Strictly Business | Page 4

her act.
The vaudeville team of Hart & Cherry was an inspiration. But Hart had been roaming through the Eastern and Western circuits for four years with a mixed-up act comprising a monologue, three lightning changes with songs, a couple of imitations of celebrated imitators, and a buck-and-wing dance that had drawn a glance of approval from the bass-viol player in more than one house--than which no performer ever received more satisfactory evidence of good work.
The greatest treat an actor can have is to witness the pitiful performance with which all other actors desecrate the stage. In order to give himself this pleausre he will often forsake the sunniest Broadway corner between Thirty-fourth and Forty-fourth to attend a matin'ee offering by his less gifted brothers. Once during the lifetime of a minstrel joke one comes to scoff and remains to go through with that most difficult exercise of Thespian muscles--the audible contact of the palm of one hand against the palm of the other.
One afternoon Bob Hart presented his solvent, serious, well-known vaudevillian face at the box-office window of a rival attraction and got his d. h. coupon for an orchestra seat.
A, B, C, and D glowed successively on the announcement spaces and passed into oblivion, each plunging Mr. Hart deeper into gloom. Others of the audience shrieked, squirmed, whistled, and applauded; but Bob Hart, "All the Mustard and a Whole Show in Himself," sat with his face as long and his hands as far apart as a boy holding a hank of yarn for his grandmother to wind into a ball.
But when H came on, "The Mustard" suddenly sat up straight. H was the happy alphabetical prognosticator of Winona Cherry, in Character Songs and Impersonations. There were scarcely more than two bites to Cherry; but she delivered the merchandise tied with a pink cord and charged to the old man's account. She first showed you a deliciously dewy and ginghamy country girl with a basket of property daisies who informed you ingenuously that there were other things to be learned at the old log school-house besides cipherin' and nouns, especially "When the Teach-er Kept Me in." Vanishing, with a quick flirt of gingham apron-strings, she reappeared in considerably less than a "trice" as a fluffy "Parisienne"--so near does Art bring the old red mill to the Moulin Rouge. And then--
But you know the rest. And so did Bob Hart; but he saw somebody else. he thought he saw that Cherry was the only professional on the short order stage that he had seen who seemed exactly to fit the part of "Helen Grimes" in the sketch he had written and kept tucked away in the tray of his trunk. Of course Bob Hart, as well as every other normal actor, grocer, newspaper man, professor, curb broker, and farmer, has a play tucked away somewhere. They tuck 'em in trays of trunks, trunks of trees, desks, haymows, pigeonholes, inside pockets, safe-deposit vaults, handboxes, and coal cellars, waiting for Mr. Frohman to call. They belong among the fifty-seven different kinds.
But Bob Hart's sketch was not destined to end in a pickle jar. He called it "Mice Will Play." He had kept it quiet and hidden away ever since he wrote it, waiting to find a partner who fitted his conception of "Helen Grimes." And here was "Helen" herself, with all the innocent abandon, the youth, the sprightliness, and the flawless stage art that his critical taste demanded.
After the act was over Hart found the manager in the box office, and got Cherry's address. At five the next afternoon he called at the musty old house in the West Forties and sent up his professional card.
By daylight, in a secular shirtwaist and plain voile skirt, with her hair curbed and her Sister of Charity eyes, Winona Cherry might have been playing the part of Prudence Wise, the deacon's daughter, in the great (unwritten) New England drama not yet entitled anything.
"I know your act, Mr. Hart," she said after she had looked over his card carefully. "What did you wish to see me about?"
"I saw you work last night," said Hart. "I've written a sketch that I've been saving up. It's for two; and I think you can do the other part. I thought I'd see you about it."
"Come in the parlor," said Miss Cherry. "I've been wishing for something of the sort. I think I'd like to act instead of doing turns."
Bob Hart drew his cherished "Mice Will Play" from his pocket, and read it to her.
"Read it again, please," said Miss Cherry.
And then she pointed out to him clearly how it could be improved by introducing a messenger instead of a telephone call, and cutting the dialogue just before the climax while they were struggling with the pistol, and by completely changing