Main Street Part 44

There was also a humorous office-boy.

Carol discerned that both Juanita Haydock and Ella s...o...b..dy wanted the lead. She let Juanita have it. Juanita kissed her and in the exuberant manner of a new star presented to the executive committee her theory, "What we want in a play is humor and pep. There's where American playwrights put it all over these darn old European glooms."

As selected by Carol and confirmed by the committee, the persons of the play were:

John Grimm, a millionaire . . . . Guy Pollock His wife. . . . . . . . . Miss Vida Sherwin His son . . . . . . . . . Dr. Harvey Dillon His business rival. . . . . . . Raymond T. Wutherspoon Friend of Mrs. Grimm . . . . . . Miss Ella s...o...b..dy The girl from Kankakee . . . . . Mrs. Harold C. Haydock Her brother. . . . . . . . Dr. Terence Gould Her mother . . . . . . . . Mrs. David Dyer Stenographer . . . . . . . . Miss Rita Simons Office-boy . . . . . . . . Miss Myrtle Ca.s.s Maid in the Grimms' home . . . . Mrs. W. P. Kennicott Direction of Mrs. Kennicott

Among the minor lamentations was Maud Dyer's "Well of course I suppose I look old enough to be Juanita's mother, even if Juanita is eight months older than I am, but I don't know as I care to have everybody noticing it and----"

Carol pleaded, "Oh, my DEAR! You two look exactly the same age. I chose you because you have such a darling complexion, and you know with powder and a white wig, anybody looks twice her age, and I want the mother to be sweet, no matter who else is."

Ella s...o...b..dy, the professional, perceiving that it was because of a conspiracy of jealousy that she had been given a small part, alternated between lofty amus.e.m.e.nt and Christian patience.

Carol hinted that the play would be improved by cutting, but as every actor except Vida and Guy and herself wailed at the loss of a single line, she was defeated. She told herself that, after all, a great deal could be done with direction and settings.

Sam Clark had boastfully written about the dramatic a.s.sociation to his schoolmate, Percy Bresnahan, president of the Velvet Motor Company of Boston. Bresnahan sent a check for a hundred dollars; Sam added twenty-five and brought the fund to Carol, fondly crying, "There!

That'll give you a start for putting the thing across swell!"

She rented the second floor of the city hall for two months. All through the spring the a.s.sociation thrilled to its own talent in that dismal room. They cleared out the bunting, ballot-boxes, handbills, legless chairs. They attacked the stage. It was a simple-minded stage. It was raised above the floor, and it did have a movable curtain, painted with the advertis.e.m.e.nt of a druggist dead these ten years, but otherwise it might not have been recognized as a stage. There were two dressing-rooms, one for men, one for women, on either side. The dressing-room doors were also the stage-entrances, opening from the house, and many a citizen of Gopher Prairie had for his first glimpse of romance the bare shoulders of the leading woman.

There were three sets of scenery: a woodland, a Poor Interior, and a Rich Interior, the last also useful for railway stations, offices, and as a background for the Swedish Quartette from Chicago. There were three gradations of lighting: full on, half on, and entirely off.

This was the only theater in Gopher Prairie. It was known as the "op'ra house." Once, strolling companies had used it for performances of "The Two Orphans," and "Nellie the Beautiful Cloak Model," and "Oth.e.l.lo" with specialties between acts, but now the motion-pictures had ousted the gipsy drama.

Carol intended to be furiously modern in constructing the office-set, the drawing-room for Mr. Grimm, and the Humble Home near Kankakee.

It was the first time that any one in Gopher Prairie had been so revolutionary as to use enclosed scenes with continuous side-walls. The rooms in the op'ra house sets had separate wing-pieces for sides, which simplified dramaturgy, as the villain could always get out of the hero's way by walking out through the wall.

The inhabitants of the Humble Home were supposed to be amiable and intelligent. Carol planned for them a simple set with warm color. She could see the beginning of the play: all dark save the high settles and the solid wooden table between them, which were to be illuminated by a ray from offstage. The high light was a polished copper pot filled with primroses. Less clearly she sketched the Grimm drawing-room as a series of cool high white arches.

As to how she was to produce these effects she had no notion.

She discovered that, despite the enthusiastic young writers, the drama was not half so native and close to the soil as motor cars and telephones. She discovered that simple arts require sophisticated training. She discovered that to produce one perfect stage-picture would be as difficult as to turn all of Gopher Prairie into a Georgian garden.

She read all she could find regarding staging, she bought paint and light wood; she borrowed furniture and drapes unscrupulously; she made Kennicott turn carpenter. She collided with the problem of lighting.

Against the protest of Kennicott and Vida she mortgaged the a.s.sociation by sending to Minneapolis for a baby spotlight, a strip light, a dimming device, and blue and amber bulbs; and with the gloating rapture of a born painter first turned loose among colors, she spent absorbed evenings in grouping, dimming-painting with lights.

Only Kennicott, Guy, and Vida helped her. They speculated as to how flats could be lashed together to form a wall; they hung crocus-yellow curtains at the windows; they blacked the sheet-iron stove; they put on ap.r.o.ns and swept. The rest of the a.s.sociation dropped into the theater every evening, and were literary and superior. They had borrowed Carol's manuals of play-production and had become extremely stagey in vocabulary.

Juanita Haydock, Rita Simons, and Raymie Wutherspoon sat on a sawhorse, watching Carol try to get the right position for a picture on the wall in the first scene.

"I don't want to hand myself anything but I believe I'll give a swell performance in this first act," confided Juanita. "I wish Carol wasn't so bossy though. She doesn't understand clothes. I want to wear, oh, a dandy dress I have--all scarlet--and I said to her, 'When I enter wouldn't it knock their eyes out if I just stood there at the door in this straight scarlet thing?' But she wouldn't let me."

Young Rita agreed, "She's so much taken up with her old details and carpentering and everything that she can't see the picture as a whole.

Now I thought it would be lovely if we had an office-scene like the one in 'Little, But Oh My!' Because I SAW that, in Duluth. But she simply wouldn't listen at all."

Juanita sighed, "I wanted to give one speech like Ethel Barrymore would, if she was in a play like this. (Harry and I heard her one time in Minneapolis--we had dandy seats, in the orchestra--I just know I could imitate her.) Carol didn't pay any attention to my suggestion. I don't want to criticize but I guess Ethel knows more about acting than Carol does!"

"Say, do you think Carol has the right dope about using a strip light behind the fireplace in the second act? I told her I thought we ought to use a bunch," offered Raymie. "And I suggested it would be lovely if we used a cyclorama outside the window in the first act, and what do you think she said? 'Yes, and it would be lovely to have Eleanora Duse play the lead,' she said, 'and aside from the fact that it's evening in the first act, you're a great technician,' she said. I must say I think she was pretty sarcastic. I've been reading up, and I know I could build a cyclorama, if she didn't want to run everything."

"Yes, and another thing, I think the entrance in the first act ought to be L. U. E., not L. 3 E.," from Juanita.

"And why does she just use plain white tormenters?"

"What's a tormenter?" blurted Rita Simons.

The savants stared at her ignorance.

III

Carol did not resent their criticisms, she didn't very much resent their sudden knowledge, so long as they let her make pictures. It was at rehearsals that the quarrrels broke. No one understood that rehearsals were as real engagements as bridge-games or sociables at the Episcopal Church. They gaily came in half an hour late, or they vociferously came in ten minutes early, and they were so hurt that they whispered about resigning when Carol protested. They telephoned, "I don't think I'd better come out; afraid the dampness might start my toothache," or "Guess can't make it tonight; Dave wants me to sit in on a poker game."

When, after a month of labor, as many as nine-elevenths of the cast were often present at a rehearsal; when most of them had learned their parts and some of them spoke like human beings, Carol had a new shock in the realization that Guy Pollock and herself were very bad actors, and that Raymie Wutherspoon was a surprisingly good one. For all her visions she could not control her voice, and she was bored by the fiftieth repet.i.tion of her few lines as maid. Guy pulled his soft mustache, looked self-conscious, and turned Mr. Grimm into a limp dummy. But Raymie, as the villain, had no repressions. The tilt of his head was full of character; his drawl was admirably vicious.

There was an evening when Carol hoped she was going to make a play; a rehearsal during which Guy stopped looking abashed.

From that evening the play declined.

They were weary. "We know our parts well enough now; what's the use of getting sick of them?" they complained. They began to skylark; to play with the sacred lights; to giggle when Carol was trying to make the sentimental Myrtle Ca.s.s into a humorous office-boy; to act everything but "The Girl from Kankakee." After loafing through his proper part Dr. Terry Gould had great applause for his burlesque of "Hamlet." Even Raymie lost his simple faith, and tried to show that he could do a vaudeville shuffle.

Carol turned on the company. "See here, I want this nonsense to stop.

We've simply got to get down to work."

Juanita Haydock led the mutiny: "Look here, Carol, don't be so bossy.

After all, we're doing this play princ.i.p.ally for the fun of it, and if we have fun out of a lot of monkey-s.h.i.+nes, why then----"

"Ye-es," feebly.

"You said one time that folks in G. P. didn't get enough fun out of life. And now we are having a circus, you want us to stop!"

Carol answered slowly: "I wonder if I can explain what I mean? It's the difference between looking at the comic page and looking at Manet. I want fun out of this, of course. Only----I don't think it would be less fun, but more, to produce as perfect a play as we can." She was curiously exalted; her voice was strained; she stared not at the company but at the grotesques scrawled on the backs of wing-pieces by forgotten stage-hands. "I wonder if you can understand the 'fun' of making a beautiful thing, the pride and satisfaction of it, and the holiness!"

The company glanced doubtfully at one another. In Gopher Prairie it is not good form to be holy except at a church, between ten-thirty and twelve on Sunday.

"But if we want to do it, we've got to work; we must have self-discipline."

They were at once amused and embarra.s.sed. They did not want to affront this mad woman. They backed off and tried to rehea.r.s.e. Carol did not hear Juanita, in front, protesting to Maud Dyer, "If she calls it fun and holiness to sweat over her darned old play--well, I don't!"

IV

Carol attended the only professional play which came to Gopher Prairie that spring. It was a "tent show, presenting snappy new dramas under canvas." The hard-working actors doubled in bra.s.s, and took tickets; and between acts sang about the moon in June, and sold Dr. Wintergreen's Surefire Tonic for Ills of the Heart, Lungs, Kidneys, and Bowels. They presented "Sunbonnet Nell: A Dramatic Comedy of the Ozarks," with J.

Witherbee Boothby wringing the soul by his resonant "Yuh ain't done right by mah little gal, Mr. City Man, but yer a-goin' to find that back in these-yere hills there's honest folks and good shots!"

The audience, on planks beneath the patched tent, admired Mr. Boothby's beard and long rifle; stamped their feet in the dust at the spectacle of his heroism; shouted when the comedian aped the City Lady's use of a lorgnon by looking through a doughnut stuck on a fork; wept visibly over Mr. Boothby's Little Gal Nell, who was also Mr. Boothby's legal wife Pearl, and when the curtain went down, listened respectfully to Mr.

Boothby's lecture on Dr. Wintergreen's Tonic as a cure for tape-worms, which he ill.u.s.trated by horrible pallid objects curled in bottles of yellowing alcohol.