"You can imagine my astonishment when I found that I had unwittingly been duplicating to a startling extent historical fact. I discovered that there actually had been a Princess Chic. I learned that Louis XI. had thought to cause trouble in Charles's domain, and by this means to open a way for the seizure of that province for France. The Duke's bold move in arresting the King and holding him captive until the King agreed to a treaty that suited Charles was new to me, however, and I grabbed it quick.
"Now you have the whole story of 'The Princess Chic.' Somebody has accused me of coquetting with history. I deny all coquetry. 'The Princess Chic' is to all intents and purposes genuine history, much nearer fact than many a historical drama that makes more pretences of sticking closely to the truth."
However, history or no history, the opera did not act as it should, and Mr. LaShelle decided to try what the effect of a new prima donna would be. He wanted Camille D'Arville, but she was not available; and by some marvellous stroke of good fortune he hit upon Christie MacDonald. How he happened to do it is a mystery. Christie MacDonald was, of course, well known as a very amiable little lady with a decided fancy for short skirts and for frisky and vivacious characters, that sang prettily and danced nimbly. Never for a moment had she been associated with the dignified prima donna. Nor had she ever been guilty of seriousness. Moreover, if the whole truth were to be told, her voice—though sweet, delicate, musical, and skilfully controlled—was by no means strong. Decidedly Christie MacDonald had other things besides a voice to make her attractive. There was her personality, magnetically feminine, her temperament, so sunshiny and happy, and her face, not exactly pretty, but immensely attractive when fun lighted it up with smiles.
Therefore Christie MacDonald's Princess Chic came as a great surprise. At first, she was apparently feeling her way in the rôle. She was, in fact, a model of discretion, but save in one particular her acting lacked force and conviction. As the peasant girl, in this three-sided impersonation, she was from the first exquisite. Never was the subtle attack of a modest maiden upon a susceptible man's heart more daintily or more fascinatingly exhibited. Under every circumstance Miss MacDonald was simple and straightforward in her methods, and absolutely free from affectation and self-consciousness. How thoroughly delightful that is! Singers, in particular, are the victims of conventional mannerisms, smiles that are meaningless and as a result expressionless, curious contortions with the eyes, and strange movements of the hands. How much they would gain by mastering the difficult art of artistically doing nothing!
With so much that was good in evidence during her earliest presentations of the Princess Chic, with her faults those of omission rather than commission, it was only natural that Miss MacDonald should improve greatly as she became thoroughly familiar with the requirements of the part, and as she gained experience in acting it. Especially did she seem to catch the spirit of the Princess Chic masquerading as the handsome young envoy. She developed a most entrancing swagger and the most captivating nonchalance. Her voice, too, which at first seemed almost too light for Mr. Edwards's trying music, was heard to a much better advantage later; and in spite of its want of volume, it had a strange insistency, a peculiar penetrating quality, which enabled it to balance admirably the full chorus in the ensemble climaxes.
Before she adopted the stage professionally, Christie MacDonald gained a little experience by taking small parts in several summer "snap" companies in her home city of Boston. Her parents were not altogether pleased at her theatrical aspirations, and even after she had been enrolled in 1892 as a member of Pauline Hall's company, she was persuaded to give up the engagement in deference to their wishes. Just at this critical point in her career, however, she chanced to meet Francis Wilson, who had "The Lion Tamer" in rehearsal. He heard her sing and liked her voice so well that he offered her a place in his company. The temptation was too strong to be resisted, and Miss MacDonald established herself under the Wilson banner. At first she was given only a small part in "The Lion Tamer," and at the same time understudied Lulu Glaser in both "The Lion Tamer" and "The Merry Monarch." The next season she played Marie, the peasant girl, in "Erminie," and during Miss Glaser's illness, Javotte. When "The Devil's Deputy" was brought out for the season of 1894-95, she created the rôle of Bob, the valet. She was a capital Mrs. Griggs in the pretty Sullivan opera, "The Chieftain," her singing of the topical song, "I Think there is Something in That," being especially popular. During the summer of 1896 she appeared in Boston in "The Sphinx," making a pleasing impression as Shafra. The following fall found her again with the Francis Wilson forces, playing Lucinde in "Half a King." That summer she filled another engagement in Boston as the Japanese maiden Woo Me, in the not-too-successful opera, "The Walking Delegate." It was a dainty part and charmingly done.
The next season Miss MacDonald was engaged by Klaw and Erlanger for the Sousa opera, "The Bride Elect," with which she remained two seasons, and this was followed by her appearance in "The Princess Chic."
CHAPTER XVI