"Do you think, Mr. Handy, that we shall have a good house?" inquired the "angel," as she stood on the stage before the performance, in a highly nervous, hesitating manner. "I should dislike to appear before a small audience; it is so discouraging, you know, to an artist."
"A good house?" echoed the optimistic manager. "We'll turn 'em away, and you can bank on it," he replied, with an air of confidence that reassured the bird of paradise and brought a smile to her face.
"I'm so glad to hear you say so! But I'm ashamed to admit it. But to you, of course, as my manager, I may confide and confess I feel awfully nervous."
"Happy to hear you tell me so, miss. Remember one thing, that all them as amounts to anything are taken that way on a first night. For instance, take Sarah Bernhardt. Well, she's a holy terror on a first night. There's Francis Wilson—well, it isn't safe to be near him when he comes off the stage of a first night. Then there's Joe Murphy, the great Irish comedian; when he plays a part, it is said, he becomes so nervous that he goes about giving every member of his company a ten-dollar bill. Sir Henry Irving was another of those so affected that he wanted to make a speech to the audience after every act, and only for the restraining influence of Bram Stoker, he would. Charley Wyndham, now Sir Charles, makes himself believe he is an incarnation of David Garrick. Nat Goodwin is that nervous of a first night that he wants to play 'Macbeth' with Maude Adams as Lady Macbeth the next time he produces a new piece. All the result of nervousness, I assure you. I am affected that way myself on every first performance I appear in. It is, strange to say, the greatest evidence we have of the possession of that gift of what is regarded as genius. That's what's the matter!"
"You really think so? Oh, it is so consoling to hear you say so! I feel easier in my mind after you telling me and placing me on the same footing with the great ones of our profession. I'll go and dress now."
The "angel" star hurried off to her dressing-room. Smith, from among the manifold duties he was called upon to perform, had just returned from the front of the house, where he had been looking after things, as he himself put it. He approached Handy and in an enthusiastic manner informed him he thought the capacity of the house would be tested.
"Oh, that won't surprise me," replied Handy. "Give me 'Camille' every time for a country audience, providing the billing is all right. 'Camille' is old enough to be young."
"Do you think we're going to give a good show?"
"As to that, I'll speak to you later on. That's another proposition. Now, then, get a move on you. Hurry up and dress, and above all things, see that your props are all right."
Smith was property man as well as prompter—two important offices which in any well-regulated theatrical company would require the services of two men. In addition to these, he undertook to double a couple of the minor parts. He was an old hand at the work, and doubling and trebling did not in the slightest disturb him. He was not always as careful as he should be in the matter of detail, and in several instances his attempts at faking did not pan out as he originally planned them.