“We didn’t have time to print programmes, so I will tell you the characters: Mademoiselle Lucy Manet—Isabelle Bryce; Dr. Manet, her father—Margie Hunter; Madame La Farge—Isabelle Bryce; Mr. Lorry—Margie Hunter; Charles D’Arnay—Teddy Horton; Sidney Carton—Tommy Page. Manager—Isabelle Bryce.”
More applause.
“The first scene is An Inn. Mr. Lorry is waiting for Lucy Manet.”
She made a low bow, and walked off, followed by much hand clapping. Some time elapsed, and then by slow laborious jerks the sheets were parted, and Margie Hunter, a fat serious girl of nine, was discovered in her father’s overcoat and hat, pacing the floor. She rather overdid the pacing, so a strident voice prompted: “My Blood!” and yet again, and louder: “My Blood!”
“Oh, yes,” said Mr. Lorry. Then in a deep chest tone, he inquired: “My Blood! Why doesn’t Mademoiselle Lucy Manet, my old client’s, child, appear?”
Enter Lucy Manet. She wears Mrs. Page’s best opera coat, which extracts a groan from the owner. Her bobbed brown hair is barely covered by the long yellow shaving curls which more or less crown her head. A Gainsborough hat of her mother’s threatens to submerge her countenance, and she carries a walking stick of Wally’s as a staff. But for all the ridiculous figure she cut, there was an earnestness and a sort of style to her entrance, that cut short the first outburst of laughter.
“Sir, are you Mr. Lorry?” she demanded.
“I am. I kiss your hand, Miss.”