When a beautiful pageant based on the incident of Miriam and her maidens was in rehearsal an intractable small boy was dismissed from the cast. In the evening his father, a printer, called and expressed the hope that if his son’s behavior was not unforgivable we would take him back. He wished the boy might carry through life the memory of having had a part in something as beautiful as this festival. After a performance a woman who had suffered bitterly in her Russian home blocked for a moment the outgoing crowd at the door while she stopped to say how beautiful she thought it, adding with deep feeling, “I thank most for showing respect to our religion.” The dramatic club has attempted serious work, and “The Shepherd,” by Olive Tilford Dargan, and Galsworthy’s “Silver Box” were two of their performances given at Clinton Hall that, in the judgment of the critical, reached a high level of excellence. [Illustration: THE NEIGHBORHOOD PLAYHOUSE] The Neighborhood Playhouse, opened in February, 1915, is the outcome of the work of the festival and dramatic groups of the Henry Street Settlement. For nine years gifted leaders have devoted themselves to this interest, and the building of the well-appointed little theater was necessary for the further development of the work. In addition to the education incident to performing parts in good plays under cultured instructors, and the music, poetry, and dance of the festival classes, the playhouse offers training in the various arts and trades connected with stage production. Practically all the costumes, settings, and properties used in the settlement performances have been made in the classes and workshops. [Illustration] “Jephthah’s Daughter,” a festival, opened the playhouse. We were pleased to believe that the performance gained in significance because the music, the dance, and the color were a reminder of the dower brought to New York by the stranger. Seventy-eight young people were in the cast, and many more had a share in the production. Children belonging to the youngest clubs in the settlement pulled the threads to make the fringes; designers and makers of costumes, craftsmen, composers, painters and musicians, seamstresses, directors, and producers, all contributed in varying degrees, showing a community of interest, service, and enthusiasm only possible when the purpose lies outside the materialist’s world. [Illustration: From “Jephthah’s Daughter.”]