The evening Argus. [volume] (Rock Island, Ill.) 1861-1871, 1867-04-12
The Story Of an Actress-Preparing for the
stage-First Night.

The Pail Mall Gazette is publishing a Sc
ries Of papers, entitled aGoing on the Stage" |
to be the narrative of an actress
experiences. The writer declares that very
early in hfe she decided to cultivate con-
tempt for Mrs. Grundy,n and, having travell- |
ed in Europe, Asia and Africa, finally found
herself without employment, and determined
to try the stage. Her friends invited her to
consider whether or not she was sin per-
fectly sane state of mind,n secuted the idea
OLA lady" adopting the drama as profession,
and even went so far as to denounce actress
esin general as persons not entitled to consld-
Grafton. Her answer was, that may women
of virtue have become actresses, that the
practice of the dramatic art was delight to
her, and that she saw no reason why she
should not make use of a natural gift and so,
promising to preserve a strict lncognlto, she
began. The aid of a master was obtained,
hard study undertaken, attitudes were prac-
ticed before the glass, and the process OF ed
ucation for an appearance before the foot
lights, wenton for several months, varied by
such experiences as the following:
"There are many kinds of falls, and a judi
cious, graceful fall has often redeemed an
astress from disheartening faint praise. soon
managed faints and such like quiet falls but
there are others of a much more uncomprom-
| Using character-Romeo's fall, for instance,
when, despairing of obtaining Juliet, he dash
es himself on the ground in the monks cell,
| taking the measure of an unmade grave
NV coach suggested that l should practice
| this fall, which did accordingly; and, with
some trouble and good many bruises, sue
| ceeded at last in reaching the floor with the
proper expression of reckless desperation.
One day, when Boosting of my achievement,
| got well laughed at by some friends, who
| had a very faint idea of the difficulty. j
| challenged them to try the fall, and offered
1 to allow them a mattress, in consideration OF
their being amateurs. The offer was accept
ed, and two six foot sc orners failed ignomin
| iously. They fell every way bat the right
| one-on their knees, on their elbows, on
their sides, but never had the courage to
dash themselves headforemost much as a
swimmer does when taking dive"
| The preliminary stages finished, our act
ress prepared for the public stage, and played
| her first part as Rosalind, in 'As You Like
It." The failure of Oliver in the perform
ance produced singular effect, for which
Rosalind was not to blame, but the story OF
| which she tells as follows:
''0n the frs night ofour performance an
event occurred which totally upset my gray
ity; and, indeed, that of the audience, too
The long and rather thankless part of Oliver
was given at a days notice, to young man
who evidently thought himself an nndiscov
cred Kemble. He confded to me in the
morning at rehearsal that the speech at the
end of the fourth act was too long for him to
commit to memory in the time, but, said he
I'll Just paraphrase it, Thescene to which
allude is very well known. Oliver enters
to Rosalind and Celia, and tells, at considera
BILE length, the story of the rescue by hi
brother from the deadly sting of the snak,
and the fausa assault of the sucked and hun
CRY lioness.' He presents Rosalind with thu
bloody napkin sent by Orlando as proof o
the true cause of his failing to keep his ap
pointment with her. divers story is abou
10 lines in the telling. The first few lines he O
course knew very well, and the story ais
was fairly in his memory. He accordingly
proceeded boldly to improvise Shakespeare
and it was with the greatest difficulty tina
Celia or myself could get in a word. When
Lever we interrupted him, he immediatel
gave tragic 'A-a-aye' in assent, and so re
eumed his extempore narrative. The promp
ter did his best, and my coach swore audi
bly, at the wings, but to no good purpose
Oliver had taken the bit between his teeth
and bent upon distinguishing himself
| Only the verse IN which he told the story Wa
so painfully blank When he got to wher
the snake winds itself around thessleepin,
Orlando his brain gave way suddenly, bu
with great presence of mind he fell back OF
his grand resource, 'A-a-a-aye."
Then followed an awful pause which
feared was prophetic of the young mans end
But, gathering up his energies, he resumed
| with knowing look at the audience)
| when the snake saw HIM The audi
enee Uttered, but Oliver acclaimed away unit
| thought it was time he should he .ass'stS.
! 10 n Concfusion. / accordingly selZed Tn
opportunity of his first pause to put in..m
cue, But for the bloody napkin This, how
ever, only gave him fresh start. / repeat
cd it again and again, but Oliver had no,
got feartully involved in his story, and wa
evidently making desperate efforts to bring
to an end / could hold ont no longer, an
leaning on Celias shoulder, laughed till tn
tears ran down my checks, hoping the audi
ence would mistake my convulsive sobs 70
the emotions suitable to the scene. The au
dience, however, were much too discerning
for that. a few more filters were followed b
general roar. This stimulated Oliver int
kind Of frenzy; he recited few more line
with Astounding animation then, catching a
! the last words Of the prompter, conclude
amidst shouts of laughter and ironical az
| plauSa -