Hundreds of plays in Nineteenth-Century American Drama are designated as comedies in their titles. Of these, there are scores of scripts subtitled as comedietta which oxforddictionaries.com defines as “a short comedy, typically light-hearted or farcical in tone or subject matter.” Some common themes are entwined in most comediettas. As seen in these examples, these themes include mistaken identity (accidental or deliberate), talking at cross purposes and other miscommunications, inheritances with conditions, and love triumphant.

Miss Madcap: A Comedietta in One Act

By Charles Townsend

This comedy concerns a will with conditions that necessitate deception. When the curtain rises, Clara is sorting through her mail, opening a letter from her father. She reads it aloud.

“My dear daughter. Your aunt Charlotte is dead. She leaves her fortune to your cousin, Augustus Everson, and yourself—provided you two marry. If either of you refuse to marry, the property goes to the other. I have just seen Augustus. He looks like a dude, but he will hardly throw away a fortune by refusing to marry you, and, although he is a bitter pill—well, suit yourself. He is coming to see you. As ever, your loving father.”

There are over 200 scripts whose authorship is credited to Anonymous in Nineteenth-Century American Drama: Popular Culture and Entertainment, 1820-1900. An examination of these titles suggests several categories into which many of these can be sorted. Thirty of these are “Ethiopian” or other less cautious euphemisms. Others are meant for school exercises or home entertainment, while still others are the scripts of unique college or club, church, and charity productions. Some of the dramas seem to have been commissioned for specific celebrations, usually political or historical. There are also scripts that deal with sensitive or social issues that were controversial in their time. These are among the most interesting plays attributed to Anonymous.

The Lost Spade; or, The Grave Digger’s Revenge (1864)

This political drama was published when the American Civil War still raged. The title page offers a further subtitle: “A great political, martial, serio-comic legendary, romantic and farcial [sic] drama.” It also notes that it was “Written by the Happy Democratic Family, expressly for the Peace Democracy.” The Peace Democracy refers to the Copperheads who were also called Peace Democrats. These Democrats were opposed to the war and favored appeasing the Confederacy. In 1864 prominent Copperheads were put on trial for treason.

Because this script focuses on this dissident bloc of northern Democrats, some of whom were prone to violence, the author may well have had sufficient reason to write anonymously. He provides staging directions and a cast list.

Previous monthly release announcements of Nineteenth-Century American Drama: Popular Culture and Entertainment, 1820-1900, have primarily highlighted one-act plays. This has not been by design. Although there are hundreds of short works in this digital collection—including farces, comediettas, black sketches, and plays intended for home or private performances—many multi-act plays may also be found. Three longer scripts are highlighted below.

The County Fair: A Comedy in Four Acts

By Charles Barnard and Neil Burgess

Substantial biographical information about Charles Barnard is not readily found. Bartleby.com provides the following: “Barnard, Charles. An American journalist and author; born in Boston, Feb. 13, 1838; died in 1920. His most popular play is ‘The County Fair’ (1888). Author of ‘The Tone-Masters’ (New York, 1871); ‘Knights of Today’ (1881); ‘The Whistling Buoy’ (1887); dramas, and books on gardening and electricity.” The Library of Congress does not reference his playwriting but credits him with a book entitled Mozart and Mendelssohn.

The most recent release of Nineteenth-Century American Drama includes most of the short plays, or comediettas in one act, by the prolific Frances Aymar Mathews. This understudied author was born in New York City in the middle of the 19th-century. She began publishing in the 1880s. In addition to plays, her written output included feature articles, short stories and such novels as My Lady Peggy Goes to Town and Allee Same.

Eighteen of Mathews’ shorter plays are included in this release. When reading her works, Edith Wharton comes to mind. They were contemporaries, shared a Manhattan upbringing during the Gilded Age, and were sensitive to class distinctions and social niceties. It may be something of a stretch to compare Mathews to Jane Austen, but both women are close observers of the foibles of the prosperous and employ a satirical view of them. There is one more comparison to make, to wit, William Dean Howells. Again, this may be a stretch, but the famous Howells and the obscure Mathews wrote short plays which, as previously noted here, featured wealthy people with ample time to expand upon largely trivial events.