTUMES

DANCE OF THE MAIDENS