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 l