Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1899-04-02

cupied by lot Of cowboys their pis-
| tolls and knives sticking out of their
| belts-a walking arsenal in fact. At
that time I was singing a song called
Come Up Here and Play'-Not the An
ma Held song, but ali old, old song-a
|. hild's song, in fact-the chorus OF
which is:
! 'Oh, won't you come up here and play?
! Won't you come UP here and play?
We won't go to school,
And our mammals we'n fool,
If you'll only come up here and play
MY habit had been, if l found the
house friendly, to pick out some one in
the front row and beckon him to come
up and play. Usually the audience en-
! tered into the spirit of it, and the dis
comfture OF the person thus boldly
| addressed was then huge joke. But
! on the night in question | had reckoned
without my host, and the joke was
turned on me. l beckoned to big
! six foot three inch cowboy, and at the
conclusion of the second verse he
shouted:
I'm comm, sis!' and up he came.
"He lowered above me to an enor-
nous height Q'm only little thing,
you know, and to an orchestra ac-
compartment he whirled me around
like a teetotum. Then, letting go Of
me, he whipped cut a revolver almost
as big as he was and fired six times in
the air. That was too much for me,
| and | toppled over in faint.
The next morning [ found little
box waiting for me at the theatre. On
it was scrubbed, To the Girl Who
Sings Come Up Here and Play, and
what do you think was in it? The
daintiest, prettiest pearl handled re-
volver l ever saw in my life. On a
card beside it was written this wish,
| I hope you'll shoot right among the
stars some day. and since then I've
been trying to shoot, but I'm not a star
! yet"
Mr. Edmund Collier. who is playing
Porthos in 1.-THE Musketeers," tells
| good story of one of his experiences
while travelling in the south with
company when business was light. Mr..
Collier prefaces his story by declining
any proprietary right in the company,
and he says he was not the man with
the make up.
The company arrived in the metropo-
lis Of Broken Bow. The house at night
was wretched. When the manager
counted up, he found he was three fares
short to the next town, the agent hav-
ing telegraphed that business would be
big there. To get people to come to the
show that night passes had been dis
tributed with great generosity, espe-
cially TO the railroad people.
After the play the manager met the
passenger agent and told him of his
dilemma and asked him if he could help
him out The. agent said he thought
he could fix him up and wanted to know
if there was anybody in his company
who looked like a Catholic priest, so he
could arrange for pass for two. He
also had a pass that had been returned
by Father -. But the man who i'm
personated him must sit in the car
apart from the others and speak to no
one.
The manager arranged with one of
his actors to play this part en- route.
When the conductor came through for
i the tickets, the actor gave his pass with
a serene and rigid countenance, while
| the conductor eyed him suspiciously.
After several stops the actor, forgetting
| himself, got into a heated dispute with
one of the company who sat behind
him. The conductor happening along
at that time. asked him if he was not
a member of the troupe
Taken by surprise. the poor fellow
hesitated and then stammered, "Yes."
What do you do?" the conductor de-
I'm the chaplain" the actor replied.
manded.
eve were playing A Fair Rebel at
the Girard Avenue theatre, Philadel-
phia,' says Harry Davenport, and
Alice Gale was cast for the part of
Sally Woods, a North Carolina girl
whose rasping voice was characters
tic of the baekwoods girl in that Sec
ton during the war days. Now. Miss