The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1908-01-31
THE EVENING STORY
At Rehearsal.
(By Colin g. Collins.)


Every one was cross. from Webster,
the stage manager and principal come
dian. to the two new girls on whose ac-
count the rehearsal had been called. An
intricate march and two dance num-
bers of more than usual elaborateness
figured In the piece, and for the third
time in as many months some OF the
old girls had left the Castle Opera COM
pany for the better pay Of the larger
organizations. AS a result, the entire
chorus had been compelled to rehearse
corners.
The theater was cold, for it was too
early for steam to be sent up to warm
the house for the matinee, and single
row OF lights in the flies dimly lighted
the stage, accentuattng the blackness
of the shadows around the stacks" of
scenery, while a chill wind blew from
the stairway leading to the basement
and gripped in it's bite tired ankles
poorly protected by hirnsy stockings
and worn dancing shoes.
Webster, a little rat of man, wasp
ish OF speech and nervous to the point
OF breaking, paced the front of the
stage looking eagerly at his watch. All
waiting for the leader. whose thin vio-
lin tones were their only guidance in
melody and beat.
Presently he crawled from under the
stage and took his seat at the desk.
Webster turned on him a torrent of re-
proach, at which the leader only laugh
ed, though the new girls stood aghast
at the adjectives used. The older men,
bers OF the company were more used 70
these displays of temper and smiled at
the outburst, but Mildred Hawley could
! only stare in fascination at the eccen-
trio little man.
Dick Boris placidly tuned his fnstru-
ment and tucked 1t under his chin, then
looked inquiringly at Webster.
THE march first" called the stage
manager. with an abrupt abandonment
of his TRADE as he turned to face the
girls grouped in two files on either side
Of the stage.
A dozen times they went through the
march. Webster dancing about the
moving sections, hauling a girl into
place here, pushing another there, with
out ever interrupting the handclaps
that were the signals for change OF
formation. Then, after brief rest,
one of the dancing numbers was called.
Mildred tried hard not to limp. but
her shoes were tight and the wet
weather had made them shrink still
more. It seemed as though she could
not bear to rest her weight on the
cramped toes, but she had no old shoes
to change to and she did not dare use
the pretty satin slippers that were part
Of her wardrobe.
At times the pain was almost too
great to bear, but she kept a brave face
| and accepted silently Webster's stric-
lures upon her lack Of grace.
They were going through the number
| for the third time when a stentorian
| "Stopn brought the dancers to a halt,
and Webster came striding toward MIL
bred.
You. MISS he cried savagely. you
| always start with your left foot. You
kick with your right first"
m
| the left the girl stammered. try
| to remember. but sometimes habit is
| too strong
"The trouble is that you've no brains
| Now try it again-from the begin
ming" A..
| The thin thread of sound from the
| lone violin began again and Mildred
| bent her aching brain to the recollec-
ton of the bit Of business. Through
very anxiety to do 1t right the girl kick
ed first with her left foot, and again
Webster roared out the "Stop!' which
| was always the prelude to trouble. The
| other girls looked curiously at Mildred
as webster started toward her
| IT said to kick first with the right,
| stormed the stage manager. you don't
know your right from your left. dc
you? This is the right"
| With the words he brought his
heavy-soled storm shoe full upon the
tip Of Mildred's shoe. With little
cry the girl fell forward and wal
saved from a drop to the stage by the
quick action of the girl beside her
| who caught the falling figure in hel
arms and let her gently sink to the
stage. She knew the story Of those
| tight shoes. Mildred had borrowed
| them from q friend in order that she
might make a good appearance when
| she joined tho show. She knew the
agony the girl must have suffered
when the heavy boot came crashing
down upon the numbed root.
For a moment Webster stood look
ing at the PROSTATE figure, then he
went back to his position just in front
of the footlights. There were angry
1 murmurs from the girls, and at heart
Webster was q coward II he gave
them a chance to grow more angry
they might attack him In body, as
had happened q couple Of years be-
fore.
| stop your fooIing and get to
work." he commanded sternly "All
right, Boris
| But Boris held the violin in his lap
as he watched the girl raise Mildred
He saw the brave effort she made to
| hold her place in line and the white
face told how close she was to faint
Ing.
crippled her." he called ansrily.
Webster turned
THE girl is taking" he said rough
4 ". you, miss come back to line
| 'I can't walk" sobbed Mildred
| Webster strobe over to where she waa
sitting and grasped her arm.
You can and WILL" he declared
| IF you don't, you leave the company
at once"
| He jerked her to her feet, but with
a little cry the girl slipped to the floor
again and some Of the others rushed
to her aid. Webster turned to order
them back, but he faced Boris, who
| had leaped to the stage, and one
glance at the leaders race told OF
trouble.
you're not going to rehearse and
you're not going to fire that GIRL" said
Boris angrily. "and you're going to gel