The Daughters of the Little Grey House

by Marion Ames Taggart

When the door of the dressing-room opened and its occupants came forth it was to encounter in the hall a long line of queer and pretty figures of other Fayre girls who were to compose the chorus, and big lads in the collars and coats of their ancestors, delightful foils to the girls' brilliant colours. First and last Fayre, an old colonial town, possessed a goodly store of relics of the past, and there was no lack of material for costuming the concert.

While they were dressing the singers had been hearing carriage after carriage roll up the Silsby driveway, and depart, and when they peeped through a life-saving hole in the curtain, but for which they would have perished of curiosity, they saw the ample accommodations which Mrs. Silsby had provided for an audience already filled, and people beginning to station themselves standing at the sides of the long rooms, in the best positions now obtainable.

A small orchestra of harps and violins, 'cellos and bass viols, had been Mrs. Silsby's welcome contribution to the affair, and the concert began with an overture by it while the curtain slowly parted and rolled away, disclosing the thirty-five singers seated on the stage, the double quartette which, later was to dance the gavotte, in the front row, and little Polly, the soloist of the occasion, seated alone before them all. She did not seem at all frightened; the hand that Rob contrived to slip between the rounds of her chair for a little pressure on her shoulder, was not necessary.

Polly sat quite still, very pale, but not frightened, with an uplifted look on the pathetic little face, with the big eyes staring upward, unseeing of the considerable audience. Miss Charlotte and Rob had told Polly that she was to sing for suffering children, without homes, friends, or childhood, and Polly's whole soul was bent on singing for them so well that all these blessings should be theirs at the close of the concert.

Choruses, quartettes, trios, double quartettes, followed each other on the programme, old-time songs and classics, bright, lively, sad, and patriotic. The audience applauded wildly, which was to be expected at an amateur entertainment. In this case the applause took on enthusiastic fervour from the real enjoyment which the music was giving; it was good in itself, and not "considering." It was a delightful surprise to hear the quality, the precision, the expression of these choruses and quartettes, for, when it comes to amateur music, given for charities, few of us can echo the sentiments of the gentleman in Punch, who replied to his hostess' inquiry as to whether he was fond of music: "Madam, I am not afraid of it."

At last came Polly's turn, and she arose at a signal from Rob and walked quietly down to the front of the stage. No one applauded for fear of frightening the child, but the effect the little figure produced could be felt in the sudden stillness, together with a tension of interest.

A single violin played "Annie Laurie" and Polly began to sing. Not a tremble in the clear voice, not a false note in the sweet tones, as they soared up, thrilled with feeling and died away in pathos that the singer was far too young to feel. For an instant the room was still and then the applause rang out. Polly stood very quiet, looking up at the ceiling, forgetful of the bow in which she had been carefully drilled. It did not matter. The violin began again, and the child sang on and on, as the audience clamoured for more at the end of each song. She did not seem to tire, but a red spot glowed in each cheek, and the tiny figure trembled.

"Sit down, Polly," said Rob at last, fearing the effect on Polly of such repressed excitement.

Polly obediently turned and seated herself amid the plaudits of her audience. Then she remembered her duty, arose, went forward, took her stiff skirt in her hands on each side, and dropped the ceremonious courtesy of the period which she represented. The applause broke out anew, but Polly was to sing no more. A rousing chorus covered the clapping, and the audience settled down to listen to the remainder of the programme.