The White Christmas and other Merry Christmas Plays — Story, Setting & Ideas

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Hare, Walter Ben, 1880-1950 Project Gutenberg 2006 Not confirmed
Christmas plays Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 50,169
Reading time 219 min
Text sections 9

The White Christmas and other Merry Christmas Plays — Story, Setting & Ideas can be approached with a clearer sense of reading commitment from its source measurements: 50,169 words, 3 hr 39 min estimated reading time, and 9 detected text sections.

The text analysis averages about 10.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

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Walter Ben Hare's 1917 collection of Christmas plays balances sentimental morality with comedic stagecraft, emphasizing kindness and joy through minimal sets and large child casts. Excerpts reveal detailed costume notes, dialect-heavy dialogue, and a tension between spiritual uplift and rowdy farce.
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Never was seen the like in Bethlehem.

(_Laughter and noise at R._)

My guests are merry, hear their jovial din!

I pity you, there's no room at the inn.

(_Exits into the inn._)

MARY. Our last hope gone! Now, what shall we do? My strength is leaving!

JOSEPH. Would I could succor you. I'll wrap thee warm. Now rest thee here a while. We've traveled far, full many a weary mile.

_Enter_ RUTH _from rear L., hurrying along._

JOSEPH. Maiden, I fain would stop thee in thy flight-- Can'st tell where we could lodge this winter night?

RUTH. That inn is crowded. There's one upon the hill.

JOSEPH. I've tried them all, my wife is very ill.

RUTH. That little stable there upon the loe,

(_Points to L front._)

'Tis snug and warm. 'Twill shield thee from the snow.

MARY (_rises_). God's blessing on thy little head, sweet child! Come, Joseph, for the wind now waxes wild.

(JOSEPH _leads her to exit L., then turns and looks off R._)

O little town of Bethlehem, How still we see thee lie! Above thy deep and dreamless sleep The silent stars go by. Yet in thy dark streets shineth

(_Turns toward manger._)

The everlasting Light; The hopes and fears of all the years Are met in thee tonight.

(RUTH _stands at rear C., watching him._)

_The curtains slowly fall._

Scene II: _Hymn by the congregation._

WHILE SHEPHERDS WATCHED THEIR FLOCKS.

While shepherds watched their flocks by night, All seated on the ground. The angel of the Lord came down, And glory shone around, And glory shone around.

"Fear not," said he,--for mighty dread Had seized their troubled mind, "Glad tidings of great joy I bring, To you and all mankind, To you and all mankind."

"To you in David's town this day, Is born of David's line, The Saviour, who is Christ, the Lord, And this shall be the sign, And this shall be the sign."

"The heav'nly babe you there shall find To human view displayed, All meanly wrapped in swathing bands, And in a manger laid, And in a manger laid."

Thus spake the seraph--and forthwith Appeared a shining throng Of angels, praising God, who thus Addressed their joyful song, Addressed their joyful song:--

"All glory be to God on high, And to the earth be peace; Good will henceforth, from heav'n to men, Begin and never cease, Begin and never cease."

_The_ PROLOGUE _appears before the curtains and speaks._

There's scarlet holly on the streets, and silver mistletoe; The surging, jeweled, ragged crowds forever come and go. And here a silken woman laughs, and there a beggar asks-- And, oh, the faces, tense of lip, like mad and mocking masks. Who thinks of Bethlehem today, and one lone winter night? Who knows that in a manger-bed there breathed a Child of Light?

There's fragrant scent of evergreen upon the chilling air; There's tinsel tawdriness revealed beneath the sunlight's glare; There's Want and Plenty, Greed and Pride--a hundred thousand souls, And, oh, the weary eyes of them, like dull and sullen coals. Who knows the town of Bethlehem, once gleamed beneath the star, Whose wondrous light the shepherds saw watching their flocks afar?

And yet above the city streets, above the noise and whir, There seems to come a fragrant breath of frankincense and myrrh. I saw a woman, bent and wan, and on her face a light The look that Mary might have worn that other Christmas night. And as the little children passed, and one lad turned and smiled, I saw within his wistful eyes the spirit of the Child.

--_Caroline Reynolds._

And there were in the same country shepherds abiding in the field, keeping watch over their flock by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them; and they were sore afraid.

And the angel said unto them, Fear not: for, behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David a Saviour, which is Christ the Lord.

And this shall be a sign unto you: Ye shall find the babe wrapped in swaddling clothes, lying in a manger.

And suddenly there was with the angel a multitude of the heavenly host praising God, and saying, Glory to God in the highest, and on earth peace, good will toward men.

And it came to pass, as the angels were gone away from them into heaven, the shepherds said one to another, Let us now go even unto Bethlehem, and see this thing which is come to pass, which the Lord hath made known to us.

Walter Ben Hare's 1917 collection The White Christmas and Other Merry Christmas Plays opens with a foreword that explicitly names two "dominant characteristics" of the season: kindness and inward joy. Yet the plays themselves often lean toward broad comedy and physical gags, as in Where the Mulligans Live, where a wash-tub, soap-box seats, and a clothesline hung with red flannels set a deliberately shabby, lively scene. Hare's stage directions are unusually specific about costume and prop details—right down to the "large, old shoes" and "bright calico neckties"—suggesting a practical playwright who expected amateur productions with limited resources. The tension between earnest moralizing and rowdy stage business runs throughout the excerpts, giving the book a distinctive, uneven energy.

Costume as Character

Hare devotes entire sections of his notes to describing what each character wears, and these descriptions often do more to define personality than the dialogue does. In Where the Mulligans Live, Mrs. Mulligan appears in a "well worn, old-fashioned cloth waist" with sleeves rolled up, a skirt of contrasting color turned up to show a flannel petticoat, and an apron "of ample proportions, but without bib." The boys Matsy and Patsy wear "long, tattered trousers, old suspenders, calico shirts, torn and patched." These are not generic poor people; they are carefully assembled visual types. The notes also specify that in Act III, Matsy dons a large black mustache and a coat much too large, while Patsy wears a dwarf's tunic with yellow makeup and rouge—a sudden shift into grotesque comedy that undercuts the play's sentimental ending. Hare treats costume as a flexible tool for both realism and farce, and the contrast between the shabby domestic setting and the exaggerated disguises creates a deliberate tonal wobble.

Dialect and the Sound of Poverty

Hare writes Irish dialect with heavy phonetic spelling: Mrs. Mulligan says "Sure, I niver spint such a fine Christmas Eve in all me life before" and addresses the audience as "all of yeez." The effect is to mark the characters as both comic and authentic—a familiar stage Irishness that would have read as charming to contemporary audiences. Yet the dialect also carries the play's moral weight. Mrs. Mulligan's closing speech insists that a fine Christmas requires no money, only "loving hearts and loving hands, and merry faces of happy boys and girls." The contrast between the broad, accented humor and the earnest, universal message is typical of Hare's method. The same play that has a clothesline full of drying union suits and red flannels ends with a direct appeal to the spirit of Christmas as love. The dialect makes the sentiment feel homespun rather than preachy, but it also risks flattening the characters into types.

Minimal Scenery, Maximum Business

Hare's production notes repeatedly stress simplicity: "The scenery is very simple or may be dispensed with entirely." For Where the Mulligans Live, he specifies only entrances, a window, two tables, soap boxes, an upturned bucket, a wash-tub, and two chairs. Yet the stage is crowded with activity: a clothes line runs across the rear, hung with drying garments; tin cans filled with bright flowers stand on the table; colored prints adorn the walls. The effect is a deliberate clutter that signals poverty but also energy. Hare's note that "the stage must be arranged according to Mulligan taste" suggests a kind of aesthetic of makeshift abundance. This tension between minimal means and maximal visual detail mirrors the plays' thematic opposition of material lack and spiritual plenty. The physical production itself becomes a demonstration of the moral: you don't need money to make a scene.

Readers approaching this collection should pay attention to the stage directions and production notes, which often contain more specific character and setting information than the dialogue. Hare's plays were written for amateur groups with limited budgets and large casts of children, and the texts reflect that practical origin. The tension between sentimental uplift and knockabout comedy is not a flaw but a feature of the genre. For producers, the notes offer a rare window into early twentieth-century community theater practice; for readers, the plays are best understood as scripts meant to be performed, not read silently.

There’s something tender about old holiday plays—how they ask so little, just a room and kids willing to be silly, and still leave you thinking about kindness afterward. It reminded me of the way Man and Superman: A Comedy and a Philosophy — A Reader’s Guide lingers, not for its grand ideas, but for its quiet, human warmth between all the laughter.

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