Shadow plays require just as careful character analysis as any other kind of play. Here is the character analysis. Scandawatti, brave, loyal, fun loving. Achilles, courageous, loyal, resourceful. Red Deer, treacherous and superstitious. Chief Iliol, trustworthy and dignified. Squaw, stolid and good-natured. Trapper, just and reliable. Dancer, lively. The story included the bear and turkey, the rabbit, wild cat, hawk and birds were added for the sake of the picture. The illustrations show how the turkey, wild cat, and birds were made. The scenery consisted of tree trunks, branches, and a big rock cut from beaver board, and foliage, flowers, and grasses cut from light-weight bristol board. The properties needed were a tripod and a kettle, a stick for the fire, a basket of corn, bowls and a ladle, pistols, strings of beads, a game bag filled with paper game, a fish basket filled with paper fish, bow and arrow, gun, rope, two blankets, and a peace pipe. The costuming of a shadow play is quite a different problem from the costuming of any other kind of play. A costume may look quite right to the eye and yet be ineffective as a shadow. It requires ingenuity and much experimenting to produce satisfactory silhouettes. Scandawatti, Red Deer, and the dancer wore loin cloths, head band, and feathers. The Indian chief wore headdress and blanket. The squaw wore a fringed curtain, head band, and beads. The trapper and Achilles wore trappers’ costumes and coon-skin caps. A boy took the part of the bear in a bear costume made from outing flannel. [Illustration: [Cut-outs]] The profiles of the children were not in the least Indianlike. It was necessary to provide them with characteristic Indian noses and this was done by glueing on flat cut-out paper noses. The producing of a shadow play requires a director and two assistants, as well as the group of actors. The director is responsible for the production of the play which will probably require five or six rehearsals. During the first rehearsal he stays behind the screen, working out with the group each incident of the play. He and the group decide upon the entrances, positions on the bridge, the exits, and those who are to manipulate the shadow animals receive their instructions. The reader should be present at the first rehearsal, in order to observe the development of the play. At this rehearsal the actors need not be in costume. Each actor begins by interpreting his part as he feels it should be done. The Director should inspire and encourage his actors to do their best and guard against being too critical at this time, since everyone is feeling his way—becoming familiar with properties, and with this new kind of acting in one plane.