Chapter 4

She turned crimson and stopped, but that burning blush told its story plainly; and Mr. Daly busied himself over the pouring of a glass of wine for the robbed mother, while the treasurer in low tones assured Daisy there was nothing to forgive, and gratefully accepted the permission granted him to see the poor things safely home.

Sixteen years' silence is not so bad for a sex who can't keep a secret!

_CHAPTER VII

A CASE OF "TRYING IT ON A DOG"_

It was before I came to New York that I one night saw a really fine performance almost ruined by a single interruption. It was a domestic tragedy of English rural life, and one act began with a tableau copied exactly from a popular painting called "Waiting for the Verdict," which was also the title of the play.

The scene gave an exterior view of the building within which the husband and father was being tried for his life on a charge of murder. The trembling old grandsire leaned heavily on his staff; the devoted wife sat wearily by the closed iron gate, with a babe on her breast, tired but vigilant; a faithful dog stretched himself at her feet, while his shaggy shoulders pillowed the head of the sleeping child, who was the accused man's darling.

The curtain rose on this picture, which was always heartily greeted, and often, so well it told its pathetic story, a second and a third round of applause greeted it before the dialogue began. The manager's little daughter, who did the sleeping child, contracted a cold and was advised not to venture out of the house for a fortnight, so a substitute had to be found, and a fine lot of trouble the stage-manager had. He declared half the children of Columbus had been through his sieve; and there was the trouble--they all went through, there was no one left to act as substitute. But at last he found two promising little girls, sisters they were, and very poor; but the mother vowed her children must be in bed at nine, theatre or no theatre; yes, she would like to have the money, but she'd do without it rather than have a child out of bed at all hours. At first she held out for nine o'clock, but at last yielded the additional half-hour; and to the great disappointment of the younger child, the elder one was accepted, for the odd reason that she looked so much younger than her sister.

The company had come from Cleveland, and there were the usual slight delays attendant on a first night; but the house was "good"; the star (Mr. Buchanan) was making a fine impression, and the play was evidently a "go." The big picture was looked forward to eagerly, and when it was arranged, we had to admit that the pale, pinched little face of the strange child was more effective as it rested on the dog's shoulder than had been the plump, smiling face of the manager's little one. The curtain went up, the applause followed; those behind the scenes crowded to the "wings" to look on; no one noted that the hands of the clock stood at 9.40; no one heard through the second burst of applause the slam of the stage door behind the very, very small person who entered, and silently peering this way and that, found her stern, avenging way to the stage, and that too-favoured sister basking in the sunlight of public approval.

The grandsire had just lifted his head and was about to deliver his beautiful speech of trust and hope, when he was stricken helpless by the entrance upon the stage of a boldly advancing small person of most amazing appearance. Her thin little legs emerged from the shortest of skirts, while her small body was well pinned up in a great blanket shawl, the point of which trailed fully a quarter of a yard on the floor behind her. She wore a woman's hood on her head, and from its cavernous depth, where there gleamed a pale, malignant small face, a voice issued--the far-reaching voice of a child--that triumphantly commanded:--

"You, Mary Ann, yu're ter get up out of that an' com' home straight away--an' yu're ter go ter bed, too,--mother says so!" and the small Nemesis turned on her heel and trailed off the stage, followed by laughter that seemed fairly to shake the building. Nor was that all. No sooner had Mary Ann grasped the full meaning of this dread message than she turned over on her face, and scrambling up by all fours, she eluded the restraining hands of the actress-mother and made a hasty exit to perfect shrieks of laughter and storms of applause; while the climax was only reached when the dog, trained to lie still so long as the pressure of the child's head was upon his shoulder, finding himself free, rose, shook himself violently, and trotted off, waving his tail pleasantly as he went.

That finished it; the curtain had to fall, a short overture was played, and the curtain rose again without the complete tableau, and the action of the play was resumed; but several times the laughter was renewed. It was only necessary for some person to titter over the ludicrous recollection, and instantly the house was laughing with that person. The next night the manager's child, swathed in flannel, with a mouth full of cough-drops, held the well-trained dog in his place until the proper moment for him to rise, and the play went on its way rejoicing.

And just to show how long-lasting is the association of ideas, I will state that years, many years afterward, I met a gentleman who had been in the auditorium that night, and he told me he had never since seen a blanket shawl, whether in store for sale or on some broad back, that he had not instantly laughed outright, always seeing poor Mary Ann's obedient exit after that vengeful small sister with her trailing shawl.

_CHAPTER VIII

THE CAT IN "CAMILLE"_

It was in "Camille," one Friday night, in Baltimore, that for the only time in my life I wished to wipe an animal out of existence. I love four-footed creatures with extravagant devotion, not merely the finely bred and beautiful ones, but the poor, the sick, the halt, the maimed, the half-breeds or the no breeds at all; and almost all animals quickly make friends with me, divining my love for them. But on this one night--well! it was this way. In the last act, as Camille, I had staggered from the window to the bureau and was nearing that dread moment when in the looking-glass I was to see the reflection of my wrecked and ruined self. The house was giving strained attention, watching dim-eyed the piteous, weak movements of the dying woman; and right there I heard that (----h!) quick indrawing of the breath startled womanhood always indulges in before either a scream or a laugh. My heart gave a plunge, and I thought: What is it? Oh, what is wrong? and I glanced down at myself anxiously, for really I wore so very little in that scene that if anything should slip off--gracious! I did not know but what, in the interest of public propriety, the law might interfere. But that one swift glance told me that the few garments I had assumed in the dressing-room still faithfully clung to me. But alas! there was the dreaded titter, and it was unmistakably growing. What was it about? They could only laugh at me, for there was no one else on the stage. Was there not, indeed! In an agony of humiliation I turned half about and found myself facing an absolutely monstrous cat. Starlike he held the very centre of the stage, his two great topaz eyes were fixed roundly and unflinchingly upon my face. On his body and torn ears he carried the marks of many battles. His brindled tail stood straightly and aggressively in the air, and twitched with short, quick twitches, at its very tip, truly as burly an old buccaneer as I ever saw.

No wonder they giggled! But how to save the approaching death scene from total ruin? All was done in a mere moment or two; but several plans were made and rejected during these few moments. Naturally my first thought, and the correct one, was to call back "Nannine," my faithful maid, and tell her to remove the cat. But alas! my Nannine was an unusually dull-witted girl, and she would never be able to do a thing she had not rehearsed. My next impulse was to pick up the creature and carry it off myself; but I was playing a dying girl, and the people had just seen me, after only three steps, reel helplessly into a chair; and this cat might easily weigh twelve pounds or more; and then at last my plan was formed. I had been clinging all the time to the bureau for support, now I slipped to my knees and with a prayer in my heart that this fierce old Thomas might not decline my acquaintance, I held out my hand, and in a faint voice, called "Puss--Puss--Puss! come here, Puss!"

It was an awful moment: if he refused to come, if he turned tail and ran, all was over; the audience would roar.

"Puss--Puss!" I pleaded. Thomas looked hard at me, hesitated, stretched out his neck, and working his whiskers nervously, sniffed at my hand.

"Puss--Puss!" I gasped out once more, and lo! he gave a little "meow," and walking over to me, arched his back amicably, and rubbed his dingy old body against my knee. In a moment my arms were about him, my cheek on his wicked old head, and the applause that broke forth from the audience was as balm of Gilead to my distress and mortification. Then I called for Nannine, and when she came on, I said to her, "Take him downstairs, Nannine, he grows too heavy a pet for me these days," and she lifted and carried Sir Thomas from the stage, and so I got out of the scrape without sacrificing my character as a sick woman.

My manager, Mr. John P. Smith, who was a wag, and who would willingly give up his dinner, which he loved, for a joke, which he loved better, was the next day questioned about this incident. One gentleman, a music dealer, said to him: "Mr. Smith, I wish you to settle a question for me. My wife and I are at variance. We saw 'Camille' last night, and my wife, who has seen it several times in New York, insisted that that beautiful little cat-scene belongs to the play and is always done; while I am sure I never saw it before, and several of my customers agree with me, one lady declaring it to have been an accident. Will you kindly set us right?"

"Certainly," heartily replied Mr. Smith; "your wife is quite right, the cat scene is always done. It is a great favourite with Miss Morris, and she hauls that cat all over the country with her, ugly as he is, just because he's such a good actor."

_CHAPTER IX

"ALIXE." THE TRAGEDY OF THE GOOSE GREASE_

During the run of "Alixe," at Daly's Theatre, I had suffered from a sharp attack of inflammation of the lungs, and before I was well the doctor was simply horrified to learn that Mr. Daly had commanded me to play at the Saturday performance, saying that if the work made me worse, the doctor would have all day Sunday to treat me in. He really seemed to think that using a carriage did away with all possible danger in passing from a warm room, through icy streets, to a draughty theatre. But certain lesions that I carry about with me are proofs of his error. However, I dared not risk losing my engagement, so I obeyed. My chest, which had been blistered and poulticed during my illness, was excruciatingly tender and very sensitive to cold; and the doctor, desiring to heal, and at the same time to protect it from chill, to my unspeakable mortification anointed me lavishly with goose grease and swathed me in flannel and cotton wadding.

That I had no shape left to me was bad enough; but to be a moving abomination was worse, and of all vile, offensive, and vulgar odours commend me to that of goose grease. With cheeks wet from tears of sheer weakness, I reached the theatre resolved to keep as silent as the grave on the subject of my flamboyant armour of grease and flannel. But the first faint muttering of the coming storm reached me even in my dressing-room, when the theatre maid (I had none of my own yet) entered, and frowningly snapped out: "I'd like to know what's the matter with this room? It never smelled like this before. Just as soon as you go out, Miss Morris, I'll hunt it over and see what the trouble is."

I had been pale, but at that speech one might have lighted matches at my scarlet face. While in the entrance I had to be wrapped up in a great big shawl, through which the odour could not quite penetrate, so no one suspected me when making kindly inquiries about my health; but when it was thrown off, and in my thin white gown I went on the stage--oh!

In the charming little love scene, as Henri and I sat close, oh, very close together, on the garden seat, and I had to look up at him with wide-eyed admiration, I saw him turn his face aside, wrinkling up his nose, and heard him whisper: "What an infernal smell! What is it?"

I shook my head in seeming ignorance and wondered what was ahead--if this was the beginning. It was a harrowing experience; by the time the second act was on, the whole company was aroused. They were like an angry swarm of bees. Miss Dietz kept her handkerchief openly to her pretty nose; Miss Morant, in stately dudgeon, demanded that Mr. Daly should be sent for, that he might learn the condition of his theatre, and the dangers his people were subjected to in breathing such poisoned air; while right in the very middle of our best scene, Mr. Louis James, the incorrigible, stopped to whisper, "Can't we move further over and get out of this confounded stench?"

In that act I had to spend much of my time at the piano, with the result that when the curtain fell, the people excitedly declared that awful smell was worst right there, and I had the misery of seeing the prompter carefully looking into the piano and applying his long, sharp nose to its upright interior.

There had been a moment in that act when I thought James Lewis suspected me. I had just taken my seat opposite him at the chess table, when he gave a little jerk at his chair, exclaiming under his breath, "Blast that smell--there it is again!"

I remained silent, and there I was wrong; for Lewis, knowing me well, knew my habit of extravagant speech, and instantly his blue pop eyes were upon my miserable face, with suspicion sticking straight out of them. With trembling hand I made my move at chess, saying, "Queen to Queens rook four," and he added in aside, "Seems to me you're mighty quiet about this scent; I hope you ain't going to tell me you can't smell it?"

But the assurance that "I did--oh, I did, indeed! smell a most outrageous odour," came so swiftly, so convincingly from my lips, that his suspicions were lulled to rest.

The last act came, and--and--well, as I said, it was the last act. White and rigid and lily-strewn, they bore me on the stage,--Louis James at the shoulders and George Clarke at the feet. Their heads were bent over me. James was nearest to the storm centre. Suddenly he gasped, then as we reached the centre of the stage Clarke gave vent to "phew!" They gently laid me on the sofa, but through the sobs of the audience and of the characters I heard from James the unfinished, half-doubting sentence, "Well, I believe in my soul it's--" But the mother (Miss Morant) approached me then, took my hand, touched my brow, called for help, for a physician; then with the wild cry, "She is dead! she is dead!" flung herself down beside the sofa with her head upon my goose-grease breast. Scarcely had she touched me, however, when with a gasping snort of disgust she sprang back, exclaiming violently, "It's you, you wretch! it's _you_!" and then under cover of other people's speeches, I being dead and helpless, Clarke stood at my head and James at my feet and reviled me, calling me divers unseemly names and mocking at me, while references were made every now and then to chloride of lime and such like disinfectants.

They would probably have made life a burden for me ever after, had I not after the performance lifted tearful eyes to them and said, "I am so sorry for your discomfort, but you can go out and get fresh air; but, boys, just think of me, I can't get away from myself and my goose-grease smell a single moment, and it's perfectly awful!"

"You bet it is!" they all answered, as with one voice, and they were merciful to me, which did not prevent them from sending the prompter (who did not know of the discovery) with a lantern to search back of the scenes for the cause of the offensive odour. Perhaps I may add that goose grease does not figure in my list of "household remedies."

But the next week I was able, in a measure at least, to heal their wounded feelings. Actresses used to receive a good many little gifts from admirers in the audience. They generally took the form of flowers or candy, but sometimes there came instead a book, a piece of music, or an ornament for the dressing-table; but Alixe's altar could boast an entirely new votive offering. I received a letter and a box. The letter was an outburst of admiration for Alixe, the "lily maid the tender, the poetical," etc. The writer then went on to tell me how she had yearned to express to me her feelings; how she had consulted her husband on the matter, and how he had said certainly to write if she wished, and send some little offering, which seemed appropriate, and "therefore she sent _this_"; and with visions of a copy of Keats or Shelley or a lace-trimmed pin-cushion, I opened the box and found the biggest mince pie I ever saw.

Certainly the lady's idea of an appropriate gift was open to criticism, but not so her pie. That was rich perfection. Its fruity, spicy interior was evenly warmed with an evident old French brandy,--no savagely burning cooking brandy, mind,--and when the flaky marvel had stood upon the heater for a time, even before its cutting up with a paper-knife, the odour of goose grease was lost in the "Araby the Blest" scent of mince meat.

_CHAPTER X

J.E. OWENS'S "WANDERING BOYS." "A HOLE IN THE WALL" INCIDENT_

The late John E. Owens, while acting in Cincinnati, had a severe cold. He was feverish, and fearing for his throat, which was apt to give him trouble, he had his physician, an old friend, come to see him back of the scenes. The doctor brought with him an acquaintance, and Mr. Owens asked them to wait till the next act was over to see how his throat was going to behave.

It's always a dangerous thing to turn outsiders loose behind the scenes; for if they don't fall into traps, or step into paint pots, they are sure to pop on to the stage.

Mr. Owens supposed the gentlemen would stop quietly in his room, but not they. Out they wandered on discovery intent. A well-painted scene caught the doctor's eye. He led his friend up to it, to take a better look; then as only part of it was visible from where they stood, they followed it along.

Mr. Owens and I were on the stage. Suddenly his eyes distended. "What in the devil?" he whispered. I looked behind me, and at the same moment the audience burst into shouts of laughter; for right into the centre of the stage had walked, with backs toward the audience, two tall gentlemen, each with a shining bald head, each tightly buttoned in a long black overcoat, and each gesticulating with a heavy cane.

I whispered to Mr. Owens, "The two Dromios"; but he snapped out, "Two blind old bats."

When they heard the roar behind them, they turned their heads, and then a funnier, wilder exit I never saw than was made by these two dignified old gentlemen; while Owens added to the laughter by taking me by the hand, and when we had assumed their exact attitude, singing "Two wandering boys from Switzerland."

I am reminded that the first performance I ever saw in my life had one of the most grotesque interruptions imaginable. At a sort of country hotel much frequented by driving parties and sleighing parties, a company of players were "strapped,"--to use the theatrical term, stranded,--unable either to pay their bills or to move on. There was a ballroom in the house, and the proprietor allowed them to erect a temporary stage there and give a performance, the guests in the house promising to attend in a body.

One of the plays was an old French farce, known to English audiences as "The Hole in the Wall." The principal comedy part was a clerk to two old misers, who starved him outrageously.

I was a little, stiffly starched person, and I remember that I sat on some one's silk lap, and slipped and slipped, and was hitched up and immediately slipped again until I wished I might fall off and be done with it. Near me sat a little old maiden lady, who had come in from her village shop to see "the show." She wore two small, sausage curls either side of her wrinkled cheeks, large glasses, a broad lace collar, while three members of her departed family gathered together in one fell group on a mighty pin upon her tired chest. She held a small bag on her knee, and from it she now and then slid a bit of cake which, as she nibbled it, gave off a strong odour of caraway seed.

Now the actor was clever in his "make-up," and each time he appeared he looked thinner than he had in the scene before. Instead of laughing, however, the old woman took it seriously, and she had to wipe her glasses with her carefully folded handkerchief several times before that last scene, when she was quite overcome.

His catch phrase had been, "Oh! oh! how hungry I am!" and every time he said it, she gave a little involuntary groan; but as he staggered on at the last, thin as a bit of thread paper, hollow-cheeked, white-faced, she indignantly exclaimed, "Well now, _that's_ a shame!"

The people laughed aloud; the comedian fixed his eyes upon her face, and with hands pressed against his stomach groaned, "O-h! how hungry I am!" and then she opened that bag and drew forth two long, twisted, fried cakes, rose, stood on her tip-toes, and reaching them up to him tearfully remarked:--

"Here, you poor soul, take these. They are awful dry; but it's all I've got with me."

The audience fairly screamed; but poor and stranded as that company was, the comedian was an artist, for he accepted the fried cakes, ate them ravenously to the last crumb, and so kept well within the character he was playing, without hurting the feelings of the kind-hearted, little old woman.

It's pleasant to know that that clever bit of acting attracted the attention and gained the interest of a well-to-do gentleman, who was present, and who next day helped the actors on their way to the city.

A certain foreign actor once smilingly told me "I was a crank about my American public." I took his little gibe in good part; for while he knew foreign audiences, he certainly did _not_ know American ones as well as I, who have faced them from ocean to ocean, from British Columbia to Florida. Two characteristics they all share in common,--intelligence and fairness,--otherwise they vary as widely, have as many marked peculiarities, as would so many individuals. New York and Boston are _the_ authorities this side of "the Great Divide," while San Francisco sits in judgment by the blue Pacific.

One never-to-be-forgotten night I went to a fashionable theatre in New York City to see a certain English actress make her début before an American audience, which at that time was considered quite an interesting event, since there were but one or two of her countrywomen over here then. The house was very full; the people were of the brightest and the "smartest." I sat in a stage box and noted their eagerness, their smiling interest.

The curtain was up, there was a little dialogue, and then the stage door opened. I dimly saw the actress spreading out her train ready to "come on," the cue was given, a figure in pale blue and white appeared in the doorway, stood for one single, flashing instant, then lurched forward, and with a crash she measured her full length upon the floor.