rich but subdued lighting of the chancel and finally the brilliant radiance shining on the angel.

Experiments with electricity should not be attempted by persons who do not understand its use, but if there is a competent electrician in the group putting on the play, use electric lighting by all means. No other form of light is so easily controlled or begins to give such effects for stage purposes.

The problems of theater lighting differ with each set of conditions and the best results can only be obtained by actual experiment with the means at hand. Do not feel that because you are an amateur, working with limited equipment, real beauty is beyond you. I have seen a stage picture approaching a Rembrandt in its charm of coloring and skilful use of shadows, created on a tiny stage with few appliances by an amateur who understood his lights.

If electricity is to be had, use three or four incandescent globes for the fire on the hearth, arranging logs of wood around them to simulate a fire. Additional lights as needed can be placed at the side off stage, or in the footlights; or better, if the stage has a real proscenium these supplementary lights can be put in a "trough" that protects and intensifies them and hung overhead in the center against the back of the proscenium arch.

As all these lights are to give a firelight effect, the incandescent globes should be dipped in a rich amber shade of coloring medium which may be bought at any electrical supply house for sixty cents per half pint. If gas or oil is used a firelight effect can be obtained by slipping amber gelatine screens in front of the lamps. These "gelatines" are about two feet square and cost only ten cents apiece.

If the fire-place cannot be made, then a charcoal brazier will serve as an excuse for light and give a sense of warmth to the scene. The brazier can easily be made by any tinsmith from a piece of sheet iron supported on three legs, and there is an illustration of it in the right hand corner of the accompanying scenery plate.—An electric torch or even an ordinary lantern can be slipped inside the little stove to give out a faint glow. A piece of one of the amber screens put over the torch or lantern will warm the light and the brazier can be placed anywhere in the hut.

The chancel may be lighted by a number of incandescent bulbs hidden at the sides of the scene, with the light so shielded that it shines on the altar and not into the hut. An especially effective place to put a strong light is inside the box representing the altar, with a hole cut in the top of the box so that the light shines up, giving a central radiance to the appointments of the altar and throwing into prominence the face and costume of each person who approaches it. If any of this light seems glaring it can be softened and diffused by masking it with amber or straw colored cheesecloth.

Some form of search light is practically a necessity for producing the heavenly radiance that shines upon the angel. If procurable, a "baby spot light" is the best appliance, but lacking this, an automobile lamp and its battery can be used.

It is important that all light in the hut should go out when the vision of the chancel appears so that the hut becomes merely an inner proscenium or dark frame around the rich picture of the altar. This of course does not mean that the lantern in the brazier need be extinguished as the light given by that is negligible.

After the angel ceases speaking the tableau of the altar scene should be held as the music grows louder and louder through the final crescendo; then, when the final note has been sung, blot out the stage by extinguishing all lights. Give a moment of darkness during which the back wall of the hut is replaced, and the old woman slips out of the nearest opening in the scenery. Then turn on the front lights which illuminated the hut during the first part of the play.

MUSIC.

The three pieces of music required for this play are as follows:

"The Sleep of the Child Jesus" part song for mixed voices by F.A. Gevaert.

Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee Atherton.

These two pieces come published together in a special edition for use with this play by The Boston Music Company. Price 15 cents per copy, postpaid.

The bell movement (in five flats) (Postlude) by J. Guy Ropartz. Published by The Boston Music Company. Price 30 cents per copy, postpaid.

For all the music, address The Boston Music Company, 116 Boylston Street, Boston, Mass.

The pieces by Ropartz and Gevaert were chosen for the Workshop production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard University, and are admirably fitted to the play. Mr. Atherton's Alleluia is also just what is needed, both in length and in the triumphant crescendo which carries the piece fittingly and dramatically to its close. It would be difficult to replace this finale except by other music written for the purpose.

The music is perhaps the most important single element in the play. In the original version the scene in the chancel was carried by dialogue but production showed the mistake. From the time that the music begins, it, with the pantomimic action of the actors is all sufficient to interpret the mood and meaning of the scene.

A small parlor organ is practically a necessity and can probably be procured for the cost of the cartage.

A choir of men's and women's voices is best for the singing but a good quartette will serve.

For the bells, the long tubular chimes which are suspended by one end and struck with a wooden hammer are the most satisfactory. If they seem too metallic, try covering the head of the hammer with folds of chamois skin. If such a set of chimes is not to be had a substitute can be found in the phonograph, for which there are a number of chimes records.—The tune played on the phonograph must not be a modern one; Luther's Hymn "Great God, what do I see and hear?" (A Columbia record) is the best. The tune can be disguised by lifting the needle occasionally and setting it down gently on another part of the record. As far as I know, no phonograph record presents chimes pure and simple. It should be remembered however that the phonograph record lacks the vitality of tone and the note of jubilant triumph which a good musician can bring from the bells themselves.

With the exception of the crescendo at the end of the Alleluia, the music is kept soft and dreamy throughout. It is a temptation to try to achieve this effect by placing singers and organ back, off stage, so that the sound may come from a distance but it has been found that the whole performance gains immeasurably if the organist is in front where he can watch every movement of the actors and interpret them in his playing.

The music begins on Holger's speech: "Oh thou art warm" and continues in one form or another throughout the play.—The organist commences in the middle of the Ropartz "Sortie," at the top of page 6 and continues this until the back of the hut is withdrawn when he drifts into the accompaniment of the Gevaert song, and plays it through once without the voices. As Holger cries "Dame!"—and sinks back against the woman's knee, this verse should end, and the voices of the choir take up the song with the organ.

From this point on every movement in the chancel is paced to the rhythm of the music. It has been found that a verse of the Gevaert song is just long enough to fit the following action.

A person in the procession enters the chancel, walks to the center before the altar, kneels and presents his gift to the priest. The priest accepts the gift, turns, goes up the steps to the altar, and raises the offering high above his head holding it there a moment waiting for the chimes to ring, then brings his arms down, lays the gift on the altar, turns back to the kneeling figure, and raises his hand in blessing. The person