The Little Warrior Part 65

Wally nodded.

"And we shall do awfully badly in Syracuse the last half of this week. And why? For one thing, because the show isn't a show at all at present. That's what you can't get these fatheads like Goble to understand. All they go by is the box-office. Why should people flock to pay for seats for what are practically dress rehearsals of an unknown play? Half the princ.i.p.als have had to get up in their parts in two weeks, and they haven't had time to get anything out of them.

They are groping for their lines all the time. The girls can't let themselves go in the numbers, because they are wondering if they are going to remember the steps. The show hasn't had time to click together yet. It's just ragged. Take a look at it in another two weeks! I _know!_ I don't say musical comedy is a very lofty form of art, but still there's a certain amount of science about it. If you go in for it long enough, you learn the tricks, and take it from me that if you have a good cast and some catchy numbers, it's almost impossible not to have a success. We've got an excellent cast now, and the numbers are fine. The thing can't help being a hit.

"There's another thing to think of. It so happens that we shall go into New York with practically nothing against us. Usually you have half a dozen musical successes to compete with, but just at the moment there's nothing. But the chief reason for not being discouraged by bad houses so far is that we've been playing bad towns. Every town on the road has its special character. Some are good show-towns, others are bad. n.o.body knows why. Detroit will take anything. So will Washington. Whereas Cincinnati wants something very special. Where have we been? Atlantic City, Baltimore, and here.

Atlantic City is a great place to play in the summer and for a couple of weeks round about Easter. Also at Christmas. But for the rest of the year, no. Too many new shows are tried out there. It makes the inhabitants wary. Baltimore is good for a piece with a New York reputation, but they don't want new pieces. Rochester and Syracuse are always bad. 'Follow the Girl' died a hideous death in Rochester, and it went on and played two years in New York and one in London. I tell you--as I tried to tell Pilkington, only he wouldn't listen--that this show is all right. There's a fortune in it for somebody. But I suppose Pilkington is now sitting in the smoking-car of an east-bound train, trying to get the porter to accept his share in the piece instead of a tip!"

If Otis Pilkington was not actually doing that, he was doing something like it. Sunk in gloom, he b.u.mped up and down on an uncomfortable seat, wondering why he had ever taken the trouble to make the trip to Rochester. He had found exactly what he had expected to find, a mangled caricature of his brain-child playing to a house half empty and wholly indifferent. The only redeeming feature, he thought vindictively, as he remembered what Roland Trevis had said about the cost of musical productions, was the fact that the new numbers were undoubtedly better than those which his collaborator had originally supplied.

And "The Rose of America," after a disheartening Wednesday matinee and a not much better reception on the Wednesday night, packed its baggage and moved to Syracuse, where it failed just as badly. Then for another two weeks it wandered on from one small town to another, up and down New York State and through the doldrums of Connecticut, tacking to and fro like a storm-battered ship, till finally the astute and discerning citizens of Hartford welcomed it with such a reception that hardened princ.i.p.als stared at each other in a wild surmise, wondering if these things could really be: and a weary chorus forgot its weariness and gave encore after encore with a snap and vim which even Mr Johnson Miller was obliged to own approximated to something like it. Nothing to touch the work of his choruses of the old days, of course, but nevertheless fair, quite fair.

The spirits of the company revived. Optimism reigned. Princ.i.p.als smiled happily and said they had believed in the thing all along. The ladies and gentlemen of the ensemble chattered contentedly of a year's run in New York. And the citizens of Hartford fought for seats, and, if they could not get seats, stood up at the back.

Of these things Otis Pilkington was not aware. He had sold his interest in the piece two weeks ago for ten thousand dollars to a lawyer acting for some client unknown, and was glad to feel that he had saved something out of the wreck.

CHAPTER EIGHTEEN

1.

The violins soared to one last high note: the ba.s.soon uttered a final moan: the pensive person at the end of the orchestra-pit, just under Mrs Waddesleigh Peagrim's box, whose duty it was to slam the drum at stated intervals, gave that much-enduring instrument a concluding wallop; and, laying aside his weapons, allowed his thoughts to stray in the direction of cooling drinks. Mr Saltzburg lowered the baton which he had stretched quivering towards the roof and sat down and mopped his forehead. The curtain fell on the first act of "The Rose of America," and simultaneously tremendous applause broke out from all over the Gotham Theatre, which was crammed from floor to roof with that heterogeneous collection of humanity which makes up the audience of a New York opening performance. The applause continued like the breaking of waves on a stony beach. The curtain rose and fell, rose and fell, rose and fell again. An usher, stealing down the central aisle, gave to Mr Saltzburg an enormous bouquet of American Beauty roses, which he handed to the prima donna, who took it with a brilliant smile and a bow nicely combining humility with joyful surprise. The applause, which had begun to slacken, gathered strength again. It was a superb bouquet, nearly as big as Mr Saltzburg himself. It had cost the prima donna close on a hundred dollars that morning at Thorley's, but it was worth every cent of the money.

The house-lights went up. The audience began to move up the aisles to stretch its legs and discuss the piece during the intermission. There was a general babble of conversation. Here, a composer who had not got an interpolated number in the show was explaining to another composer who had not got an interpolated number in the show the exact source from which a third composer who had got an interpolated number in the show had stolen the number which he had got interpolated.

There, two musical comedy artistes who were temporarily resting were agreeing that the prima donna was a dear thing but that, contrary as it was to their life-long policy to knock anybody, they must say that she was beginning to show the pa.s.sage of the years a trifle and ought to be warned by some friend that her career as an ingenue was a thing of the past. Dramatic critics, slinking in twos and threes into dark corners, were telling each other that "The Rose of America" was just another of those things but it had apparently got over. The general public was of the opinion that it was a knock-out.

"Otie darling," said Mrs Waddesleigh Peagrim, leaning her ample shoulder on Uncle Chris' perfectly fitting sleeve and speaking across him to young Mr Pilkington, "I do congratulate you, dear. It's perfectly delightful! I don't know when I have enjoyed a musical piece so much. Don't you think it's perfectly darling, Major Selby?"

"Capital!" agreed that suave man of the world, who had been bored as near extinction as makes no matter. "Congratulate you, my boy!"

"You clever, clever thing!" said Mrs Peagrim, skittishly striking her nephew on the knee with her fan. "I'm proud to be your aunt! Aren't you proud to know him, Mr Rooke?"

The fourth occupant of the box awoke with a start from the species of stupor into which he had been plunged by the spectacle of the McWhustle of McWhustle in action. There had been other dark moments in Freddie's life. Once, back in London, Parker had sent him out into the heart of the West End without his spats and he had not discovered their absence till he was half-way up Bond Street. On another occasion, having taken on a stranger at squash for a quid a game, he had discovered too late that the latter was an ex-public-school champion. He had felt gloomy when he had learned of the breaking-off of the engagement between Jill Mariner and Derek Underhill, and sad when it had been brought to his notice that London was giving Derek the cold shoulder in consequence. But never in his whole career had he experienced such gloom and such sadness as had come to him that evening while watching this unspeakable person in kilts murder the part that should have been his. And the audience, confound them, had roared with laughter at every d.a.m.n silly thing the fellow had said!

"Eh?" he replied. "Oh, yes, rather, absolutely!"

"We're _all_ proud of you, Otie darling," proceeded Mrs Peagrim. "The piece is a wonderful success. You will make a fortune out of it. And just think, Major Selby, I tried my best to argue the poor, dear boy out of putting it on! I thought it was so rash to risk his money in a theatrical venture. But then," said Mrs Peagrim in extenuation, "I had only seen the piece when it was done at my house at Newport, and of course it really was rather dreadful nonsense then! I might have known that you would change it a great deal before you put it on in New York. As I always say, plays are not written, they are rewritten!

Why, you have improved this piece a hundred per cent, Otie! I wouldn't know it was the same play!"

She slapped him smartly once more with her fan, ignorant of the gashes she was inflicting. Poor Mr Pilkington was suffering twin torments, the torture of remorse and the agonized jealousy of the unsuccessful artist. It would have been bad enough to have to sit and watch a large audience rocking in its seats at the slap-stick comedy which Wally Mason had subst.i.tuted for his delicate social satire: but, had this been all, at least he could have consoled himself with the sordid reflection that he, as owner of the piece, was going to make a lot of money out of it. Now, even this material balm was denied him. He had sold out, and he was feeling like the man who parts for a song with shares in an apparently goldless gold mine, only to read in the papers next morning that a new reef has been located. Into each life some rain must fall. Quite a shower was falling now into young Mr. Pilkington's.

"Of course," went on Mrs Peagrim, "when the play was done at my house, it was acted by amateurs. And you know what amateurs are! The cast tonight is perfectly splendid. I do think that Scotchman is the most killing creature! Don't you think he is wonderful, Mr. Rooke?"

We may say what we will against the upper strata of Society, but it cannot be denied that breeding tells. Only by falling back for support on the traditions of his cla.s.s and the solid support of a gentle upbringing was the Last of the Rookes able to crush down the words that leaped to his lips and to subst.i.tute for them a politely conventional agreement. If Mr Pilkington was feeling like a too impulsive seller of gold-mines, Freddie's emotions were akin to those of the Spartan boy with the fox under his vest. Nothing but Winchester and Magdalen could have produced the smile which, though twisted and confined entirely to his lips, flashed onto his face and off again at his hostess' question.

"Oh, rather! Priceless!"

"Wasn't that part an Englishman before?" asked Mrs Peagrim. "I thought so. Well, it was a stroke of genius changing it. This Scotchman is too funny for words. And such an artist!"

Freddie rose shakily. One can stand just so much.

"Think," he mumbled, "I'll be pushing along and smoking a cigarette."

He groped his way to the door.

"I'll come with you, Freddie my boy," said Uncle Chris, who felt an imperative need of five minutes' respite from Mrs Peagrim. "Let's get out into the air for a moment. Uncommonly warm it is here."

Freddie a.s.sented. Air was what he felt he wanted most.

Left alone in the box with her nephew, Mrs Peagrim continued for some moments in the same vein, innocently twisting the knife in the open wound. It struck her from time to time that darling Otie was perhaps a shade unresponsive, but she put this down to the nervous strain inseparable from a first night of a young author's first play.

"Why," she concluded, "you will make thousands and thousands of dollars out of this piece. I am sure it is going to be another 'Merry Widow.'"

"You can't tell from a first night audience," said Mr Pilkington sombrely, giving out a piece of theatrical wisdom he had picked up at rehearsals.

"Oh, but you can. It's so easy to distinguish polite applause from the real thing. No doubt many of the people down here have friends in the company or other reasons for seeming to enjoy the play, but look how the circle and the gallery were enjoying it! You can't tell me that that was not genuine. They love it. How hard," she proceeded commiseratingly, "you must have worked, poor boy, during the tour on the road to improve the piece so much! I never liked to say so before, but even you must agree with me now that that original version of yours, which was done down at Newport, was the most terrible nonsense! And how hard the company must have worked, too!

Otie," cried Mrs Peagrim, aglow with the magic of a brilliant idea, "I will tell you what you must really do. You must give a supper and dance to the whole company on the stage tomorrow night after the performance."

"What!" cried Otis Pilkington, startled out of his lethargy by this appalling suggestion. Was he, the man who, after planking down thirty-two thousand eight hundred and fifty-nine dollars, sixty-eight cents for "props" and "frames" and "rehl," had sold out for a paltry ten thousand, to be still further victimized?

"They do deserve it, don't they, after working so hard?"

"It's impossible," said Otis Pilkington vehemently. "Out of the question."

"But, Otie darling, I was talking to Mr Mason, when he came down to Newport to see the piece last summer, and he told me that the management nearly always gives a supper to the company, especially if they have had a lot of extra rehearsing to do."

"Well, let Goble give them a supper if he wants to."

"But you know that Mr Goble, though he has his name on the programme as the manager, has really nothing to do with it. You own the piece, don't you?"

For a moment Mr Pilkington felt an impulse to reveal all, but refrained. He knew his Aunt Olive too well. If she found out that he had parted at a heavy loss with this valuable property, her whole att.i.tude towards him would change,--or, rather, it would revert to her normal att.i.tude, which was not unlike that of a severe nurse to a weak-minded child. Even in his agony there had been a certain faint consolation, due to the entirely unwonted note of respect in the voice with which she had addressed him since the fall of the curtain.

He shrank from forfeiting this respect, unent.i.tled though he was to it.

"Yes," he said in his precise voice. "That, of course, is so."

"Well, then!" said Mrs Peagrim.

"But it seems so unnecessary! And think what it would cost."

This was a false step. Some of the reverence left Mrs Peagrim's voice, and she spoke a little coldly. A gay and gallant spender herself, she had often had occasion to rebuke a tendency to over-parsimony in her nephew.

"We must not be mean, Otie!" she said.

Mr Pilkington keenly resented her choice of p.r.o.nouns. "We" indeed!

Who was going to foot the bill? Both of them, hand in hand, or he alone, the chump, the b.o.o.b, the easy mark who got this sort of thing wished on him!

"I don't think it would be possible to get the stage for a supper-party," he pleaded, shifting his ground. "Goble wouldn't give it to us."