By persuading him that I understood what he meant, I rose in his estimation.
“He won't have anything to say to me—thinks I'm an ass. I'm a simple sort of fellow—on the outside. But I'm not such a fool as I look.”
“You don't think we are getting too much out of the groove?” I enquired.
His opinion was that the more so the better.
“Very well. Then, in the second act I disguise myself. I'll come on as an organ-grinder, sing a song in broken English, then as a policeman, or a young swell about town. Give me plenty of opportunity, that's the great thing—opportunity to be really funny, I mean. We don't want any of the old stale tricks.”
I promised him my support.
“Put a little pathos in it,” he added, “give me a scene where I can show them I've something else in me besides merely humour. We don't want to make them howl, but just to feel a little. Let's send them out of the theatre saying: 'Well, Charlie's often made me laugh, but I'm damned if I knew he could make me cry before!' See what I mean?”
I told him I thought I did.
The leading lady, meeting us on our return, requested, with pretty tone of authority, everybody else to go away and leave us. There were cries of “Naughty!” The leading lady, laughing girlishly, took me by the hand and ran away with me.
“I want to talk to you,” said the leading lady, as soon as we had reached a secluded seat overlooking the river, “about my part in the new opera. Now, can't you give me something original? Do.”