Part 22 (2/2)
There were already figures as for a rehearsal behind the curtain; indeed, that thin structure revealed angry silhouettes, and loud voices reached us.
”s.h.!.+” came from that source: ”or them fools down there, eatin' crackers an' cheese, 'll hear ye.”
”I don't care if the whole town hears me,” replied a pa.s.sionate female voice. ”You said I could have twenty dollars, and now you won't give it to me. I won't play to-night till I do have it--hear that!”
”s.h.!.+ or I'll shake ye! Don't make a fool o' yourself, Maud. Wait till I get to-night's receipts----”
”I won't! I'd like to see you shake me; ha! ha!”
Here the angry figures became plastic and tilted at each other menacingly; the woman seized something and threw it; there was a crash.
Aunt Salomy choked placidly over her cracker crumbs. Mrs. Kobbe gazed with faithful interest.
Soon the very tall and hard-looking young man who had sold me the tickets came down from behind the curtain, with a hang-dog air, and his handkerchief bound about his head, and returned to the office at the door.
Almost at the same moment Captain Pharo and Uncle Coffin walked fearlessly up the aisle, their familiar hats on their heads, their pipes in harmonious glowing action, and sat down beside us with beams of recognition.
The hard young man, who appeared to be pecuniary manager as well as leading star of the show, came to us. ”No smoking here!” he said, severely.
”No smokin'!” replied Captain Pharo. ”Ye'd orter put it on yer plackards then! D'ye s'pose I'd come to yer show ef I'd known that?
Come along, Coffin! I'm goin' ter hang out outside, by clam!
[Ill.u.s.tration: Music fragment: ”'My days are as the gra.s.s, Or as--'”]
”No singing, either, sir, on the part of the audience. This company is from Boston, sir.”
”Is she?” said Captain Pharo, with blighting sarcasm, new-lighting his pipe preparatory to leaving the hall; ”I thought she was from Jaffy!”
”Dodrabbit ye, Pharo!” said Uncle Coffin, wirily folding his powerful arms; ”keep yer seat, Pharo, and keep yer pipe. Ef any man from Boston, or any other man, wants ter take the pipe outer my mouth, or outer Pharo Kobbe's mouth, let 'im come on an' try it!”
At this opportunity, I silently pressed a coin of such meaning into the manager's hand that he skipped gracefully past us to the stage, where he proceeded to explain--while the ribs of court-plaster with which he had endeavored to conceal his wounds kept constantly falling upon the floor--that, owing to the unavoidable illness of some of the actors, he should be obliged to give us a choice variety entertainment instead of the play advertised.
Captain Pharo and Uncle Coffin, not yet comprehending this idea, and smoking triumphantly with their hats on, listened to several ranting recitations from the wife who had so inopportunely defaced her husband's visage; but when, after a brief recess, she again appeared with a stage bow, Captain Pharo looked blankly at Uncle Coffin.
”Where 's the ba-ar, Coffin?”
”I kind o' suspicion they've giv' it up, Pharo; goin' to have recitationers 'nstead.”
”Curfew _shall_ not ring to-night!” yelled the woman on the stage, with a leap of several feet perpendicularly.
”By clam!” cried poor Captain Pharo, rising; ”I don' know what she is, but she is goin' to ring, and she 's goin' to ring loud too, by clam!
I come here to see 'Ten Nights in a Ba-ar Room,' I didn't come here t'
see contortioners and recitationers. Give us any more o' yer----”
Here, an onion, thrown from the rear of the room by some sympathetic partner in Captain Pharo's woes, came whizzing over our heads and just missed the woman, by good aim; she retreated without the formality of her usual sweeping bow. The manager began hastily to get together his stage setting for the play. A table and a bottle were first produced; Captain Pharo and Uncle Coffin began to nudge each other with choice antic.i.p.ation of the advancing drama, when another onion, thrown with unerring vision, took the bottle and shattered it, with its contents, upon the stage floor, directly under our faces.
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