The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1897-06-11

Shakespeare will be good enough for
you next season. Now that would be
taking the bread out of our mouths!"
The actress laughed easily. II don't
think you would starvs," she returned;
land 1 might, maybe-if took to the
legitimate Not that it would be my
first attempt either, for 1 played Ariel
in the Tempest when I was a mere
child And it wasn't easy, l can tell
you. Ariers a real hard part, 1 think
there's a certain swing to the words,
too, and you can't make up "a line of
your own If you get stuck, as 1 could
in this piece of yours"
mo" Bracket confessed solemnly,
"the dialogue of Touch and Go is not
as rhythmic as the dialogue of the
Tempest"
"And I've played Francois in Richie
lieu, too,'' continued Miss Fostelle.
But don't think I really like any of
| those Shakespearean parts"
mo-" Brackett confessed again, with
| fearless gravity, Francois is not one
| of Shakespeare's best parts. 1t wasn't
| worthy of you, no matter how mex
perienced you were. But Rosalind,
now, as Carpenter suggests, and Be
| atrice-"
Carpenter here guessed from Dres-
ser's spasmodic manner that the actor
| was about to intervene in the conver-
sation, and, not knowing what might
he the result the younger of the dram
atists dropped out of the group and
managed to draw Dresser away with
him. r.
After they had exchanged a few
| CN,, a.,XA
torium to discover where Mary Marvin
might be. He saw that she was by the
! side of her mother, and that Mrs.
Lorraine and Sherrington were still en-
gagged in an earnest conversation. He
made movement as If to leave Dress
er, whereupon the comedian begged
| him for moments interview.
ITS about that speech Of mine in the
third act that / want to make a sug-
gestion," said the actor. IT'S very
good speech, too, and think can get
] three laughs out of it, easy. You know
the speech, I mean the one about the
three old maids: There were three old
maids in our town, one was plain as a
pike-staff, and the other was as homely
as a hedge fence, and the third was
as ugly as sin; and whenever they all
three walked out together every clock
in that place stopped. Their parents
had christened them Faith and Hope
and Charity; but the boys always call
ed them Battle and Murder and Sud
den Death Now, don't you think 1t
would help to bring out the point more
if the orchestra was to play Grand
fathers Clock very gently Just as
say that every clock in the place stap-
4 -, IL
my own ideal"
The dramatist said nothing for a sec
ond or two, and then told the actor to
consult the stage manager, who was
just returning. to begin the rehearsal
of the third act.
The new scene had been set swiftly
and the furniture was already in place.
The first of the actors to enter was the
cadaverous and irritable Stark. He be-
gan glibly enough, but soon hesitated
for word and then broke out impa-
tiently, regardless of the presence OF
the two authors: "Oh, can't get that
line into my head! And l don't know
what it means, either! How can you
expect man to speak such rubbish?"
AS before, nobody paid any attention
to this petulance, and the actor went
on with his part without further COM
ment.
Dresser then entered and the two
men proceeded to misunderstood each
other in the most elaborate fashion
The character which Stark represented
had reason to believe that the charac-
ter that Dresser represented was tbs
uncle of the charcter that Daisy Fos.
telle represented and was also sol
der. In like manner Dresser had rea.
son to believe that Stark was the lady's
uncle and also sailor. They address
ed each other therefore, in sailor tall
and In soldiers talk; and the fun wax
, ed fast and furious. At the height o
the misunderstanding Daisy Fostell,
J entered Unexpectedly and found her
, self instantly immersed In the humor
! Gus complication. with no possibility O
plausible explanation.
, Once the stage manager reminded
Dresser that he had omitted a phrase
You left out: 'Confound 1t. mani
he said.
) 'I know IT," the actor explained, "bu
II wanted to save 1t to use in my mex