The White Christmas and Other Merry Christmas Plays

Remarks on the Production

Scenery

Hang the rear and the sides of the stage with dark blue curtains, spangled with small silver bits of tinfoil, to represent very tiny stars. If the blue curtains are not available, use white sheets.

Cover the floor with white sheets. Have two or three small evergreen trees at rear, covered with white calcimine and diamond powder. Soak long rags, shaped like icicles, in a strong solution of alum, and then let them crystallize, then attach them to the trees.

Down right, near the audience, is a doorway, supposed to be the entrance to the inn. This may be simply an opening between two wooden columns, with a step or two leading in. A lantern hangs over the door. A small bench stands by the inn.

Down left, near the audience, is the manger, a building extending out from left about seven feet. It has a back and one side of scenery or dark draperies and a thatched roof, covered with twigs or evergreen branches. There may be a door leading into the manger from the stage, but this is not necessary, as the characters can go out behind the manger. A front curtain, of dark goods, conceals the interior of the manger from the audience until it is withdrawn by Joseph.

The interior of the manger is covered with hay. Rude boxes and farm implements all around. A large upturned chair with wooden legs may simulate the crib, if it is concealed by enough straw. An electric light bulb is concealed in this straw and shines on the face of Mary, bending over the crib.

If desired, the manger scene may be presented in the choir loft, the manger hidden by curtains until revealed by Joseph. In this case have the evergreen trees at the left of the stage and arrange the manger scene at the rear and elevated above the other scene. This will prove most feasible in churches where the choir loft is immediately behind and above the platform.

Lights

Dim all the lights in the audience. Have a powerful searchlight, engine headlight or two powerful auto lights shining on the stage from a concealed elevation at the left. Shade these lights with a blue isinglass shield, thus casting a blue light over the entire stage. Use a strong yellow light on the manger scene, the rest of the stage being in darkness.

Properties

If it is possible have bits of white confetti or finely cut paper fall from above during the shepherds’ scene in Act II.

The bases of the trees should be covered with cotton.

Three rough crooks for the shepherds.

Chimes to ring off the stage. A dinner gong or set of chimes will answer.

For the lamb use a white muff, being careful to shield it from the direct gaze of the audience.

A spray of cherries.

A small bird of blue feathers.

A ball.

A crown and scepter made of gilded wood.

A censor made of metallic butter dish suspended by chains.

A fancy jewel case, supposed to contain myrrh.

Bench in front of inn.

Rude box in front of manger.

Costumes

Mary—A sweet-faced blonde. Long tunic of light blue, falling straight from neck to the ankles. White stockings. Sandals. Hair in two long braids either side of face. White veil draped around head and shoulders, bound about the brow with circlet. Dark red mantle, fastened to left shoulder and draped around body. This mantle may trail on the ground. The tunic may be made of cotton crepon, the mantle of dyed muslin.

Joseph—A virile, bearded man of about fifty. Sandals. Long black cassock, easily obtained from an Episcopal choir. Striped couch cover may serve as mantle. This should be draped about head and body. Long staff.

Simeon—An old man with white hair and beard. Tunic of potato sacking falling in straight folds from neck to ankles. Large gray shawl serves as mantle, draped on head and body. Long crook. Sandals.

Timothy—Man of forty. Costume similar to Isaac’s. Striped mantle.

Isaac—Man of twenty. Shorter tunic similar to Simeon’s. Fur rug draped over left shoulder. Dark red drapery on head. Sandals. Brown stripes criss-crossed on legs. Crook.

Anna—Long tunic of brown. Take a square white sheet and stripe it with bands of dark blue. This serves as a mantle, draped over head and body. Hair hanging. A woman of thirty-five. Sandals. If desired, a blue veil may be draped around the head and neck and the mantle draped over the body.

Thomas—A boy of seven. Sandals. Brown strips criss-crossed on legs from sandals to hips. Short white tunic cut like a boy’s nightgown, but coming only to knees. Dark blue mantle. Small crook.

Ruth—A girl of eleven. Blue tunic hanging in straight folds from neck to three or four inches above ankles. Border of figured goods, to simulate oriental embroidery, around bottom of robe and down the front. This should be about two inches wide. Sandals. White stockings. Hair hanging. White veil draped around head and shoulders. Later she enters with striped mantle.

Deborah—A dignified matron of about forty-five. Sandals. Long kimono of solid color. Sash of yellow. Hair in two long braids on either side of face. Yellow drapery over head and shoulders. Rich striped mantle draped over the costume.

Rachel—Sandals. White tunic trimmed with red figured cloth to simulate oriental embroidery. Red sash. Wreath of red roses on head. Mantle made of a square white sheet with stripes of red sewed on it. Bracelets, armlets and anklets of silver paper.

Priscilla—Sandals. Light green tunic. Dark green mantle. Gold paper armlets, etc.

Melchoir—Tall, dark man with dark mustache. Long black cassock may be borrowed from an Episcopal Church. Over this is a red or yellow kimono. Sandals. Turban on head. This turban may be made from a calico covered crown of an old derby, with red and white striped rim. He wears many rich ornaments. Curtain chains around neck and on arms. This costume may sometimes be borrowed from a lodge of Shriners, Knights Templar, Royal Arch Masons or Odd Fellows.

Gaspar—Similar to Melchoir. He is a young king aged about twenty-two. Wear white drapery on head and over it a golden (paper) crown. May wear sword. Sandals.

Baltasar—Old king with white hair. Long rich robe or kimono over a cassock. Red sash. Red head drapery. Golden crown. Sandals.

Angels—Invisible to the audience.

Prologue—Stately lady in trailing Grecian robe of white. Hair powdered. This character should be played by a lady with distinct dramatic ability.

Note.—If it is desired to simplify these costumes, kimonos, cassocks and cottas from Episcopal choirs, draperies of sheets and couch covers, and sandals made of a sole bound to foot with brown cloth cords, will answer admirably in the dim blue light.

Nightgowns, dressing gowns, fur rugs, fur muffs opened, fur stoles, opera capes, spangled tunics, window cords and chains, etc., will make valuable substitutes for the oriental garments.