A great number of loud-speaking telephones were arranged near the stage, and the acoustics were so good that it was hard to realize that the music originated four miles away at the National Opera House.
When the overture was over, the curtain rose on the first act. Directly behind it several hundred especially constructed Telephots were arranged in such a manner as to fill out the entire space of the shallow stage. These telephots were connected in series and were all joined together so cleverly that no break or joint was visible in the rear part of the stage. The result was that all objects on the distant stage of the National Opera were projected full size on the composite Telephot plates on the Tele-Theater stage. The illusion was so perfect in all respects that it was extremely hard to imagine that the actors on the Telephot stage were not real flesh and blood. Each voice could be heard clearly and distinctly, because the transmitters were close to the actors at all times and it was not necessary to strain the ear to catch any passages.
Between the acts Ralph explained that each New York playhouse now had over 200,000 subscribers and it was as easy for the Berlin and Paris subscribers to hear and see the play as for the New York subscriber. On the other hand, he admitted that the Paris and Berlin as well as the London playhouses had a large number of subscribers, local as well as long distance, but New York's subscription list was by far the largest.
"Can you imagine," mused Alice, "how the people in former centuries must have been inconvenienced when they wished to enjoy a play? I was reading only the other day how they had to prepare themselves for the theater hours ahead of time. They had to get dressed especially for the occasion and even went so far as to have different clothes in which to attend theaters or operas. And then they had to ride or perhaps walk to the playhouse itself. Then the poor things, if they did not happen to like the production, had either to sit all through it or else go home. They probably would have rejoiced at the ease of our Tele-Theaters, where we can switch from one play to another in five seconds, until we find the one that suits us best.
"Nor could their sick people enjoy themselves seeing a play, as we can now. I know when I broke my ankle a year ago, I actually lived in the Tele-Theater. I cannot imagine how I could have dragged through those dreary six weeks in bed without a new play each night. Life must have been dreadful in those days!"
"Yes, you are right," Ralph said. "Neither could they have imagined in their wildest dreams the spectacle I witnessed a few days ago.
"I happened to be passing this room and I heard such uproarious laughter that I decided to see what caused it all. Entering unnoticed, I found my ten-year-old nephew 'entertaining' half-a-dozen of his friends. The little rascal had plugged into a matinee performance of 'Romeo and Juliet' playing at the 'Broadway'—in English of course. He then plugged in at the same time into Der Spitzbub, a farce playing that evening in Berlin, and to this, for good measure, he added Rigoletto in Italian, playing at the 'Gala' in Milan.
"The effect was of course horrible. Most of the time, nothing but a Babel of voices and music could be heard; but once in a while a single voice broke through the din, followed immediately by another one in a different language. The funniest incident was when, at the 'Broadway,' Juliet called: Romeo, Romeo, where art thou, Romeo?, and a heavy comedian at the Berlin Theatre howled: Mir ist's Wurst, schlagt ihn tot!
"Of course, everything on the stage was blurred most of the time, but once in a while extremely ludicrous combinations resulted between some of the actors at the various theaters, which were greeted with an uproar by the youngsters."
As he concluded the anecdote the curtain rose once more, and the audience of three settled back to enjoy the second act of the opera.