Main Street
the striding youth in armor; then he was Doc Kennicott of Gopher
Prairie, and she was recaptured by Main Street. Never, not all her life,
would she behold jungles and the tombs of kings. There were strange
things in the world, they really existed; but she would never see them.
She would recreate them in plays!
She would make the dramatic association understand her aspiration. They
would, surely they would----
She looked doubtfully at the impenetrable reality of yawning trolley
conductor and sleepy passengers and placards advertising soap and
underwear.
CHAPTER XVIII
I
SHE hurried to the first meeting of the play-reading committee. Her
jungle romance had faded, but she retained a religious fervor, a surge
of half-formed thought about the creation of beauty by suggestion.
A Dunsany play would be too difficult for the Gopher Prairie
association. She would let them compromise on Shaw--on “Androcles and
the Lion,” which had just been published.
The committee was composed of Carol, Vida Sherwin, Guy Pollock, Raymie
Wutherspoon, and Juanita Haydock. They were exalted by the picture of
themselves as being simultaneously business-like and artistic. They
were entertained by Vida in the parlor of Mrs. Elisha Gurrey's
boarding-house, with its steel engraving of Grant at Appomattox, its
basket of stereoscopic views, and its mysterious stains on the gritty
carpet.
Vida was an advocate of culture-buying and efficiency-systems. She
hinted that they ought to have (as at the committee-meetings of the
Thanatopsis) a “regular order of business,” and “the reading of the
minutes,” but as there were no minutes to read, and as no one knew
exactly what was the regular order of the business of being literary,
they had to give up efficiency.
Carol, as chairman, said politely, “Have you any ideas about what play
we'd better give first?” She waited for them to look abashed and vacant,
so that she might suggest “Androcles.”
Guy Pollock answered with disconcerting readiness, “I'll tell you: since
we're going to try to do something artistic, and not simply fool around,
I believe we ought to give something classic. How about 'The School for
Scandal'?”
“Why----Don't you think that has been done a good deal?”
“Yes, perhaps it has.”
Carol was ready to say, “How about Bernard Shaw?” when he treacherously
went on, “How would it be then to give a Greek drama--say 'Oedipus
Tyrannus'?”
“Why, I don't believe----”
Vida Sherwin intruded, “I'm sure that would be too hard for us. Now I've
brought something that I think would be awfully jolly.”
She held out, and Carol incredulously took, a thin gray pamphlet
entitled “McGinerty's Mother-in-law.” It was the sort of farce which is
advertised in “school entertainment” catalogues as:
Riproaring knock-out, 5 m. 3 f., time 2 hrs., interior set, popular with
churches and all high-class occasions.
Carol glanced from the scabrous object to Vida, and realized that she
was not joking.
“But this is--this is--why, it's just a----Why, Vida, I thought you
appreciated--well--appreciated art.”
Vida snorted, “Oh. Art. Oh yes. I do like art. It's very nice. But after
all, what does it matter what kind of play we give as long as we get the
association started? The thing that matters is something that none of
you have spoken of, that is: what are we going to do with the money, if
we make any? I think it would be awfully nice if we presented the high
school with a full set of Stoddard's travel-lectures!”
Carol moaned, “Oh, but Vida dear, do forgive me but this farce----Now
what I'd like us to give is something distinguished. Say Shaw's
'Androcles.' Have any of you read it?”
“Yes. Good play,” said Guy Pollock.
Then Raymie Wutherspoon astoundingly spoke up:
“So have I. I read through all the plays in the public library, so's
to be ready for this meeting. And----But I don't believe you grasp
the irreligious ideas in this 'Androcles,' Mrs. Kennicott. I guess the
feminine mind is too innocent to understand all these immoral writers.
I'm sure I don't want to criticize Bernard Shaw; I understand he is very
popular with the highbrows in Minneapolis; but just the same----As far
as I can make out, he's downright improper! The things he SAYS----Well,
it would be a very risky thing for our young folks to see. It seems to
me that a play that doesn't leave a nice taste in the mouth and that
hasn't any message is nothing but--nothing but----Well, whatever it may
be, it isn't art. So----Now I've found a play that is clean, and there's
some awfully funny scenes in it, too. I laughed out loud, reading it.
It's called 'His Mother's Heart,' and it's about a young man in college
who gets in with a lot of free-thinkers and boozers and everything, but
in the end his mother's influence----”
Juanita Haydock broke in with a derisive, “Oh rats, Raymie! Can the
mother's influence! I say let's give something with some class to it.
I bet we could get the rights to 'The Girl from Kankakee,' and that's a
real show. It ran for eleven months in New York!”
“That would be lots of fun, if it wouldn't cost too much,” reflected
Vida.
Carol's was the only vote cast against “The Girl from Kankakee.”
II
She disliked “The Girl from Kankakee” even more than she had expected.
It narrated the success of a farm-lassie in clearing her brother of a
charge of forgery. She became secretary to a New York millionaire and
social counselor to his wife; and after a well-conceived speech on the
discomfort of having money, she married his son.
There was also a humorous office-boy.
Carol discerned that both Juanita Haydock and Ella Stowbody wanted the
lead. She let Juanita have it. Juanita kissed her and in the exuberant
manner of a new star presented to the executive committee her theory,
“What we want in a play is humor and pep. There's where American
playwrights put it all over these darn old European glooms.”
As selected by Carol and confirmed by the committee, the persons of the
play were:
John Grimm, a millionaire . . . . Guy Pollock
His wife. . . . . . . . . Miss Vida Sherwin
His son . . . . . . . . . Dr. Harvey Dillon
His business rival. . . . . . . Raymond T. Wutherspoon
Friend of Mrs. Grimm . . . . . . Miss Ella Stowbody
The girl from Kankakee . . . . . Mrs. Harold C. Haydock
Her brother. . . . . . . . Dr. Terence Gould
Her mother . . . . . . . . Mrs. David Dyer
Stenographer . . . . . . . . Miss Rita Simons
Office-boy . . . . . . . . Miss Myrtle Cass
Maid in the Grimms' home . . . . Mrs. W. P. Kennicott
Direction of Mrs. Kennicott
Among the minor lamentations was Maud Dyer's “Well of course I suppose I
look old enough to be Juanita's mother, even if Juanita is eight months
older than I am, but I don't know as I care to have everybody noticing
it and----”
Carol pleaded, “Oh, my DEAR! You two look exactly the same age. I chose
you because you have such a darling complexion, and you know with powder
and a white wig, anybody looks twice her age, and I want the mother to
be sweet, no matter who else is.”
Ella Stowbody, the professional, perceiving that it was because of a
conspiracy of jealousy that she had been given a small part, alternated
between lofty amusement and Christian patience.
Carol hinted that the play would be improved by cutting, but as every
actor except Vida and Guy and herself wailed at the loss of a single
line, she was defeated. She told herself that, after all, a great deal
could be done with direction and settings.
Sam Clark had boastfully written about the dramatic association to his
schoolmate, Percy Bresnahan, president of the Velvet Motor Company
of Boston. Bresnahan sent a check for a hundred dollars; Sam added
twenty-five and brought the fund to Carol, fondly crying, “There!
That'll give you a start for putting the thing across swell!”
She rented the second floor of the city hall for two months. All through
the spring the association thrilled to its own talent in that dismal
room. They cleared out the bunting, ballot-boxes, handbills, legless
chairs. They attacked the stage. It was a simple-minded stage. It was
raised above the floor, and it did have a movable curtain, painted with
the advertisement of a druggist dead these ten years, but otherwise
it might not have been recognized as a stage. There were two
dressing-rooms, one for men, one for women, on either side. The
dressing-room doors were also the stage-entrances, opening from the
house, and many a citizen of Gopher Prairie had for his first glimpse of
romance the bare shoulders of the leading woman.
There were three sets of scenery: a woodland, a Poor Interior, and a
Rich Interior, the last also useful for railway stations, offices, and
as a background for the Swedish Quartette from Chicago. There were three
gradations of lighting: full on, half on, and entirely off.
This was the only theater in Gopher Prairie. It was known as the “op'ra
house.” Once, strolling companies had used it for performances of “The
Two Orphans,” and “Nellie the Beautiful Cloak Model,” and “Othello” with
specialties between acts, but now the motion-pictures had ousted the
gipsy drama.
Carol intended to be furiously modern in constructing the office-set,
the drawing-room for Mr. Grimm, and the Humble Home near Kankakee.
It was the first time that any one in Gopher Prairie had been so
revolutionary as to use enclosed scenes with continuous side-walls. The
rooms in the op'ra house sets had separate wing-pieces for sides, which
simplified dramaturgy, as the villain could always get out of the hero's
way by walking out through the wall.
The inhabitants of the Humble Home were supposed to be amiable and
intelligent. Carol planned for them a simple set with warm color. She
could see the beginning of the play: all dark save the high settles and
the solid wooden table between them, which were to be illuminated by a
ray from offstage. The high light was a polished copper pot filled with
primroses. Less clearly she sketched the Grimm drawing-room as a series
of cool high white arches.
As to how she was to produce these effects she had no notion.
She discovered that, despite the enthusiastic young writers, the
drama was not half so native and close to the soil as motor cars and
telephones. She discovered that simple arts require sophisticated
training. She discovered that to produce one perfect stage-picture would
be as difficult as to turn all of Gopher Prairie into a Georgian garden.
She read all she could find regarding staging, she bought paint and
light wood; she borrowed furniture and drapes unscrupulously; she made
Kennicott turn carpenter. She collided with the problem of lighting.
Against the protest of Kennicott and Vida she mortgaged the association
by sending to Minneapolis for a baby spotlight, a strip light, a dimming
device, and blue and amber bulbs; and with the gloating rapture of
a born painter first turned loose among colors, she spent absorbed
evenings in grouping, dimming-painting with lights.
Only Kennicott, Guy, and Vida helped her. They speculated as to how
flats could be lashed together to form a wall; they hung crocus-yellow
curtains at the windows; they blacked the sheet-iron stove; they put on
aprons and swept. The rest of the association dropped into the theater
every evening, and were literary and superior. They had borrowed
Carol's manuals of play-production and had become extremely stagey in
vocabulary.
Juanita Haydock, Rita Simons, and Raymie Wutherspoon sat on a sawhorse,
watching Carol try to get the right position for a picture on the wall
in the first scene.