Autobiographies [19]
read the cast I glanced at the other girls (we were not strikingly handsome) and remarked, gravely: "Well, it's a comfort to know that we look so like the three beautiful Grecians."
A laugh at our backs brought us around suddenly to face Mr. Booth, who said to me:
"You satirical little wretch, how do you come to know these Grecian ladies? Perhaps you have the advantage of them in being all beautiful within?"
"I wish it would strike outward then," I answered. "You know it's always best to have things come to the surface!"
"I know some very precious things are hidden from common sight; and I know, too, you caught my meaning in the first place. Good night!" and he left us.
We had been told to descend to the stage at night with our white robes hanging free and straight, that Mr. Booth himself might drape them as we stood upon the pedestal. It really is a charming picture--that of the statues in the first act. Against a backing of black velvet the three white figures, carefully posed, strongly lighted, stand out so marble-like that when they slowly turn their faces and point to their chosen master, the effect is uncanny enough to chill the looker-on.
Well, with white wigs, white tights, and white robes, and half strangled with the powder we had inhaled in our efforts to make our lips stay white, we cautiously descended the stairs we dared not talk, we dared not blink our eyes, for fear of disturbing the coat of powder-we were lifted to the pedestal and took our places as we expected to stand. Then Mr. Booth came--such a picture in his Greek garments as made even the men exclaim at him--and began to pose us. It happened one of us had very good limbs, one medium good, and the third had, apparently, walked on broom-sticks. When Mr. Booth slightly raised the drapery of No. 3 his features gave a twist as though he had suddenly tasted lemon-juice, but quick as a flash he said:
"I believe I'11 advance you to the centre for the stately and wise Aspasia"--the central figure wore her draperies hanging straight to her feet, hence the "advance" and consequent concealment of the unlovely limbs. It was quickly and kindly done, for the girl was not only spared mortification, but in the word "advance" she saw a compliment and was happy accordingly. Then my turn came. My arms were placed about Aspasia, my head bent and turned and twisted--my upon my breast so that the forefinger touched my chin--I felt I was a personified simper; but I was silent and patient, until the arrangement of my draperies began--then I squirmed anxiously.
"Take care--take care!" he cautioned. "You will sway the others if you move!" But in spite of the risk of my marble makeup I faintly groaned: "Oh dear! must it be like that?"
Regardless of the pins in the corner of his mouth he burst into laughter, and, taking a photograph from the bosom of his Greek shirt, he said: "I expected a protest from you, Miss, so I came prepared--don't move your head, but just look at this."
He held the picture of a group of statuary up to me. "This is you on the right. It's not so dreadful; now, is it?" And I cautiously murmured: "That if I wasn't any worse than that I wouldn't mind."
And so we were all satisfied, and our statue scene was very successful. Next morning I saw Mr. Booth come running out of the theatre on his way to the telegraph office at the corner, and right in the middle of the walk, staring about him, stood a child--a small roamer of the stony streets, who had evidently got far enough beyond his native ward to arouse misgivings as to his personal safety, and at the very moment he stopped to consider matters Mr. Booth dashed out of the stage-door and added to his bewilderment by capsizing him completely.
"Oh, good lord! Baby, are you hurt?" exclaimed Mr. Booth, pausing instantly to pick up the dirty, tousled small heap and stand it on its bandy legs again.
"Don't cry, little chap!" And the aforesaid little chap not only ceased to cry, but gave him a damp and grimy smile, at which the actor bent towards him quickly,
A laugh at our backs brought us around suddenly to face Mr. Booth, who said to me:
"You satirical little wretch, how do you come to know these Grecian ladies? Perhaps you have the advantage of them in being all beautiful within?"
"I wish it would strike outward then," I answered. "You know it's always best to have things come to the surface!"
"I know some very precious things are hidden from common sight; and I know, too, you caught my meaning in the first place. Good night!" and he left us.
We had been told to descend to the stage at night with our white robes hanging free and straight, that Mr. Booth himself might drape them as we stood upon the pedestal. It really is a charming picture--that of the statues in the first act. Against a backing of black velvet the three white figures, carefully posed, strongly lighted, stand out so marble-like that when they slowly turn their faces and point to their chosen master, the effect is uncanny enough to chill the looker-on.
Well, with white wigs, white tights, and white robes, and half strangled with the powder we had inhaled in our efforts to make our lips stay white, we cautiously descended the stairs we dared not talk, we dared not blink our eyes, for fear of disturbing the coat of powder-we were lifted to the pedestal and took our places as we expected to stand. Then Mr. Booth came--such a picture in his Greek garments as made even the men exclaim at him--and began to pose us. It happened one of us had very good limbs, one medium good, and the third had, apparently, walked on broom-sticks. When Mr. Booth slightly raised the drapery of No. 3 his features gave a twist as though he had suddenly tasted lemon-juice, but quick as a flash he said:
"I believe I'11 advance you to the centre for the stately and wise Aspasia"--the central figure wore her draperies hanging straight to her feet, hence the "advance" and consequent concealment of the unlovely limbs. It was quickly and kindly done, for the girl was not only spared mortification, but in the word "advance" she saw a compliment and was happy accordingly. Then my turn came. My arms were placed about Aspasia, my head bent and turned and twisted--my upon my breast so that the forefinger touched my chin--I felt I was a personified simper; but I was silent and patient, until the arrangement of my draperies began--then I squirmed anxiously.
"Take care--take care!" he cautioned. "You will sway the others if you move!" But in spite of the risk of my marble makeup I faintly groaned: "Oh dear! must it be like that?"
Regardless of the pins in the corner of his mouth he burst into laughter, and, taking a photograph from the bosom of his Greek shirt, he said: "I expected a protest from you, Miss, so I came prepared--don't move your head, but just look at this."
He held the picture of a group of statuary up to me. "This is you on the right. It's not so dreadful; now, is it?" And I cautiously murmured: "That if I wasn't any worse than that I wouldn't mind."
And so we were all satisfied, and our statue scene was very successful. Next morning I saw Mr. Booth come running out of the theatre on his way to the telegraph office at the corner, and right in the middle of the walk, staring about him, stood a child--a small roamer of the stony streets, who had evidently got far enough beyond his native ward to arouse misgivings as to his personal safety, and at the very moment he stopped to consider matters Mr. Booth dashed out of the stage-door and added to his bewilderment by capsizing him completely.
"Oh, good lord! Baby, are you hurt?" exclaimed Mr. Booth, pausing instantly to pick up the dirty, tousled small heap and stand it on its bandy legs again.
"Don't cry, little chap!" And the aforesaid little chap not only ceased to cry, but gave him a damp and grimy smile, at which the actor bent towards him quickly,