The Little Warrior Part 37

"I confess," he said, "that, in writing the book, I had Gilbert before me as a model. Whether I have in any sense succeeded in ..."

"The book," said Mr Trevis, running his fingers over the piano, "is as good as anything Gilbert ever wrote."

"Oh come, Rolie!" protested Mr Pilkington modestly.

"Better," insisted Mr Trevis. "For one thing, it is up-to-date."

"I _do_ try to strike the modern tone," murmured Mr Pilkington.

"And you have avoided Gilbert's mistake of being too fanciful."

"He was fanciful," admitted Mr Pilkington. "The music," he added, in a generous spirit of give and take, "has all Sullivan's melody with a newness of rhythm peculiarly its own. You will like the music."

"It sounds," said Jill amiably, "as though the piece is bound to be a tremendous success."

"We hope so," said Mr Pilkington. "We feel that the time has come when the public is beginning to demand something better than what it has been accustomed to. People are getting tired of the brainless trash and jingly tunes which have been given them by men like Wallace Mason and George Bevan. They want a certain polish... . It was just the same in Gilbert and Sullivan's day. They started writing at a time when the musical stage had reached a terrible depth of inanity.

The theatre was given over to burlesques of the most idiotic description. The public was waiting eagerly to welcome something of a higher cla.s.s. It is just the same today. But the managers will not see it. 'The Rose of America' went up and down Broadway for months, knocking at managers' doors."

"It should have walked in without knocking, like me," said Jill. She got up. "Well, it was very kind of you to see me when I came in so unceremoniously. But I felt it was no good waiting outside on that landing. I'm so glad everything is settled. Good-bye."

"Good-bye, Miss Mariner." Mr Pilkington took her outstretched hand devoutly. "There is a rehearsal called for the ensemble at--when is it, Rolie?"

"Eleven o'clock, day after tomorrow, at Bryant Hall."

"I'll be there," said Jill. "Good-bye, and thank you very much."

The silence which had fallen upon the room as she left it, was broken by Mr Trevis.

"Some pip!" observed Mr Trevis.

Otis Pilkington awoke from day-dreams with a start.

"What did you say?"

"That girl ... I said she was some pippin!"

"Miss Mariner," said Mr Pilkington icily, "is a most charming, refined, cultured, and vivacious girl, if you mean that."

"Yes," said Mr Trevis. "That was what I meant!"

2.

Jill walked out into Forty-second Street, looking about her with the eye of a conqueror. Very little change had taken place in the aspect of New York since she had entered the Gotham Theatre, but it seemed a different city to her. An hour ago, she had been a stranger, drifting aimlessly along its rapids. Now she belonged to New York, and New York belonged to her. She had faced it squarely, and forced from it the means of living. She walked on with a new jauntiness in her stride.

The address which Nelly had given her was on the east side of Fifth Avenue. She made her way along Forty-second Street. It seemed the jolliest, alivest street she had ever encountered. The rattle of the Elevated as she crossed Sixth Avenue was music, and she loved the crowds that jostled her with every step she took.

She reached the Fifth Avenue corner just as the policeman out in the middle of the street swung his Stop-and-Go post round to allow the up-town traffic to proceed on its way. A stream of automobiles which had been dammed up as far as the eye could reach began to flow swiftly past. They moved in a double line, red limousines, blue limousines, mauve limousines, green limousines. She stood waiting for the flood to cease, and, as she did so, there purred past her the biggest and reddest limousine of all. It was a colossal vehicle with a polar-bear at the steering-wheel and another at his side. And in the interior, very much at his ease, his gaze bent courteously upon a ma.s.sive lady in a mink coat, sat Uncle Chris.

For a moment he was so near to her that, but for the closed window, she could have touched him. Then the polar-bear at the wheel, noting a gap in the traffic, stepped on the accelerator and slipped neatly through. The car moved swiftly on and disappeared.

Jill drew a deep breath. The Stop-and-Go sign swung round again. She crossed the avenue, and set out once more to find Nelly Bryant. It occurred to her, five minutes later, that a really practical and quick-thinking girl would have noted the number of the limousine.

CHAPTER ELEVEN

1.

The rehearsals of a musical comedy--a term which embraces "musical fantasies"--generally begin in a desultory sort of way at that curious building, Bryant Hall, on Sixth Avenue just off Forty-second Street. There, in a dusty, uncarpeted room, simply furnished with a few wooden chairs and some long wooden benches, the chorus--or, in the case of "The Rose of America," the ensemble--sit round a piano and endeavor, with the a.s.sistance of the musical director, to get the words and melodies of the first-act numbers into their heads. This done, they are ready for the dance director to instil into them the steps, the groupings, and the business for the encores, of which that incurable optimist always seems to expect there will be at least six.

Later, the princ.i.p.als are injected into the numbers. And finally, leaving Bryant Hall and dodging about from one unoccupied theatre to another, princ.i.p.als and chorus rehea.r.s.e together, running through the entire piece over and over again till the opening night of the preliminary road tour.

To Jill, in the early stages, rehearsing was just like being back at school. She could remember her first school-mistress, whom the musical director somewhat resembled in manner and appearance, hammering out hymns on a piano and leading in a weak soprano an eager, baying pack of children, each anxious from motives of pride to out-bawl her nearest neighbor.

The proceedings began on the first morning with the entrance of Mr Saltzburg, the musical director, a brisk, busy little man with benevolent eyes behind big spectacles, who bustled over to the piano, sat down, and played a loud chord, designed to act as a sort of bugle blast, rallying the ladies of the ensemble from the corners where they sat in groups, chatting. For the process of making one another's acquaintance had begun some ten minutes before with mutual recognitions between those who knew each other from having been together in previous productions. There followed rapid introductions of friends. Nelly Bryant had been welcomed warmly by a pretty girl with red hair, whom she introduced to Jill as Babe: Babe had a willowy blonde friend, named Lois: and the four of them had seated themselves on one of the benches and opened a conversation; their numbers being added to a moment later by a dark girl with a Southern accent and another blonde. Elsewhere other groups had formed, and the room was filled with a noise like the chattering of starlings. In a body by themselves, rather forlorn and neglected, half a dozen solemn and immaculately dressed young men were propping themselves up against the wall and looking on, like men in a ball-room who do not dance.

Jill listened to the conversation without taking any great part in it herself. She felt as she had done on her first day at school, a little shy and desirous of effacing herself. The talk dealt with clothes, men, and the show business, in that order of importance.

Presently one of the young men sauntered diffidently across the room and added himself to the group with the remark that it was a fine day. He was received a little grudgingly, Jill thought, but by degrees succeeded in a.s.similating himself. A second young man drifted up; reminded the willowy girl that they had worked together in the western company of "You're the One"; was recognized and introduced; and justified his admission to the circle by a creditable imitation of a cat-fight. Five minutes later he was addressing the Southern girl as "honey," and had informed Jill that he had only joined this show to fill in before opening on the three-a-day with the swellest little song-and-dance act which he and a little girl who worked in the cabaret at Geisenheimer's had fixed up.

On this scene of harmony and good-fellowship Mr Saltzburg's chord intruded jarringly. There was a general movement, and chairs and benches were dragged to the piano. Mr Saltzburg causing a momentary delay by opening a large brown music-bag and digging in it like a terrier at a rat-hole, conversation broke out again.

Mr Saltzburg emerged from the bag, with his hands full of papers, protesting.

"Childrun! Chil-_drun!_ If you please, less noise and attend to me!"

He distributed sheets of paper. "Act One, Opening Chorus. I will play the melody three--four times. Follow attentively. Then we will sing it la-la-la, and after that we will sing the words. So!"

He struck the yellow-keyed piano a vicious blow, producing a tinny and complaining sound. Bending forward with his spectacles almost touching the music, he plodded determinedly through the tune, then encored himself, and after that encored himself again. When he had done this, he removed his spectacles and wiped them. There was a pause.

"Izzy," observed the willowy young lady chattily, leaning across Jill and addressing the Southern girl's blonde friend, "has promised me a sunburst!"

A general stir of interest and a coming close together of heads.

"What! Izzy!"

"Sure, Izzy."

"Well!"

"He's just landed the hat-check privilege at the St Aurea!"

"You don't say!"

"He told me so last night and promised me the sunburst. He was,"

admitted the willowy girl regretfully, "a good bit tanked at the time, but I guess he'll make good." She mused awhile, a rather anxious expression clouding her perfect profile. She looked like a meditative Greek G.o.ddess. "If he doesn't," she added with maidenly dignity, "it's the las' time _I_ go out with the big stiff. I'd tie a can to him quicker'n look at him!"

A murmur of approval greeted this admirable sentiment.

"Childrun!" protested Mr Saltzburg. "Chil-drun! Less noise and chatter of conversation. We are here to work! We must not waste time!