They entertained her vastly, now that a confidence in her ability to do her own part left her leisure to look around a bit. The contrast between the two leading women, Patricia Devereux, who played the title part, and little Anabel Astor, who played the mercenary seductress, was a piquant source of speculation. As far as speech and manners went, Miss Devereux might have been a born citizen of the world Rose had been naturalized into by her marriage with Rodney; in fact, she reminded her rather strikingly of Harriet. She was cool, brusk, hard finished, and, as was evident from Galbraith's manifest satisfaction with her, thoroughly workmanly and competent. Yet she never seemed really to work in rehearsal. She gave no more than a bare outline of what she was going to do. But the outline, in all its salient angles, was perfectly indicated. She rehearsed in her ordinary street clothes, with her hat on, and as often as not, with a wrist-bag in one hand. She neither danced, sang, nor acted. But she had her part letter perfect before any of the other principals. She never missed a cue, and though she sang off the top of her voice, and let the confines of a very scant little tailor skirt mark the limits of her dancing, she sang her songs in perfect tempo and always made it completely clear to Galbraith and the musical director, just how much of the stage in every direction, her dances were going to occupy and precisely the tempi at which they were to be executed. In a word, if her work had no more emotional value than a mechanical drawing, it did have the precision of one.
Rose mightn't have appreciated tins, had she not seen and admired Miss Devereux from the front in a production she and Rodney had been two or three times to see the season before.
Little Anabel Astor presented as striking a contrast to all this as it would be possible to imagine. She, too, had attained a good deal of celebrity in the musical-comedy world—was to be one of the features of the cast. She'd come up from the ranks of the chorus. She'd been one of the ponies, years ago, in some of George M. Cohan's productions, and she was still just a chorus-girl. But a chorus-girl raised to the third, or fourth, or, if you like, the nth power. She had an electric grin, and a perfectly boundless vitality, which she spent as freely on rehearsals as on performances. She always dressed for rehearsals just as the chorus did, in a middy-blouse and bloomers, and she worked as hard as they did, and even more ungrudgingly.
She was a pretty little thing, with nothing very feminine about her—even her voice had a harsh boyish quality—and she never looked prettier to Rose than when, her face flushed with an hour's honest toil, she would wipe the copious sweat of it off with her sleeve, and panting, look up with a smile at John Galbraith and an expectant expression, waiting for his next command, which reminded Rose of the look of a terrier alert for the stick his master means to throw for him. Her speech was unaffectedly that of a Milwaukee Avenue gamin, and it served adequately and admirably as a vehicle for the expression of her emotions and ideas.
She formed her likes and dislikes with a complete disregard of the social or professional importance of the objects of them. She took an immediate liking to Rose; gave her some valuable hints on dancing, took to calling her "dearie" before the end of the second rehearsal and, with her arm around her, confided to her in terms of blood-curdling profanity, her opinion of Stewart Lester, the tenor, who played the part of Dick Benham in the piece.
The queer thing was that she and Patricia were on the best of terms. They didn't compete, that was it, Rose supposed, and they were both good enough cosmopolites to bridge across the antipodal distances between their respective traditions and environments. Patricia hated the tenor as bitterly as Anabel. And, in her own way, she was as pleasantly friendly to Rose. There were no endearments or caresses, naturally, but her brusk nods of greeting and farewell seemed to have real good feeling behind them.
The men principals—this was rather a surprise to Rose—weren't nearly so pleasant nor so friendly. Most of them professed to be totally unaware of her existence and the one or two who showed an awareness—Freddy France, who played the comic detective, was chief of these offenders—did it in a way that brought the fighting blood into her cheeks.
My astronomical figure for the expression of Rose's rise in her profession is, in one important particular, misleading. There was nothing precalculable about it, as there is about the solemn swing of the stars. The impetus and direction of Rose's career derived from two incidents that might just as well not have happened—two of the flukiest of small chances.
The first of these chances concerned itself with Olga Larson and her bad voice. Olga, as I think I have told you, was one of the sextette. And, oddly enough, she owed her membership in this little group of quasi principals, to her voice and nothing else. Because it was a bad voice only when she talked. When she sang, it had a gorgeous thrilling ring to it that made Patricia Devereux, when she heard it, clench her hands and narrow her eyes. She'd never been taught what to do with it, but then, for what Galbraith wanted of her she needed no teaching. Her ear was infallible; let her hear a tune once and she could reproduce it accurately, squarely up to time, squarely, always, in the middle of the pitch. When she opened her rather dainty-looking mouth and sang, she could give you across the footlights the impression that at least four first-class sopranos were going uncommon strong. She hadn't a salient or commonplace enough sort of beauty to have singled her out from the chorus and she was no better a dancer than passable. But none of the girls who would be picked out by a committee of automobile salesmen as the prettiest and the best dancers in the chorus could sing a note, and the sextette would have been dumb without her voice.
It was natural enough that Patricia didn't like it. She owed her own position as a leading light-opera soprano to the cultivation to its highest possible perfection of a distinctly second-rate voice, to a precise knowledge of its limitations and to a most scrupulous economy in its effects. Inevitably, then, the raw splendors that Olga Larson dispensed so prodigally gave Patricia the creeps.