The Birmingham age-herald., 1911-04-28

Peggy said the other day that she thought maybe she'd take up a life work" and then followed it by the ancient "bromide':
 T know I could go on the stage and make a living"
 Now, I happen to know something Of what goes on "back of the footlights,' before the electric light time comes, and the hard work of the morning that goes to make things easy In the evening, and wasn't so sure, and politely remarked that had my doubts about her making living that way" But Peggy was SURE. "Why," said she, its the easiest thing in the world to act I go to the theatre and see stars doing parts that I know I could do without 15 minutes preparation"
 But you couldn't start as star," I objected feebly.
 "ohl Well, then." she retorted, "I could get a stock company engagement"
 It was this casual remark that led me to invite the young lady to go behind the scenes at the Bijou theatre yesterday morning to see the Classy Schiller Play CTS" give their first rehearsal of Secret Service" which they will present next week.
 The theatre, when we got there. was untenated save by few struggling scrub women with buckets of soap suds and energetic brooms. collecting up last nights stray programmes. The scene
  painting for dear life.
 It was, to be exact, a few minutes be- fore 10:3O, the hour set for rehearsal to begin, and everybody who belonged on the stage in the premiere act of the Gillette war drama was there. with a big or"
 Peggy began to talk about the last time she saw Gillette, and remarked that sine would like to do the ''nsenue" role in the play
 Just at this time we took our places beside each other on an elegantly up- holstered divan in the rear of the stage, and Miss Nora Shelby, the attractive Heading lady" whom we had come to Interview" came forward smiling a cordial welcome, and in her hand she held the script" of Edith's lines, which she was memorizng.
 Peggy expressed some surprise that she should be working so hard.
 You know the plot" she suggested, land couldn't you, if you happened to forget speech, make up the line, and go on just the same?'
 Miss Shelby smiled her prettiest smile and in the most euphonious of voices said:
 '"The utmost precision is required In speaking one's lines. The end of each speech is "cue" for some one else, and everybody is dependent upon everybody else in a play, for it to go off right. You remember what the great English actor, Mr. Charles Hawtery, said about the im- portance of ones lines. That the play right had measured every if and and in a play and there wasn't word that could possibly be left out"
 Mr. J. H. Doyle, the clever stage d. rector, was standing in the center of the stage reading the lines of the Heading man," Mr. Clifford Bruce, who is now In New York with MT. Gillette, in the play which is in process of rehearsal at the Bijou
 The stage setting was for Mrs. Tenn ple's Telegram" the bright, sparkling comedy which Is now on the boards at the Bijou for the week.
 The gold chairs, the massive staircase and the old-fashioned clock were largely In evidence, and there were sumptuous pieces of mahogany here and there, over which great sheets had been thrown and the broad glare of the midday sun was streaming down upon the "scenics.''
 Even Peggy remarked the difference that grease paint and "footlights'' and properties: make.
 Grouped about in the wings were Mr. Seabury, MT. Todd, MT. Ebert Benson the assistant stage manager; Miss Marie Graber, Miss Louis, all with "copy" in hand awaiting their turn.
 Mr. Todd was just about to make his entrance and MT. Doyle was saying:
 Drop over to the left-center Better take the key business for the cue"
 And then the wheels began to go round"
 Repeat that line again." the stage di- rector shouts, folding his arms -'com-