The Topeka state journal., 1899-12-15
BEHIND THE SCENES
WITH PRETTY ACTRESSES.
Trying Moments in Stage Life, and the Way IN
Which the Popular Stars Have
Dealt With Them.

smiling and beaming Eames by the
hand. Behind Madame Eames came
CalVe. But she was not smiling. She
was darting furiOusly cOntemptuoua
glances at Madame Eames. In the
middle of the stage, the three paused
and bowed and Madame Eames held
out her hand to Calve. The latter made
a motion as if to slap it, then wheeled
around and publicly snubbed the adOr-
ed American pTima donna. It was an
awful moment. Both ladies explained
it through the press next day.
Clara Morris at the height of her
fame was considered the freakiest art
ist behind the footlights. She always
uld the unexpected kept AUDIENCES
waiting and was the worry of her sup
port. Still the public was forced to
admire her marvellous work, while be-
moaning her eccentricitieS. When
playing Article Az she was in a high
" nervous condition; and being in
poor health, she took medicine on the
sta sc. warmed her hands before the fire,
shiVered, and SSas quite a woman. This
was very effeCtiSs with the audience
but very unpleasant for her leading
man, who never knew where to find
her. She would mar his best points by
slipping away from the front of the
stage to take a spoonful of something
out of a Goblet at the rear Young Sal
yini tried to make an arrangement with
her in Article Az by which he would
always know where to look for her, but
she could not live up to it. One of his
most effective lines was addressed to
can forgive"
He would reach out his arm and
would hiss at this woman" only to
find that this woman" was away at
the back Of the stage, maybe lying
down for a moment upon the sofa to
rest. 1t was hard the support but
the public enjoyed the momentary plight
of the actor
A DRESS DESTROYER.
Fanny Davenport was at one time ter
insist upon stepping on her train. Every
time she had an effective rush across the
stage to escape the villain she would find
her skirt stepped upon and herself held
fast by the abundant feet of this actor.
flee ana in escaping from the house they
ran across the back of the stage directly
behind some people who are on the look
out for them. 1t was a chance for a good
point But night after night as Miss
Davenport, her cloak around her
and her arm on that of her
l1 lqyer' slipped behind behind the others
great tearing sound would rend the house.
once when escaping from behind cur
from her shoulders by the insistent feet
q inns unfortunate nan. Flnauy even
the sunny temper OF the actress could
endure It n9 longer She went to "a MF;
s4St0D it If Won can = said Mr. DaIv
That night and the next the young man
walked on the train and half way up
Miss Davenports back before she could
knee in a graceful backward pose. Leave
the mousse forever SIlG CIlGu, Leave II
and never darken the door again"
The young man underst TODD and got out.
But the strangest part of it was that the
audience supposed it to be part of the
play.
The New York public is paying $4,000
to see Ellen Terry and Henry Irving but
it would pay extra to see these two stars
in OF their famous tempers. These
always take place during rehearsal but
by night all is as smooth as a summer
dream: Henry is in a temper" is all
Miss Terry viii vouch safe, on those
days when, instead of occupying her
place upon the stage at a rehearsal, she
sits in the audience. And Henry Irving,
as he looks down upon his cO-worker only
scOwls shrugs his shoulders. draws him
self up to his fun height and praises the
girl who is rehearsing in Miss Terry's
place. Pretty stories are told of their
disagreements which. however, always
fade away under the genial influence of
luncheon. SHIRLEY EAGAN.