The morning call., 1891-09-13

like it. For the rest of the speech just say
anything that you would say on seeing
person unexpeetedly whom you are glad to
see. Only say the name last, for 1t IS the
"Oh. how much easier but what do lido? ?"
Just hold your place little, left CEN
ter and extend your hand, or do anything
natural. He strides over to you like this.
What cue do ycu get?'
" How different
Yes. The line is something like. 'You
see me again, but alas how different-how
different a LIT of how differents.' Speak
when you think he's got through. What's
your lineY
Mr.. Corderoy -
That's an exclamation. He will prob
ably talk right through it, Meanwhile he
leads you to a bench leff-talking all the
while, and seats You on it-talking all the
while. lie tells you nearly the whole plot
of the play. All YOU have TO do is to look in
terested, or surprised. or horror-struck, or
whatever the lines seem to call for That's
the amount Of most leading parts with
star. What's your cue?"
Beyond help, farewell. Then l say no,
and he says for Australia and | say no,
and he says Alas, never and l say yes,
and 30 on for two pages, Just noes and
'yeses' and cues that mean nothing. l
could not get them into my head and l know
| never can.
Nonsense. You have three noes; then
two 'yeses'; then another mo- and then
another yes Don't bother about cues after
the first one. He says beyond hone, fare
well. That brings your first no. Then just
check off two more noes two yeses, a
no and yes. Speak when you get pause"
oh, Freda' i you had only told me all
lhat last nghtl'
My dear, you knew best last night. At
the last yes you will find him down right J"
Where am I?'
"You stick to the bench right through
your three noes, two yeses, no and yes
On tine 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 his, or words to that effect ending
sacrifice herself You did have a big alb
negatiOn speech there, but it's been cut to
the last word, Here 1t used to get a
round and that wont do. You rise. Be
sure you put your parasOl down"
You know l haven't got a parasol,
Freda."
'-Will you leave clothes alone until we get
the lines? Be sure you put your parasol
down. Reach out your arms and say:
Behold here emotionally, for all you are
worth. He jumps on the speech pretty
quick, but you may get hand anyhow. As
you say il. behold here the pair of you
meet on rush to the G and embrace. Be
sure NOuI uIcSS 10 lieu tIOln ii6 DtiCu ubU
you rise. There is a lot of darling biz and
he has lot of talk over the top of your
head-you mustn't wear high crowned hat
remember. You see it's all easy. Now we
will 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 saying
to fill out about the length Of the speech,
ste dun dun DUN to Tumpta-end of my
rope" Daisy, to her own surprise, pro-
gTessed successfully to the darling bnsi-
ness"
Now" said Freda, "the Nabob - he
plays papa-comes on and says: What do
| seeP
"What does he see?"
you and the miser embracing. Directly
you hear his voice, no matter what he says
the Nabob is always queer on lines though
he is solid on his own cues aud has to get
them or he wont speak-you break away.
You get out Of the way up l. and hover
around your friend, the bench, while Kill
dare talks back TO papa. GU must keep
up the scene of cnurse by looking inter-
ested. Sort OF work it up with sympathy
and anxiety business, up around the set
tree; at the end of q lot of rewOrks for
Kildare he shouts: You are too late. She
is already nine What, marrird?' papa
says. Yes, married. Kildare shouts. Be
sure you walt i9r L. Kildare to answer papas
what, marTiedP You speak on the second
married
mo, | don't"
$50 you don't, but you start forward on
the second married as if to protest. Kill
date lays his finger his lips, and does
keep stilp business. You look ratified a
minute and get in 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.
1t has to be very quick. snip, snap. Kill
dare-She is already mine. PapatWhat.
married? Kildare-Yes, married. You-yes,
married. All on top of each other. You go
into his arms saying yes, married., tri-
umphantly TO papa, and put your head down
on Kidare's chest, so that your hat wont
interfere with his making picture for the
curtain You see it's all easy. just snap
and business"
us she really married ?" said Daisy.
Don't you fret over the plot OF farce
comedy just swallow your business"
'Oh, Freda, is this art?"
If you are going TO bother about art,
give up PLAYING tonight. This is quick
study" said Freda. Now, for your next
scene. The real next scene 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 it's all cut to the scene with the Nab0b.
He is in an arm chair, down r; servant an
nonnces you; Nabob says, Admit her !;
servant exits l. upper, and, when he is well
of, you enter the same place-ball dress and
all that-run down to the NabOb, fall on
your knees and say-what do you say?"
oh, father, do not make me go to this
baHF"
Keep 1t uD. you know, with some extra
Obs aud Rumtahs TO help your entrance.