CHAPTER IV.LEADS TO A MEETING. “Don't be nervous,” said the O'Kelly, “and don't try to do too much. You have a very fair voice, but it's not powerful. Keep cool and open your mouth.”
 
It was eleven o'clock in the morning. We were at the entrance of the narrow court leading to the stage door. For a fortnight past the O'Kelly had been coaching me. It had been nervous work for both of us, but especially for the O'Kelly. Mrs. O'Kelly, a thin, acid-looking lady, of whom I once or twice had caught a glimpse while Belsize Square awaiting the O'Kelly's signal, was a serious-minded lady, with a objection to all music not of a sacred character. With the hope of winning the O'Kelly from one at least of his sinful tendencies, the piano had been got rid of, and its place in the drawing-room filled by an American organ of exceptionally tone. With this we had had to make shift, and though the O'Kelly—a veritable musical genius—had succeeded in evolving from it an accompaniment to “Sally in Our Alley” less misleading and confusing than might otherwise have been the case, the result had not been to lighten our labours. My of the famous had, in consequence, acquired a dolefulness not intended by the composer. Sung as I sang it, the theme became, to employ a definition since grown hackneyed as to Art, a problem ballad. Involuntarily one wondered whether the marriage would turn out as satisfactorily as the young man appeared to anticipate. Was there not, when one came to think of it, a , a ingrained within the of the complainful hero that would ill assort with those instincts toward the careful observer could not avoid discerning in the charming yet nevertheless somewhat shallow character of Sally.
 
“, lighter. Not so soulful,” would demand the O'Kelly, as the solemn notes rolled jerkily from the instrument beneath his hands.
 
Once we were nearly caught, Mrs. O'Kelly returning from a district visitors' committee meeting earlier than was expected. Hastily I was hidden in a small adjutting from the first floor landing, where, behind flower-pots, I listened in fear and trembling to the severe cross-examination of the O'Kelly.
 
“William, do not . It was not a .”
 
“Me dear, so much depends upon the time. Let me give ye an example of what I mean.”
 
“William, pray in my presence not to play tricks with sacred melodies. If you have no respect for religion, please remember that I have. Besides, why should you be playing in any time at ten o'clock in the morning? It is not like you, William, and I do not credit your explanation. And you were singing. I distinctly heard the word 'Sally' as I opened the door.”
 
“Salvation, me dear,” corrected the O'Kelly.
 
“Your , William, is not usually so much at fault.”
 
“A little , me dear,” explained the O'Kelly.
 
“Your voice did not sound . Perhaps it will be better if we do not pursue the subject further.”
 
With this the O'Kelly appeared to agree.
 
“A lady a little difficult to get on with when ye're feeling well and strong,” so the O'Kelly would explain her; “but if ye happen to be ill, one of the kindest, most of women. When I was down with typhoid three years ago, a tenderer nurse no man could have had. I shall never forget it. And so she would be again to-morrow, if there was anything serious the matter with me.”
 
I murmured the well-known .
 
“Mrs. O'Kelly to a T,” the O'Kelly. “I sometimes wonder if Lady Scott may not have been the same sort of woman.”
 
“The unfortunate part of it is,” continued the O'Kelly, “that I'm such a healthy beggar; it don't give her a chance. If I were only a , now, there's nothing that woman would not do to make me happy. As it is—” The O'Kelly struck a chord. We resumed our studies.
 
But to return to our conversation at the stage door.
 
“Meet me at the Cheshire Cheese at one o'clock,” said the O'Kelly, shaking hands. “If ye don't get on here, we'll try something else; but I've spoken to Hodgson, and I think ye will. Good luck to ye!”
 
He went his way and I mine. In a glass box just behind the door a curved-nose, round-eyed little man, looking like an angry bird in a cage, demanded of me my business. I showed him my letter of appointment.
 
“Up the passage, across the stage, along the corridor, first floor, second door on the right,” he instructed me in one breath, and shut the window with a snap.
 
I proceeded up the passage. It somewhat surprised me to discover that I was not in the least excited at the thought of this, my first introduction to “behind the scenes.”
 
I recall my father's asking a young soldier on his return from the Crimea what had been his sensations at the commencement of his first charge.
 
“Well,” replied the young fellow, “I was worrying all the time, remembering I had rushed out leaving the beer tap running in the canteen, and I could not forget it.”
 
So far as the stage I found my way in safety. Pausing for a moment and glancing round, my impression was not so much disillusionment concerning all things as realisation of my worst forebodings. In that one moment all connected with the stage fell from me, nor has it since ever returned to me. From the tawdry decorations of the to the childish make-belief littered around on the stage, I saw the Theatre a painted thing of and patches—the grown child's doll's-house. The Drama may improve us, elevate us, interest and teach us. I am sure it does; long may it flourish! But so likewise does the and undressing of dolls, the opening of the front of the house, and the tenderly putting of them away to bed in rooms they completely fill, train our little dears to the duties and the joys of motherhood. Toys! what wise child despises them? Art, fiction, the musical glasses: are they not preparing us for the time, however distant, when we shall at last be grown up?
 
In a of ways beyond the stage I lost myself, but eventually, guided by voices, came to a large room furnished barely with many chairs and worn settees, and here I found some twenty to thirty ladies and gentlemen already seated. They were of varying ages, sizes and appearance, but all of them alike in having about them that impossible-to-define but impossible-to-mistake suggestion of . The men were chiefly for having no hair on their faces, but a good deal upon their heads; the ladies, one and all, were blessed with pink and white and exceptionally bright eyes. The conversation, carried on in but voices, was chiefly of “him” and “her.” Everybody appeared to be on an affectionate footing with everybody else, the terms of address being “My dear,” “My love,” “Old girl,” “Old chappie,” names—when name of any sort was needful—alone being employed. I hesitated for a minute with the door in my hand, fearing I had stumbled upon a family . As, however, nobody seemed disconcerted at my entry, I ventured to take a vacant seat next to an extremely small and boyish-looking gentleman and to ask him if this was the room in which I, an for a place in the chorus of the forthcoming comic opera, ought to be waiting.
 
He had large, eyes, with which he looked me up and down. For such a length of time he remained thus regarding me in silence that a massive gentleman sitting near, who had overheard, took it upon himself to reply in the affirmative, adding that from what he knew of Butterworth we would all of us be waiting here a damned sight longer than any gentleman should keep other ladies and gentlemen waiting for no reason at all.
 
“I think it exceedingly bad form,” observed the fishy-eyed gentleman, in deep contralto tones, “for any gentleman to take it upon himself to reply to a remark addressed to quite another gentleman.”
 
“I beg your pardon,” retorted the large gentleman. “I thought you were asleep.”
 
“I think it very ill manners,” remarked the small gentlemen in the same slow and impressive tones, “for any gentleman to tell another gentleman, who happens to be wide awake, that he thought he was asleep.”
 
“Sir,” returned the massive gentleman, assuming with the help of a large umbrella a quite Johnsonian attitude, “I decline to alter my manners to suit your taste.”
 
“If you are satisfied with them,” replied the small gentleman, “I cannot help it. But I think you are making a mistake.”
 
“Does anybody know what the opera is about?” asked a bright little woman at the other end of the room.
 
“Does anybody ever know what a comic opera is about?” asked another lady, whose appearance suggested experience.
 
“I once asked the author,” observed a weary-looking gentleman, speaking from a corner. “His reply was: 'Well, if you had asked me at the beginning of the I might have been able to tell you, but damned if I could now!'”
 
“It wouldn't surprise me,” observed a good-looking gentleman in a coat, “if there occurred somewhere in the a drinking chorus for male voices.”
 
“Possibly, if we are good,” added a thin lady with golden hair, “the heroine will to us her love troubles, which will interest us and excite us.”
 
The door at the further end of the room opened and a name was called. An elderly lady rose and went out.
 
“Poor old Gertie!” remarked sympathetically the thin lady with the golden hair. “I'm told that she really had a voice once.”
 
“When poor young Bond first came to London,” said the massive gentleman who was sitting on my left, “I remember his telling me he applied to Lord Barrymore's 'tiger,' Alexander Lee, I mean, of course, who was then running the Theatre, for a place in the chorus. Lee heard him sing two lines, and then jumped up. 'Thanks, that'll do; good morning,' says Lee. Bond knew he had got a good voice, so he asked Lee what was wrong. 'What's wrong?' shouts Lee. 'Do you think I hire a chorus to show up my principals?'”
 
“Having regard to the company present,” commented the fishy-eyed gentleman, “I consider that as distinctly lacking in .”
 
The feeling of the company appeared to be with the fish-eyed young man.
 
For the next half hour the door at the further end of the room continued to open and close, , ogre-fashion, each time some dainty human , now chorus gentleman, now chorus lady. Conversation among our thinning ranks became more fitful, a growing anxiety making for silence.
 
At length, “Mr. Horace Moncrieff” called the voice of the unseen Charon. In common with the rest, I glanced round languidly to see what sort of man “Mr. Horace Moncrieff” might be. The door was pushed open further. Charon, now revealed as a pale-faced young man with a moustache, put his head into the room and repeated impatiently his invitation to the coy Moncrieff. It suddenly occurred to me that I was Mr. Horace Moncrieff.
 
“So glad you've found yourself,” said the pale-faced young man, as I joined him at the door. “Please don't lose yourself again; we're rather pressed for time.”
 
I crossed with him through a bar—one of the saddest of sights—into a room beyond. A melancholy-looking gentleman was seated at the piano. Beside him stood a tall, handsome man, who was opening and reading rapidly from a bundle of letters he held in his hand. A big, burly, bored-looking gentleman was making desperate efforts to be amused at the staccato conversation of a sharp-faced, restless-eyed gentleman, whose was that he never by any chance looked at the person to whom he was talking, but always at something or somebody else.
 
“Moncrieff?” the tall, handsome man—whom I later discovered to be Mr. Hodgson, the manager—without raising his eyes from his letters.
 
The pale-faced gentleman responded for me.
 
“Fire away,” said Mr. Hodgson.
 
“What is it?” asked of me wearily the melancholy gentleman at the piano.
 
“'Sally in Our Alley,'” I replied.
 
“What are you?” interrupted Mr. Hodgson. He had never once looked at me, and did not now.
 
“A ,” I replied. “Not a full tenor,” I added, remembering the O'Kelly's instructions.
 
“ impossible to fill a tenor,” remarked the restless-eyed gentleman, looking at me and speaking to the worried-looking gentleman. “Ever tried?”
 
Everybody laughed, with the exception of the melancholy gentleman at the piano, Mr. Hodgson throwing in his contribution without raising his eyes from his letters. Throughout the proceedings the restless-eyed gentleman continued to make humorous observations of this nature, at which everybody laughed, excepting always the melancholy pianist—a short, sharp, mechanical laugh, of the least suggestion of amusement. The restless-eyed gentleman, it appeared, was the leading low of the theatre.
 
“Go on,” said the melancholy gentleman, and commenced the accompaniment.
 
“Tell me when he's going to begin,” remarked Mr. Hodgson at the conclusion of the first verse.
 
“He has a fair voice,” said my accompanist. “He's evidently nervous.”
 
“There is a prejudice throughout theatrical audiences,” observed Mr. Hodgson, “in favour of a voice they can hear. That is all I am trying to impress upon him.”
 
The second verse, so I imagined, I sang in the voice of a . The burly gentleman—the translator of the French , as he turned out to be; the author of the English version, as he preferred to be called—acknowledged to having distinctly detected a sound. The restless-eyed comedian suggested an announcement from the stage requesting strict silence during my part of the performance.
 
The sickness of fear was stealing over me. My voice, so it seemed to me, disappointed at the effect it had produced, had , sulky, into my boots, whence it refused to emerge.
 
“Your voice is all right—very good,” whispered the musical conductor. “They want to hear the best you can do, that's all.”
 
At this my voice ran up my legs and out of my mouth. “Thirty shillings a week, half salary for rehearsals. If that's all right, Mr. Catchpole will give you your agreement. If not, very much obliged. Good morning,” said Mr. Hodgson, still absorbed in his correspondence.
 
With the pale-faced young man I retired to a desk in the corner, where a few seconds sufficed for the completion of the business. Leaving, I sought to catch the eye of my melancholy friend, but he appeared too sunk in dejection to notice anything. The restless-eyed comedian, looking at the author of the English version and addressing me as Boanerges, wished me good morning, at which the everybody laughed; and, informed as to the way out by the pale-faced Mr. Catchpole, I left.
 
The first “call” was for the following Monday at two o'clock. I found the theatre full of life and . The principals, who had just finished their own , were talking together in a group. We ladies and gentlemen of the chorus filled the centre of the stage. I noticed the lady I had heard referred to as Gertie; as also the thin lady with the golden hair. The massive gentleman and the fishy-eyed young man were again in close ; so long as I knew them they always were together, , apparently, of a sympathetic for each other. The fishy-eyed young gentleman was explaining the age at which he thought decayed chorus singers ought, in justice to themselves and the public, to retire from the profession; the massive gentleman, the age and size at which he thought parcels of boys ought to be learning manners across their mother's knee.
 
Mr. Hodgson, still reading letters exactly as I had left him four days ago, stood close to the footlights. My friend, the musical director, armed with a violin and supported by about a dozen other musicians, occupied the orchestra. The adapter and the stage manager—a Frenchman whom I found it good policy to mistake for a born Englishman—sat deep in confabulation at a small table a temporary gas jet. Quarter of an hour or so passed by, and then the stage manager, becoming suddenly in a hurry, rang a small bell furiously.
 
“Clear, please; all............