Van Bibber and Others Part 1

Van Bibber and Others.

by Richard Harding Davis.

HER FIRST APPEARANCE

It was at the end of the first act of the first night of "The Sultana," and every member of the Lester Comic Opera Company, from Lester himself down to the wardrobe woman's son, who would have had to work if his mother lost her place, was sick with anxiety.

There is perhaps only one other place as feverish as it is behind the scenes on the first night of a comic opera, and that is a newspaper office on the last night of a Presidential campaign, when the returns are being flashed on the canvas outside, and the mob is howling, and the editor-in-chief is expecting to go to the Court of St. James if the election comes his way, and the office-boy is betting his wages that it won't.

Such nights as these try men's souls; but Van Bibber pa.s.sed the stage-door man with as calmly polite a nod as though the piece had been running a hundred nights, and the manager was thinking up souvenirs for the one hundred and fiftieth, and the prima donna had, as usual, began to hint for a new set of costumes. The stage-door keeper hesitated and was lost, and Van Bibber stepped into the unsuppressed excitement of the place with a pleased sniff at the familiar smell of paint and burning gas, and the dusty odor that came from the scene-lofts above.

For a moment he hesitated in the cross-lights and confusion about him, failing to recognize in their new costumes his old acquaintances of the company; but he saw Kripps, the stage-manager, in the centre of the stage, perspiring and in his shirt-sleeves as always, wildly waving an arm to some one in the flies, and beckoning with the other to the gas-man in the front entrance. The stage hands were striking the scene for the first act, and fighting with the set for the second, and dragging out a canvas floor of tessellated marble, and running a throne and a practical pair of steps over it, and aiming the high quaking walls of a palace and abuse at whoever came in their way.

"Now then, Van Bibber," shouted Kripps, with a wild glance of recognition, as the white-and-black figure came towards him, "you know you're the only man in New York who gets behind here to-night. But you can't stay. Lower it, lower it, can't you?" This to the man in the flies. "Any other night goes, but not this night. I can't have it.

I--Where is the backing for the centre entrance? Didn't I tell you men--"

Van Bibber dodged two stage hands who were steering a scene at him, stepped over the carpet as it unrolled, and brushed through a group of anxious, whispering chorus people into the quiet of the star's dressing-room.

The star saw him in the long mirror before which he sat, while his dresser tugged at his boots, and threw up his hands desperately.

"Well," he cried, in mock resignation, "are we in it or are we not?

Are they in their seats still or have they fled?"

"How are you, John?" said Van Bibber to the dresser. Then he dropped into a big arm-chair in the corner, and got up again with a protesting sigh to light his cigar between the wires around the gas-burner. "Oh, it's going very well. I wouldn't have come around if it wasn't. If the rest of it is as good as the first act, you needn't worry."

Van Bibber's unchallenged freedom behind the scenes had been a source of much comment and perplexity to the members of the Lester Comic Opera Company. He had made his first appearance there during one hot night of the long run of the previous summer, and had continued to be an almost nightly visitor for several weeks. At first it was supposed that he was backing the piece, that he was the "Angel," as those weak and wealthy individuals are called who allow themselves to be led into supplying the finances for theatrical experiments. But as he never peered through the curtain-hole to count the house, nor made frequent trips to the front of it to look at the box sheet, but was, on the contrary, just as undisturbed on a rainy night as on those when the "standing room only" sign blocked the front entrance, this supposition was discarded as untenable. Nor did he show the least interest in the prima donna, or in any of the other pretty women of the company; he did not know them, nor did he make any effort to know them, and it was not until they inquired concerning him outside of the theatre that they learned what a figure in the social life of the city he really was. He spent most of his time in Lester's dressing-room smoking, listening to the reminiscences of Lester's dresser when Lester was on the stage; and this seclusion and his clerical attire of evening dress led the second comedian to call him Lester's father confessor, and to suggest that he came to the theatre only to take the star to task for his sins. And in this the second comedian was unknowingly not so very far wrong. Lester, the comedian, and young Van Bibber had known each other at the university, when Lester's voice and gift of mimicry had made him the leader in the college theatricals; and later, when he had gone upon the stage, and had been cut off by his family even after he had become famous, or on account of it, Van Bibber had gone to visit him, and had found him as simple and sincere and boyish as he had been in the days of his Hasty-Pudding successes. And Lester, for his part, had found Van Bibber as likable as did every one else, and welcomed his quiet voice and youthful knowledge of the world as a grateful relief to the boisterous _camaraderie_ of his professional acquaintances. And he allowed Van Bibber to scold him, and to remind him of what he owed to himself, and to touch, even whether it hurt or not, upon his better side. And in time he admitted to finding his friend's occasional comments on stage matters of value as coming from the point of view of those who look on at the game; and even Kripps, the veteran, regarded him with respect after he had told him that he could turn a set of purple costumes black by throwing a red light on them. To the company, after he came to know them, he was gravely polite, and, to those who knew him if they had overheard, amusingly commonplace in his conversation. He understood them better than they did themselves, and made no mistakes. The women smiled on him, but the men were suspicious and shy of him until they saw that he was quite as shy of the women; and then they made him a confidant, and told him all their woes and troubles, and exhibited all their little jealousies and ambitions, in the innocent hope that he would repeat what they said to Lester. They were simple, unconventional, light-hearted folk, and Van Bibber found them vastly more entertaining and preferable to the silence of the deserted club, where the matting was down, and from whence the regular _habitues_ had departed to the other side or to Newport. He liked the swing of the light, bright music as it came to him through the open door of the dressing-room, and the glimpse he got of the chorus people crowding and pushing for a quick charge up the iron stairway, and the feverish smell of oxygen in the air, and the picturesque disorder of Lester's wardrobe, and the wigs and swords, and the mysterious articles of make-up, all mixed together on a tray with half-finished cigars and autograph books and newspaper "notices."

And he often wished he was clever enough to be an artist with the talent to paint the unconsciously graceful groups in the sharply divided light and shadow of the wings as he saw them. The brilliantly colored, fantastically clothed girls leaning against the bare brick wall of the theatre, or whispering together in circles, with their arms close about one another, or reading apart and solitary, or working at some piece of fancy-work as soberly as though they were in a rocking-chair in their own flat, and not leaning against a scene brace, with the glare of the stage and the applause of the house just behind them. He liked to watch them coquetting with the big fireman detailed from the precinct engine-house, and clinging desperately to the curtain wire, or with one of the chorus men on the stairs, or teasing the phlegmatic scene-shifters as they tried to catch a minute's sleep on a pile of canvas. He even forgave the prima donna's smiling at him from the stage, as he stood watching her from the wings, and smiled back at her with polite cynicism, as though he did not know and she did not know that her smiles were not for him, but to disturb some more interested one in the front row. And so, in time, the company became so well accustomed to him that he moved in and about as unnoticed as the stage-manager himself, who prowled around hissing "hush" on principle, even though he was the only person who could fairly be said to be making a noise.

The second act was on, and Lester came off the stage and ran to the dressing-room and beckoned violently. "Come here," he said; "you ought to see this; the children are doing their turn. You want to hear them.

They're great!"

Van Bibber put his cigar into a tumbler and stepped out into the wings. They were crowded on both sides of the stage with the members of the company; the girls were tiptoeing, with their hands on the shoulders of the men, and making futile little leaps into the air to get a better view, and others were resting on one knee that those behind might see over their shoulders. There were over a dozen children before the footlights, with the prima donna in the centre.

She was singing the verses of a song, and they were following her movements, and joining in the chorus with high piping voices. They seemed entirely too much at home and too self-conscious to please Van Bibber; but there was one exception. The one exception was the smallest of them, a very, very little girl, with long auburn hair and black eyes; such a very little girl that every one in the house looked at her first, and then looked at no one else. She was apparently as unconcerned to all about her, excepting the pretty prima donna, as though she were by a piano at home practising a singing lesson. She seemed to think it was some new sort of a game. When the prima donna raised her arms, the child raised hers; when the prima donna courtesied, she stumbled into one, and straightened herself just in time to get the curls out of her eyes, and to see that the prima donna was laughing at her, and to smile cheerfully back, as if to say, "_We_ are doing our best anyway, aren't we?" She had big, gentle eyes and two wonderful dimples, and in the excitement of the dancing and the singing her eyes laughed and flashed, and the dimples deepened and disappeared and reappeared again. She was as happy and innocent looking as though it were nine in the morning and she were playing school at a kindergarten. From all over the house the women were murmuring their delight, and the men were laughing and pulling their mustaches and nudging each other to "look at the littlest one."

The girls in the wings were rapturous in their enthusiasm, and were calling her absurdly extravagant t.i.tles of endearment, and making so much noise that Kripps stopped grinning at her from the entrance, and looked back over his shoulder as he looked when he threatened fines and calls for early rehearsal. And when she had finished finally, and the prima donna and the children ran off together, there was a roar from the house that went to Lester's head like wine, and seemed to leap clear across the footlights and drag the children back again.

"That settles it!" cried Lester, in a suppressed roar of triumph. "I knew that child would catch them."

There were four encores, and then the children and Elise Broughten, the pretty prima donna, came off jubilant and happy, with the Littlest Girl's arms full of flowers, which the management had with kindly forethought prepared for the prima donna, but which that delightful young person and the delighted leader of the orchestra had pa.s.sed over to the little girl.

"Well," gasped Miss Broughten, as she came up to Van Bibber laughing, and with one hand on her side and breathing very quickly, "will you kindly tell me who is the leading woman now? Am I the prima donna, or am I not? I wasn't in it, was I?"

"You were not," said Van Bibber.

He turned from the pretty prima donna and hunted up the wardrobe woman, and told her he wanted to meet the Littlest Girl. And the wardrobe woman, who was fluttering wildly about, and as delighted as though they were all her own children, told him to come into the property-room, where the children were, and which had been changed into a dressing-room that they might be by themselves. The six little girls were in six different states of dishabille, but they were too little to mind that, and Van Bibber was too polite to observe it.

"This is the little girl, sir," said the wardrobe woman, excitedly, proud at being the means of bringing together two such prominent people. "Her name is Madeline. Speak to the gentleman, Madeline; he wants to tell you what a great big hit youse made."

The little girl was seated on one of the cushions of a double throne so high from the ground that the young woman who was pulling off the child's silk stockings and putting woollen ones on in their place did so without stooping. The young woman looked at Van Bibber and nodded somewhat doubtfully and ungraciously, and Van Bibber turned to the little girl in preference. The young woman's face was one of a type that was too familiar to be pleasant.

He took the Littlest Girl's small hand in his and shook it solemnly, and said, "I am very glad to know you. Can I sit up here beside you, or do you rule alone?"

"Yes, ma'am--yes, sir," answered the little girl.

Van Bibber put his hands on the arms of the throne and vaulted up beside the girl, and pulled out the flower in his b.u.t.ton-hole and gave it to her.

"Now," prompted the wardrobe woman, "what do you say to the gentleman?"

"Thank you, sir," stammered the little girl.

"She is not much used to gentlemen's society," explained the woman who was pulling on the stockings.

"I see," said Van Bibber. He did not know exactly what to say next.

And yet he wanted to talk to the child very much, so much more than he generally wanted to talk to most young women, who showed no hesitation in talking to him. With them he had no difficulty whatsoever. There was a doll lying on the top of a chest near them, and he picked this up and surveyed it critically. "Is this your doll?" he asked.

"No," said Madeline, pointing to one of the children, who was much taller than herself; "it's 'at 'ittle durl's. My doll he's dead."

"Dear me!" said Van Bibber. He made a mental note to get a live one in the morning, and then he said: "That's very sad. But dead dolls do come to life."

The little girl looked up at him, and surveyed him intently and critically, and then smiled, with the dimples showing, as much as to say that she understood him and approved of him entirely. Van Bibber answered this sign language by taking Madeline's hand in his and asking her how she liked being a great actress, and how soon she would begin to storm because _that_ photographer hadn't sent the proofs. The young woman understood this, and deigned to smile at it, but Madeline yawned a very polite and sleepy yawn, and closed her eyes. Van Bibber moved up closer, and she leaned over until her bare shoulder touched his arm, and while the woman b.u.t.toned on her absurdly small shoes, she let her curly head fall on his elbow and rest there. Any number of people had shown confidence in Van Bibber--not in that form exactly, but in the same spirit--and though he was used to being trusted, he felt a sharp thrill of pleasure at the touch of the child's head on his arm, and in the warm clasp of her fingers around his. And he was conscious of a keen sense of pity and sorrow for her rising in him, which he crushed by thinking that it was entirely wasted, and that the child was probably perfectly and ignorantly happy.

"Look at that, now," said the wardrobe woman, catching sight of the child's closed eyelids; "just look at the rest of the little dears, all that excited they can't stand still to get their hats on, and she just as unconcerned as you please, and after making the hit of the piece, too."

"She's not used to it, you see," said the young woman, knowingly; "she don't know what it means. It's just that much play to her."

This last was said with a questioning glance at Van Bibber, in whom she still feared to find the disguised agent of a Children's Aid Society. Van Bibber only nodded in reply, and did not answer her, because he found he could not very well, for he was looking a long way ahead at what the future was to bring to the confiding little being at his side, and of the evil knowledge and temptations that would mar the beauty of her quaintly sweet face, and its strange mark of gentleness and refinement. Outside he could bear his friend Lester shouting the refrain of his new topical song, and the laughter and the hand-clapping came in through the wings and open door, broken but tumultuous.

"Does she come of professional people?" Van Bibber asked, dropping into the vernacular. He spoke softly, not so much that he might not disturb the child, but that she might not understand what he said.

"Yes," the woman answered, shortly, and bent her head to smooth out the child's stage dress across her knees.

Van Bibber touched the little girl's head with his hand and found that she was asleep, and so let his hand rest there, with the curls between his fingers. "Are--are you her mother?" he asked, with a slight inclination of his head. He felt quite confident she was not; at least, he hoped not.

The woman shook her head. "No," she said.

"Who is her mother?"

The woman looked at the sleeping child and then up at him almost defiantly. "Ida Clare was her mother," she said.

Van Bibber's protecting hand left the child as suddenly as though something had burned it, and he drew back so quickly that her head slipped from his arm, and she awoke and raised her eyes and looked up at him questioningly. He looked back at her with a glance of the strangest concern and of the deepest pity. Then he stooped and drew her towards him very tenderly, put her head back in the corner of his arm, and watched her in silence while she smiled drowsily and went to sleep again.

"And who takes care of her now?" he asked.

The woman straightened herself and seemed relieved. She saw that the stranger had recognized the child's pedigree and knew her story, and that he was not going to comment on it. "I do," she said. "After the divorce Ida came to me," she said, speaking more freely. "I used to be in her company when she was doing 'Aladdin,' and then when I left the stage and started to keep an actors' boarding-house, she came to me.

She lived on with us a year, until she died, and she made me the guardian of the child. I train children for the stage, you know, me and my sister, Ada Dyer; you've heard of her, I guess. The courts pay us for her keep, but it isn't much, and I'm expecting to get what I spent on her from what she makes on the stage. Two of them other children are my pupils; but they can't touch Madie. She is a better dancer an' singer than any of them. If it hadn't been for the Society keeping her back, she would have been on the stage two years ago.

She's great, she is. She'll be just as good as her mother was."