000			03189cam a22003613u 4500
001			76537
003			UtSlPG
005			20260610134754.0
006			m
007			cr n
008			260607r20251915utu|||||o|||||||||||||| d
010			_a15026852
040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPS
100	1		_aAldis, Mary, _d1872-1949
245	1	0	_aPlays for small stages
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aThe drama class of Tankaha, Nevada was "written in collaboration with Harriet Calhoun Moss."
500			_aRelease date is 2025-07-20
505	0		_aMrs. Pat and the law -- The drama class of Tankaha, Nevada -- Extreme unction -- The letter -- Temperament.
508			_aThe Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"Plays for small stages" by Mary Aldis is a collection of one-act plays written in the early 20th century. Aimed at intimate, small venues and often performed by amateurs, the pieces blend humor and pathos to probe domestic strain, moral judgment, class and gender expectations, and the solace (and friction) of art. The characters are everyday people—a harried mother, clubwomen, a frightened patient, and conflicted men—drawn into sharp, talk-rich situations that reveal tenderness, folly, and quietly tragic choices. The opening of the collection sets the stage with a preface celebrating a Lake Forest amateur playhouse and its belief in talk-driven drama, ensemble spontaneity, and fresh, character-centered work. It then presents “Mrs. Pat and the Law,” where Nora O’Flaherty, urged by a visiting nurse to protect herself from her drunken husband, summons a policeman but retracts the charge when she sees Pat’s gentle bond with their crippled son, choosing love and hope over punishment. “The Drama Class of Tankaha, Nevada” follows a club meeting that hosts a bare-bones performance of Giacosa’s “Sacred Ground,” after which a spirited, fractious debate about marriage, secrets, and “Latin” versus “Teutonic” views of passion lays bare generational and moral divides. “Extreme Unction” places a dying prostitute’s terror and lack of remorse before a calm doctor who reframes death as a new discovery, easing her into rest. “The Letter” stages a midnight encounter between a widower and a novelist over a posthumous confession of love, ending with the novelist’s refusal to surrender the letter—an assertion of art’s claim to human truth—before the next piece, “Temperament,” begins. (This is an automatically generated summary.)
534			_pOriginally published: _cNew York: Duffield & Company, 1915
653			_aAmerican drama -- 20th century
700	1		_aMoss, Harriet Calhoun, _d1862-1936
856	4		_uhttps://archive.org/details/playsforsmall00aldirich/page/n5/mode/2up
856	4	0	_uhttps://www.gutenberg.org/ebooks/76537
999			_c117262 _d117262