Produced by David Garcia, Lynn Bornath and the Online Distributed Proofreading Team at https://www.pgdp.net.
Why The Chimes Rang: A Play in One Act: by Elizabeth Apthorp McFadden:
Adapted from the story of the same name: by Raymond McDonald Alden
Samuel French: Publisher 25 West Forty-fifth Street: New York LONDON
Samuel French, Ltd. 26 SOUTHAMPTON STREET, STRAND
This play is fully protected by copyright.
Permission to act, read publicly or make any use of it must be obtained of Samuel French, 25 West 45th Street, New York. It may be presented by amateurs upon payment of the following royalties:
1. This play may be presented by amateurs upon payment of a royalty of Five Dollars for each performance, payable to Samuel French, at 25 West 45th Street, New York, or at 811 West 7th Street, Los Angeles, Calif., one week before the date when the play is given.
2. Professional rates quoted on application.
3. Whenever this play is to be produced the following note must appear on all programs, printing and advertising for the play:
This play is a dramatization of the story by Raymond MacDonald Alden entitled "WHY THE CHIMES RANG," published by The Bobbs-Merrill Company.
This version of Raymond MacDonald Alden's story is published with permission of the Bobbs-Merrill Company of Indianapolis, Indiana, the publishers of Professor Alden's story and the holders of the copyright.
The copying, either of separate parts or the whole of this work by any process whatsoever, is forbidden by law and subject to the penalties prescribed by Section 28 of the Copyright Law, in force July 1, 1909.
This little play is prentice work done in Professor George P. Baker's class, English 47 at Radcliffe College in the fall of 1908. Several years later it was staged by Professor Baker in the "47 Workshop," his laboratory for trying out plays written in the Harvard and Radcliffe courses in dramatic technique.
I am glad to acknowledge here my indebtedness to the "Shop" and its workers for this chance of seeing the play in action. Of the various advantages which a "Workshop" performance secures to the author none is more helpful than the mass of written criticism handed in by the audience, and representing some two or three hundred frank and widely varying views of the work in question. I am especially grateful for this constructive criticism, much of which has been of real service in the subsequent rewriting of the piece.
