CHAPTER XII

The Camp Fire Play

By eight o'clock on Christmas evening every seat in the Sunrise cabin living room was filled except two, and toward these the eyes of every girl hidden behind the khaki curtain turned questioningly for the last fifteen minutes before their Camp Fire play was to commence. However then, to Polly's despair, their last hope died away--the great lady and the great actress in one--would not form a part of their Woodford audience, even her own Miss Adams had likewise failed her.

Nevertheless their entertainment was to begin promptly (on this Miss McMurtry and Miss Dyer had both insisted), since punctuality was so seldom a feature of amateur plays they wished thus to show one of the superior results of the Camp Fire training.

A Camp Fire Morality Play: These words were printed on the Christmas programs and it was an old time morality play such as we have seen and read in "Everyman" that Polly and Betty had attempted to write, assisted of course by both their guardians and with suggestions from every girl in the Sunrise club. Whether they were successful in keeping close to the old model was not so much their ideal as the desire to show both by words and tableaux the aims and the influence of the Camp Fire organization, and what women have given to the world since the primitive time when human life centered about the camp-fire.

At a quarter past eight the curtain arose slowly, showing the stage in semi-darkness and representing a scene in a primeval forest. In the corner is the bare pine tree, the ground is strewn with twigs, fir cones and needles, and there within the instant the figure of a woman enters. It is Polly! And because of her great disappointment there is a tragic droop to her shoulders, a pathetic expression in her great wide-open Irish blue eyes. She had hoped so much from Miss Adams' promise and now--well, she must not forget her part, she must try to do her best for her friends' sakes.

Polly is dressed in a short skirt with a fox's skin fastened from one shoulder to her belt, there are sandals on her feet and her straight black hair is hanging about her shoulders. Unhappy, she gropes her way about the stage shivering and finding nothing to do, no place in which to rest herself. It is December, the month of the long moon, and the night promises to be bitterly cold. In another moment there is heard from the outside the crying of a child and next "Little Brother," very proud of his rabbit coat and cap, runs forward throwing his arms about the woman's knees and evidently begging for warmth and shelter. Still in pantomime the mother mournfully shakes her head, and with this Eleanor Meade appears representing a primitive man and carrying a brace of freshly killed game over her shoulder. This he presents to the child and the woman, but both of them shake their heads and a moment later the man drops despairingly down on the frozen ground burying his face in his hands, the child hiding between his parents for warmth. However the woman does not cover her face and by and by, picking up two dry twigs from the ground, she begins in an idle fashion to rub them together. Suddenly there is a tiny spark of light and then darkness.

It was a wise selection on the part of the Sunrise club girls to have chosen Polly O'Neill to represent the mother of all the Camp Fire women, for though she had when needful the Irish gift of expression, she had also a face so vivid and so emotional that to Polly's own chagrin it was seldom possible for her to hide from other people what was going on in her mind. Now, however, this characteristic was of excellent service, for there was not a member of her little audience who did not in this instant guess the inspiration that had just been born in the woman.

In a seat toward the back of the living room, in as inconspicuous a spot as possible, a fragile looking woman, an unknown member of the small Woodford audience, turned suddenly to the companion beside her, nodding her head quickly. She had a plain, yet remarkably youthful looking face illumined by a pair of wonderful gray eyes with an indescribably wistful and yet understanding expression. And from now on she watched the girl on the stage more attentively.

Rising quietly, Polly seemed almost to be holding her breath. Then with eager fingers she can be seen searching along the ground until by and by she has gathered together a few twigs, and now kneeling before them appears to be uttering a silent prayer. A moment later and she picks up her former sticks, again repeating the rubbing of them together. For a while Polly seemed to be unsuccessful in making them ignite, so that in the background and well out of sight the other Camp Fire girls hold their breath with a kind of sick horror, fearing that she is going to fail here and so make a fiasco of the entire scene. But the little waiting has only made the final result more dramatic. There is a tiny flare of light, and then bending over her pile of twigs the woman lights the first Camp Fire. She guards it with her hands until there is a crackle and many spurts of yellow flame and the instant after is across the stage shaking the man by the shoulder and drawing the child toward the blaze. Together then they heap on more fuel until a really splendid fire is a-light. (And for fear any one may think that this fire in the middle of the wooden platform would probably have put an end to Sunrise cabin it must be explained that a sheet of iron had been fastened on the floor that the fire might be built with entire safety.)

Like a flame herself the woman then flies from one home duty to the other, making a bed of pine branches for the child near the fire, appearing to roast the game for her husband. Far better by her actions than by any possible words Polly told her story, until the curtain at last goes down on the beginning of the first home with the woman as its genius and inspiration.

But before the curtain has finally descended, for a moment Polly's attention, as though drawn by an invisible magnet, centered upon the face of a stranger in the back of the living room beyond the more familiar ranks of her friends; and with a quick intake of her breath and a feeling of thankfulness that her first trial is over and that she is not obliged to speak, the young girl recognizes the famous actress. She is glad then that she had not known of her presence sooner and also that her first appearance before her has been made in pantomime, for she guesses it to be a surer test of dramatic ability than any recitation an untrained girl might be able to repeat. If she had the necessary temperament somehow in the scene just past it must have revealed itself.

But now an intermission of twenty minutes passes and the second act represents a scene wholly different from the first, for now the stage is intended to present as nearly as possible the picture of an ideal home. It was difficult to portray, of course, but then the bigger things must always be trusted to the imagination, for this home was not intended to suggest merely a single home but a kind of universal and representative one. There were beautiful pictures in it and soft rugs and many books and windows everywhere, supposedly letting in all the possible sunlight, while over in the corner the solitary pine tree still stood, but now covered with many white candles, although none of them were yet a-light.

Then the door opens and the first spirit of the home enters. This is Esther Clark wearing a kind of blue tunic with a silver band about her unloosened red hair. With swift steps and busy fingers she moves about, bringing a bunch of winter roses to a table, putting fresh logs on the fire, drawing chairs nearer to the inspiring blaze, which is now no longer a primitive camp fire but a great, hospitable open hearth.

Then Esther goes to the front of the stage and waits there for a moment in silence before beginning her speech, and there are but few persons watching her who have yet guessed what spirit she is illustrating.

Esther is awkward and not handsome; nevertheless, because she has a clear and beautiful speaking as well as singing voice she had been chosen for this particular part. Now she is plainly heard throughout the room.

"I am Work, the great Mother Spirit of the earth. I have borne many children with a fairer fame, Service, who is my daughter with a gentler name."

And here Nan Graham in a yellow costume with her black hair flowing over her shoulders and her dark eyes shining walks forward and takes her place at one end of the stage just a little back of the speaker, followed by Eleanor Meade in a white robe with a wreath of laurel on her head and a scroll in her hand, who is seen by the audience as Esther continues:

"Knowledge, who needs no word of mine to prove her worth, Beauty that shall not fade, surely it lives through me In music, books and art, a noble trinity."

Then Betty Ashton, whom there is no difficulty in recognizing as the spirit of Beauty, approaches the front of the stage in a dress of some soft silvery material with three stars in her hair and stands beside Eleanor.

"And Health and Happiness, would they deny their birth? Then let them seek it in some nobler form than mine, The quest is everlasting but the choice is thine."

Sylvia and Beatrice Field then advance together and take their places in the center of the group, Sylvia as Health dressed in the green of the open fields and Beatrice in deep rose color.

"Trustworthiness and Sympathy dwell by my hearth With Purity; we are the graces of the home. And yet there is one other fairer still to come Whose handmaids are these spirits named above; To her alone I yield my gracious place, The inspiration of the home--the world--is Love!"

While Esther has been finishing her verse, Juliet Field has come forth to portray the spirit of Trustworthiness in a dress of deep violet, carrying a sheath of purple lilies. Meg, with her charming face so full of humor and tenderness, is the embodiment of Sympathy, and Edith Norton as Purity has her long fair hair falling almost down to her knees and wears a dress of the palest green--like Undine when she first comes forth from the sea.

And now a crescent has slowly formed about the figure of Esther who is a little in advance of the other girls, but now as she speaks the final word--Love--she steps quietly backward and Mollie O'Neill as the spirit of Love occupies the center of the stage. She has never looked half so lovely in her life as she does to-night. Her gown is of pale pink, she has a wreath of roses in her black hair, her usually too grave expression is illumined by a smile born partly of fear and the rest of pride, which has nothing to do with her own appearance, but is a kind of shadowy pleasure in the beauty and the significance of the tableau surrounding her.

From his place behind the curtain Billy Webster wonders how he was ever able even at the beginning of their acquaintance to confuse the twin sisters. Polly in all her existence has never looked so pretty as this and probably never will, and then Billy comes to his senses in a hurry, realizing that it is now his duty to assist in letting the curtain drop on this second scene in the Camp Fire allegory.

In the last act the Christmas tree is all a-blaze with pure white candles and silver tinsel and above it is suspended a great silver star, while the girls in their many colored costumes are seen dancing before it. Then at the close of the dance Polly again enters. She is to recite the epilogue, to make plainer the ideals of the Camp Fire. But some change has come over her since the first scene, her color is entirely gone, her eyes are rimmed and, worst of all, she feels that a deadly weight is settling on her chest and that her voice is nowhere to be found. She is having an attack of stage fright, but Polly does not yet know it by that name. The truth is that she has grown desperately tired, the strain and excitement of waiting after the long day's pleasure with the very foolish thought that her fate is probably to be decided by one person's judgment of her abilities has proved too much for her. She tries pulling herself together, she sees many eyes turned up toward her, with one face shining a little farther off like a star. Polly opens her mouth to speak, but there is a great darkness about her, the world is slowly slipping away. She puts out both arms with a pathetic appeal for silence and patience and then suddenly some one is holding her up and the other girls are forming a rainbow circle about her so that she is safely hidden from view.

For in a flash Betty Ashton has guessed at Polly's faintness, has signaled her companions and then reached her first, so that the curtain finally fell on perhaps the prettiest scene of all.