The production of plays by graduating classes or for some specific purpose is of course a well-known method of interesting pupils or advertising a school. But recently schools have been giving plays and festivals for their educational value as well as for their interest to children and the public. The valuable training which comes from speaking to an audience, using the body effectively and working with other pupils for a common end, is present, whatever the nature of the play; and schools usually try to have their productions of some literary value. But until recently the resources of the daily work of the pupils for dramatic purposes have been overlooked. Being for purposes of public entertainment, plays were added on after school hours. But schools are beginning to utilize this natural desire of young people to “act something” for amplifying the curriculum. In many schools where dramatization of a rather elaborate character is employed for public performances, the subject-matter is now taken from English and history, while writing the play supplies another English lesson. The rehearsals take the place of lessons in expression and elocution, and involve self-control. The stage settings and costumes are made in the shop and art periods, the planning and management being done by the pupils, the teacher helping enough to prevent blunders and discouragement. At Riverside one of the classes had been reading Tolstoi’s “Where Love Is There Is God” for their work in literature. They rewrote the story as a play and rehearsed it in their English lessons, the whole class acting as coach and critic. As their interest grew they made costumes and arranged a stage setting and finally gave the play to an audience of the school and its friends. At another time the English class gave an outdoor performance of a sketch which they had written, based on the Odyssey. The American history class at the Speyer School give a play which they write about some incident in pioneer history. During the rehearsal nearly all the children try the parts, quite regardless of sex or other qualifications, and the whole class chooses the final cast. The fifth grade was studying Irving’s “Sketch Book” in connection with its history and literature work, and dramatized the story of Rip Van Winkle, doing all its own coaching and costuming.