Part 35

"That lesson was the beginning and the ending of my theatrical instruction. What I learned later was learned by observation, study, and direct inquiry--but never by instruction, either free or paid for."

And now the moment of stage entry had arrived. "One act of the play represented the back of a stage during a performance. The scenes were turned around with their unpainted sides to the audience. The scene-shifters and gas-men were standing about; everything was supposed to be going up. The manager was giving orders wildly, and then a dancer was late. She was called frantically, and finally, when she appeared on the run, the manager caught her by the shoulders, rushed her across the stage, and fairly pitched her onto the imaginary stage, to the great amusement of the audience. The tallest and prettiest girl in the ballet had been picked out to do this bit of work, and she had been rehearsed day after day with the greatest care for the small part.

"All were gathered together ready for their first entrance and dance, which followed a few moments after the scene already described. The tall girl had a queer look on her face as she stood in her place; her cue came, but she never moved.

"I heard the rushing footsteps of the stage-manager; 'That's you,' he shouted; 'Go on! Go on! Run! Run!' Run? She seemed to have grown fast to the floor....

"'Are you going on?' cried the frantic prompter.

"She dropped her arms limply at her sides and whispered; 'I--I--c-a-n't.'

"He turned, and as he ran his imploring eye over the line of faces, each girl shrank back from it. He reached me. I had no fear, and he saw it.

"'Can you go on there?' he cried. I nodded.

"'Then for God's sake go--go!'

"I gave a bound and a rush that carried me half across the stage before the manager caught me, and so, I made my first entrance on the stage, and danced and marched and sang with the rest, and all unconsciously took my first step on the path that I was to follow through shadow and through sunshine--to follow by steep and stony places, over threatening bogs, through green and pleasant meadows--to follow steadily and faithfully for many and many a year to come."

To the surprise of every one, when salary day came around the new ballet girl did not go to claim her week's pay. Even on the second she was the last one to appear at the box-office window. Mr. Ellsler himself was there, and he opened the door and asked her to come in. As she signed her name, she paused so noticeably that he laughed, and said, "Don't you know your own name?"

The fact was, on the first day of rehearsal, when the stage-manager had taken down all names, he called out to the latest comer, who was staring at the scenery and did not hear him:

"Little girl, what is your name?"

Some one standing near him volunteered: "Her name is Clara Morris, or Morrissey or Morrison, or something like that." At once he had written down Morris--dropping the last syllable from her rightful name. So when Mr. Ellsler asked, "Don't you know your name?" it was the moment to have set the matter straight, but the young person was far too shy. She made no reply, but signed up and received two weeks' salary as Clara Morris, by which name she was known ever afterward.

In her story of life on the stage, she says, "After having gratefully accepted my two weeks' earnings, Mr. Ellsler asked me why I had not come the week before. I told him I preferred to wait because it would seem so much more if I got both weeks' salary all at one time. He nodded gravely, and said, 'It was rather a large sum to have in hand at one time,' and though I was very sensitive to ridicule, I did not suspect him of making fun of me. Then he said:

"'You are a very intelligent little girl, and when you went on alone and unrehearsed the other night, you proved you had both adaptability and courage. I'd like to keep you in the theater. Will you come and be a regular member of the company for the season that begins in September next?'

"I think it must have been my ears that stopped my ever-widening smile, while I made answer that I must ask my mother first.

"'To be sure,' said he, 'to be sure! Well, suppose you ask her then, and let me know whether you can or not.'"

She says, "Looking back and speaking calmly, I must admit that I do not now believe Mr. Ellsler's financial future depended entirely upon the yes or no of my mother and myself; but that I was on an errand of life or death every one must have thought who saw me tearing through the streets on that ninety-in-the-shade day.... One man ran out hatless and coatless and looked anxiously up the street in the direction from which I came. A big boy on the corner yelled after me: 'Sa-ay, sis, where's the fire?' But, you see they did not know that I was carrying home my first real earnings, that I was clutching six damp one-dollar bills in the hands that had been so empty all my life!

"I had meant to take off my hat and smooth my hair, and with a proper little speech approach my mother, and then hand her the money. But alas! as I rushed into the house I came upon her unexpectedly, for, fearing dinner was going to be late, she was hurrying things by shelling a great basket of peas as she sat by the dining-room window. At sight of her tired face all my nicely planned speech disappeared. I flung my arm about her neck, dropped the bills on top of the empty pods and cried:

"'Oh, mother, that's mine and it's all yours!'

"She kissed me, but to my grieved amazement put the money back into my hand and said, 'No, you have earned this money yourself--you are to do with it exactly as you please.'"

And that was why, the next morning, a much-excited and very rich young person took a journey to the stores, and as a result bought a lavender-flowered muslin dress which, when paid for, had made quite a large hole in the six dollars. By her expression and manner she plainly showed how proud and happy she was to be buying a dress for the mother who for thirteen years had been doing and buying for two. "Undoubtedly," says Miss Morris, "had there been a fire just then I would have risked my life to save that flowered muslin gown."

Up to that time, the only world Clara Morris had known had been narrow and sordid, and lay chill under the shadow of poverty.... Now, standing humbly at the knee of Shakespeare, she began to learn something of another world--fairy-like in fascination, marvelous in reality. A world of sunny days and jeweled nights, of splendid palaces, caves, of horrors, forests of mystery, and meadows of smiling candor. All people, too, with such soldiers, statesmen, lovers, clowns, such women of splendid honor, fierce ambition, thistle-down lightness, as makes the heart beat fast to think of.

That was the era of Shakesperian performances, and out of twenty-eight stars who played with the support of Mr. Ellsler's company, eighteen acted in the famous classic plays. All stars played a week's engagement, some two, so at least half of the season of forty-two weeks was given over to Shakespeare's plays, and every actor and actress had his lines at their tongues' tips, while there were endless discussions about the best rendering of famous passages.

"I well remember," says Miss Morris, "my first step into theatrical controversy. 'Macbeth' was being rehearsed, and the star had just exclaimed: 'Hang out our banners on the outward walls!' That was enough--argument was on. It grew animated. Some were for: 'Hang out our banners! On the outward walls the cry is still, they come!' while one or two were with the star's reading.

"I stood listening, and looking on, and fairly sizzling with hot desire to speak, but dared not take the liberty. Presently an actor, noticing my eagerness, laughingly said:

"'Well, what is it, Clara? You'll have a fit if you don't ease your mind with speech.'