No Time to Lose
A young Houston mother rushed into die house the other day in the utmost excitement, calling out to her mother to put an iron on the fire as quick as possible.
“What is the matter?” asked the old lady.
“A dog has just bitten Tommy, and I am afraid it was mad. Oh, hurry up, mother; be as quick as you can!”
“Are you going to try to cauterize the wound?”
“No—I’ve got to iron that blue skirt before I can wear it to go after the doctor. Do be in a hurry.”
A Villainous Trick
When it becomes necessary for an actor to write a letter during the performance of a play, it is a custom to read the words aloud as he writes them. It is necessary to do this in order that the audience may be apprised of its contents, otherwise the clearness of the plot might be obscured. The writing of a letter upon the stage, therefore, generally has an important bearing upon the situation being presented, and of course the writer is forced to read aloud what he writes for the benefit of the audience. During the production of “Monbars” in Houston some days ago, the gentleman who assumed the character of the heavy villain took advantage of a situation of this description in a most cowardly manner.
In the last act, Mantell, as Monbars, writes a letter of vital importance, and, as customary, reads the lines aloud as he writes them. The villain hides behind the curtains of a couch and listens in fiendish glee to the contents of the letter as imparted by Mr. Mantell in strict confidence to the audience. He then uses the information obtained in this underhanded manner to further his own devilish designs.
Mr. Mantell ought not to allow this. A man who is a member of his own company, and who, no doubt is drawing a good salary, should be above taking a mean advantage of a mere stage technicality.