The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-12
A COLLEGE SONG.

CANS SOUCI," the song that has
so much to do with creating
~ an atmosphere in First Is
Last4 the comedy at Maxine Elliotts
Theatre, has been a favorite with
students in Columbia College for a
good many years. Perhaps its greatest
popularity began, however. two de-
cades ago with the class of 80, of
which John Purroy Mitchell was a
member That class has been I'M
usually faithful in it's reunions and
Sans Souci" always works it's magic
through the memories of the old boys.
The song is rendered behind the.
scenes in First Is Last" by the
Brighton Quartet. The singers evil
IDENTIFY realize that this is no vaude-
vile stunt to be pulled" with a
flourish. Since they are invisible to
the audience, whatever effects might
otherwise be produced through person.
atty are sacrificed. The music is
what counts and it must be good.
I'VE had to try four different ar
rangements Of this song before we got
it right" explained one of the singers.
"Then you've no idea how hard it is
| to sing just loud enough for the
audience to hear, and yet so softly
that the music will blend with the
action without interrupting It,"
1t is almost time for the first act to
| begin. The quartet goes off to the
wings with certain stage hands and
l t. ~
\ Cheering" that is heard through
window by the audience in the first
| scene. The curtain goes up and the
leather lunged stage hands try to
irown out the trained voices of the
quartet. The butler conducts the
cheering in the manner of Bodanzky
at the Metropolitan Opera House.
The quartet files solemnly back to
| its place by a blank wall to be ready
to furnish the audible atmosphere
when the time arrives. The man in a
/ buffers costume waves his hand and
the singing begins. 1t makes no diff
terence that the audience is shut away.
| The tenor lifts his eyes to heaven with
the same 30 Moon of My Delight" ex-
preston that John Mccormack uses on
1000 rapt admirers. The bass drives
his notes down to the depths as though
he were laying foundations for a sky
scraper. The second tenor and the
harytone fill in the middle distance.
The man in the buffers costume is
James Kearney, stage manager, who
also plays the role of Selby. Could
anybody imagine more harmonious
combination than that of a butler and
= stage manager? Both are autocrats
in their worlds, and when one man
| plays both parts he acquires an
authority such as even the late Car
of Russia never possessed.
But Mr.. Kearney is a very gentle
ruler, He tiptoes around waving his
hands in various directions. He looks
IT his watch and everything moves as
though the scenery were somehow con-
nected with the stage managers time
niece. Maybe he has to wind 1t all up
every night when he does his watch.
(which do you like better, acting
or managing?" asked visitor unterri-
fed by this double grandeur.
Acting" was the emphatic answer.
AT least" he added 81 like to do a
bit of part. l got the hang of stage
work years ago and now when I apply
for part they often ask, VIII you
take the stage too?' So that's how 1t
works out. My part in this play has
been cut down a great deal"
He said this last regretfully, and one
couldn't help wishing that he might
nave a change to play Barrie's "Ad-
mirable Crichton," where the butler is
! hero.
The effect of comedy from behind
the scenes Is a curious reversal. The
audience seems to be playing the real
drama. There is a new cast every
night, but no rehearsal is needed. All
the actors have TO do is laugh or give
those indefinable expressions of inter-
est that are felt rather than seen OIL