Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1891-09-13
''Docs all that happen before L speak at

modern pieces are. What's your hne?''
"Caa it he-no-ves-I am not mistaken.
Ah-it IS Mr.. CorGeroy, read Daisy, adding
with tears: That's such hard speech.
worked over and over and over it, and you
see don't know it at all. AL those dread
full little words"
Nonsense Just remember the name Mr..
Corderov The last under study who played
sad Mr.. Pants, and Kildare didn't like it.
For the rest of the speech, just say anything
that YOU would say On seeing a person un-
expectcdlv whom you are glad TO see. Only
say the name last for it's the cue.'
''Oh, how much easier, but what do I do?''
"Just hold your place a little left
center and extend your hand, or do any,
thing natural He strides over to you like
this. What cue do you get?
"How different"
'sYes-the line is something lik. you see
me again, but alas! how diferent-how diff
ferenJ-a lot of how diferents.' Speak
when YOU think he's got through. What's
your line?''
''Mr Corderoyr'
That's an exclamation. He will proba-
blv talk right through it. Meanwhile he
lesds YOU TO a bench 'left'-talking all the
while, and seats YOU on it-talking all the
while. He tells YOU nearly the whole plot
of the pIay. All YOU have to do is to look
whatever the lines seem to call for. That s
the amount of most leading parts with a
star. What's your cue?"
''Bevond help-farewell. Then L say
mo and he says for Australia, and / say
no and he saws 'alas-never, and 1 say
YES and SO on for two pages-just nos
ana 'ves's' and cues that mean nothing. 1
could net get them into my head and 1
know 1 never can
Nonsense. You have three nos, then
two yes's, .hen another no, and then an
other yes Don't bother about cues after
the first one. He says beyond hope-fare-
we'll That brings your first no. Then
lust check off two more nos, two tyes's' a
mo and yes Speak when you get
pause"
''Oh, Freda, if you had only told me all
that last nightr'
NV dear, you knew best last night. At
the last yes you will find him down
right. "
"Where am I?''
''You stick TO the bench right through
your three nos, two yes's no and yes.
On the last yes he is down R. What's the
cue?
Sacrifice herself"
"He wants TO know if he can be expected
TO be lucky enough TO find a woman big fool
enough TO love him and cast her fortune
with mis-, or words to that effect, ending
sacrifice herself You did have big ab-
negation speech there. but it's been cut to
the last word, Here 1t used to get
round and that won't do. You rise. Be
sure you put your parasol down"
"You know L haven't got a parasol,
Freda"
''WiH you leave clothes alone till We get
the lines? Be sure you put your parasol
down. Reach out your arms and say: Be
hold. here emotionally, for all you are
worth He jumps on the speech pretty
quick, but you may get a hand anyhow. AS
you say it, behold, herep the pair of you
meet on rush to the and embrace. Be
sure your dress is free from the bench when
YOU rise. There is lot of darling biz and
he has lot of talk over the top of your
head-you must not wear a high crowned
nat, remember. Nou see it's all easy. Now
we viii do that much. Give me the book"
.'Oh, Freda, don't know the lines"
Lines? You haven't any lines. It's all
business Go ahead" Freda began, say
ing, TO Ell out about the length of the
speech ste dunn dunn dun te rumpta-end
OF nv rope" Daisy, to her own surprise,
progressed successfully to tie darling bust
ness
''Now," +" said Freda, ''the Nabob-he plays
papa-comes on and says: What do l see?'"
'What does he see?"
''You and the Miser embracing. Directly
you hear his vo.ce, no matter what he says
the Nahob is always queer OH lines though
he is solid on his own cues and has to get
them or ne won't speak-you two break
away. You get out of the way up L, and
hover around your friend, the bench, while
Kildare talks back TO papa You must keep
up the scene, of course, by looking inter-
ested Sort of work it up with sympathy
and anxiety business, up around the set tree;
al the end of a lot of fireworks for Kildare
he shouts: You are too late. She is already
mine What, married? papa says. Yes,
married, Kildare shouts. Be sure you wait
for kildare to answer papa's What, mar
ried?' You speak on the second married. 30
NO, L don't
$50 you don't; but you start forward on
the second married, as if to protest. Kill
dare lays his fingers on his lips, and does
keep still business. You look ratified
minute and get in a Heavens, what does
this mean, act, but very quickly. Then, as
if you suddenly understand and agree, you
rush into his arms and cry, Yes, married"
II has to be very quick, snip, snap. Kildare,
She is already mine Papa, What, mar
ried.' Kildare, Yes, married.; you, Yes,
married. all on top of each other. You go
into his arms saying, yes married, trium
phantly to papa, and put your head down
on Hildare's chest, so your hat won't inter
fere with his making picture for the cur
tain. You see it's all easy. Just snap and
business.
Us she really married." said Daisy.
Don't you fret ov ~ the plot of a farce
comedy, lust swallow your business"
"Oh, Freda, is this art?"
"If YOU are going TO bothec about art,
give up playing tonight. This is quick
study said Freda. ''Now, for your next
scene. The real next seen. was pretty
French, so it was cut out; funny though.
You aren't married, you know, and papa
thinks you are and he makes the best of it.
But its all cut to the scene with the Nabob
He is in an arm chair, down r; servan; an
nounces You; Nabob saws, Admit her; SER
want exits L upper, and, when he is well
OF, you enter the same place-ball dress
and ali that-rur down to the nabob, fall on
your knees and say-what do you say?"
" oh father do not make me go to this
ballr"
Keep it up, you know, with some extra
Obs and Rumtahs to help YOUR entrance.
He tells you a lot of fairy story about the
Count, who has sought your hand, and
-"
"Where is my other husband?"
"Tne Miser?" That all comes out in a
couple of scenes when YOU aren't on You
and the miser, driven to desperation by the
embarrassments of the scene, L told you of
which was cut, manage to get marriage on
the quiet. Meanwhile, papa finds out you
weren't married when he thought you were,
and has the miser abducted, not knowing
you really are married. You don't tell him
hecause-- for some reason or other; and
the nabob wants you to marry the count.
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