The Savannah morning news., 1901-07-28

and he went on roughly. still staring
hard at me: Il don't know whether
you are worth breaking a vow for or
not
Naturally I had nothing to say. He
walked up the stage; as he came down
he said: I've kept that promise for
ten years, but you seem such an hon
est little soul about your work, I've
good mind-yes, I've a mind"
He sat down on the edge of the
prompt table, and though he addressed
himself seemingly to me alone, the
whole company was listening atten-
lively.
when first started out starring, I
honestly believed 1 had a mission to
teach other less experienced actors
how to act. had made a close study
of the plays I was to present,
as we'll as of my own special parts
in them, and l actually thought it was
my duty to impart my knowledge 70
those actors who were strange in
them. Yes, that's the kind of fool l
was. I used to explain and describe,
and show how, and work, and sweat.
and for my pains l received behind
my back curses for Keeping them so
long at rehearsals, and before my face
stolid Indifference, or a thinly yelled
implication that 1 was grossly insult
ing them by my minute directions.
Both myself and my voice were pretty
we'll used up before 1 realized that my
work had been wasted. my good inten-
tions damned, and that 1 had not been
the leaven which could tighten the
lump of stupid dissatisfaction we call
the profession 1 then made a solemn
oath to myself never again to volun-
teer any advice any suggestion, any
hint as to reading, business, or make
up to man or woman in any play OF
mine. If they acted well, all right; If
they acted i'll. all right, too. If
found them internal sticks, I'd leave
them sticks. I'd demand just one thing,
my cue; as long as 1 got the word to
speak on, all the rest might go to the
devil! Rehearsals shortened, actors
had plenty of time for beer and pref
zels; and as 1 ceased to try and inn
prove their work, they soon called me
good fellow. And now you come
along, willing to work, knowing more
than some of your elders, yet actually
believing there is still something for
you to learn. Ambitious, keenly obserV-
ant. you tempt me to teach you some
business for this part; and yet If l do,
I suppose what goes in at one ear VIII
go out of the other"
Embarrassed silence on my part.
WELL" he went on, whimsically, Il
see this is not your day for making
protestations; but I'm going to give
YOU the business, and if you choose to
ignore it at night, why. that will serve
me right for breaking my promise"
''Mr Davenport" I said, 81 always
try to remember what is told me, ana
I don't see why l should not remem-
Der what you say-goodness knows you
speak plainly enough" at which, to
nv troubled surprise, every one, star
and all, burst out laughing. But pres
entity he returned to the play.
See here" he said. you, the adven-
turess. are worsted in this scene. You
sit at the table l have forced you to
sign this paper, yet you say to me-
You are a fool Now how are you go
ing to say it?" ~
at don't know yet" I answered, I
have not read the whole play through
whats that got to do with it? he
asked sharply.
"Whv." I said, ct don't know the
story. I don't know whether she is
really your enemy, or only Injuries YOU
on impulse. whether she truly loves any
one. or only makes believe love"
"Good!" he cried. good! That's
sound reasoning. Well, you are my
enemy. you love no one; so you see
your fool is given with genuine feel
ing. It's years since the line mas
drawn fire. but you do this business
and see. You sit; stand at the oppo-
site side of the table. You write your
name. You are supposed to be crush
ed. / believe it and lower triumphant
ly over you The audience believes 1t.
too. Now you lay down your pen-but
carefully, mind you, carefully-than
close the inkstand, and with very evil
dent caution place it out of danger or
a fall. Be sure you take your time
there are places where elaboration Is
as effective as ever rush and hurry can
be. Then, with your cheek upon your
hand, or your chin upon your clasped
hands-any attitude you fancy will do
look at me good and long, and then
speak your line. Have you thought yet
how to deliver it,"
We'll" answered. hesitatingly, ito
call you a fool in a colloquial tone
would make people laugh, / think, and
-the-words don't fit a declamatory
STYLE. should think a rather low tone
or sneering comment would be best"
And he shouted loudly: you've hit it
square on the head! Now let's see
you do it tonight. Don't look so
frightened, my girl; only take your
time, don't hurry. I've got to stand
there till you speak, if you take all
night. Be deliberate-you see you have
played all the rest SO ucICcly last bhc
contrast will tell"
The night came. Cornered, check
mated, slowly signed the paper. wiped
the pen, closed the inkstand, and set it
aside. He stood like a statue. The
silence reached the house. I stretched
out my arms and rested my crossed
hands lightly on the table. 1 met his
glance a moment, then, with curling
lip, I let my eyes sweep slowly down
the length of his body and back again;
then I rose slowly, made a little "pouf"
with my lips, and with a wave of my
hand contemptuously drawled: 'My
friend, you are a fool" Swift and
sharp came the applause Mr.. Daven-
port at least had anticipated. The act
ended almost Immediately, and 1 hur-
ried to him, crying: "Oh, thank you
so much, Mr.. Davenport 1 never, never
could have found applause in speech
like that"
"Ah, it was the business, child not
the speech. Always try to find good
business"
Suit the action to the word?" l
laughingly asked.
yes" he answered, land remember,
Miss, actions speak louder than words,
too.$ But. my dear, it's a comfort to
teach you anything; and when 1 saw
YOU trying so carefully to follow direc-
lions tonight, / swear l almost prayed
for the applause you were so honestly
earning You are a brick, my girl! Oh,