Part 7 (1/2)

”If we are going to do stunts there is no use in bringing back the chairs. After Elaine's presents have all been carted upstairs everybody can stand in that half of the room. We can roll the rug up from the other end exactly half way. That will give room and a smooth floor for dancing stunts. We shall surely have some,” planned Blanche. ”I had better inform the company of what's going to happen next. It will give them a chance to think up a stunt.”

While the faithful greenwood men busied themselves in Elaine's behalf, Blanche proceeded to make a humorous address to the guests. Her announcement sent them into a flutter. At least half of the crowd protested to her and to one another that they did not know any stunts to perform.

When the deck was finally clear for action and the show began, it was amazing the number of funny little stunts that came to light. The first girl called upon was Hortense Barlow. She marched solemnly to the center of the improvised stage and announced ”'Home Sweet Home,' by our domestic animals.” A rooster l.u.s.tily crowed the first few bars of the old song, then two hens took it up. They relinquished it in favor of a bleating lamb. It was succeeded by a pair of grunting pigs. The opening bars of the chorus were mournfully ”mooed” by a lonely cow, and the rest of it was ably sung by a donkey, a dog and a guinea hen. She then repeated the chorus as a concerted effort on the part of the barnyard denizens.

The manner in which she managed to imitate each creature, still keeping fairly in tune, was clever in the extreme. Her final concert chorus convulsed her audience and she was obliged to repeat it.

Hers was the only encore allowed. Portia announced that, owing to the lack of time, encores would have to be dispensed with. The guests had received permission to be out of their house until half-past eleven and no later.

Leila was the next on the list and responded with an old-time Irish jig.

Vera Ingram and Mary Cornell gave a brief singing and dancing sketch.

Jerry responded with the one stunt she could do to perfection. She had half closed her eyes, opened her mouth to its widest extent, and wailed a popular song just enough off the key to be funny. Heartily detesting this cla.s.s of melody, she never failed to make her chums laugh with her mocking imitation.

Portia being in charge of the stunt programme, she called upon Blanche who gave the ”Prologue from Pagliacci” in a baritone voice and with expression which would have done credit to an opera singer. Lucy Warner surprised her chums by a fine recital of ”The Chambered Nautilus,”

giving the quiet dramatic emphasis needed to bring out Holmes' poem.

Marie Peyton danced a fisher's hornpipe. Vera Mason borrowed one of Robin's kimonos and a fan and performed a j.a.panese fan dance. Several of the Silvertonites sang, danced, recited, or told a humorous story.

”As we shall have time for only one more stunt, I will call on Ronny Lynne,” Portia announced, smiling invitingly at Ronny. ”Wait a minute until I call the orchestra together. We will play for you,” she added.

”Play for me for what?” Ronny innocently inquired. Nevertheless she laughed. Though she had yet to dance for the first time at Hamilton, she knew that her ability as a dancer was an open secret.

”For your dance, of course. What kind of dance are you going to do?

Mustn't refuse. Everyone else has been so obliging.” Portia beamed triumph of having thus neatly caught Ronny.

”I suppose I must fall in line. I don't know what to dance. Most of my dances require special costumes.” Ronny glanced dubiously at the white and gold evening frock she was wearing. ”I know one I can do,” she said, after a moment's thought.

Raising her voice so as to be heard by all, she continued in her clear tones: ”Girls, I am going to do a Russian interpretative dance for you.

The idea is this: A dancer at the court of a king, who is honored because of her art, loses her sweetheart. She becomes so despondent that no amount of praise can lift her from her gloom. She tries to decide whether she had best kill her rival or herself. Finally she decides to kill her rival. I shall endeavor to make this plain in a dance containing two intervals and three episodes. The first depicts the dancer in her glory. The second, in her dejection. The third, her decision to kill.”

A brief consultation with the orchestra as to what they could play, suitable to the interpretation, and Ronny was ready. Phyllis, the reliable, who had been proficient on the violin from childhood, and possessed a wide musical repertoire, both vocal and instrumental, played over a few measures of a valse lente. Her musicians were familiar enough with it to follow her lead. Moskowski's ”Serenade” was chosen for the second episode, and Scharwenki's ”Polish Dance” for the third.

Every pair of eyes was centered on Ronny's slight, graceful figure as she stood at ease for an instant waiting for the music to begin. Many of the girls present had never seen an interpretative dance. With the first slow, seductive strains of the waltz, Ronny became the court dancer. In perfect time to the music she made the low sweeping salutes to an imaginary court, then executed a swaying, beautiful dance of intricate steps in which her whole body seemed to take part in the expression of her art. The grace of that symphonic, white and gold figure was such the watchers held their breath. At the end of the episode there was a dead silence. Applause, when it came, was deafening.

Ronny claimed the tiny interval for rest, merely raising her hands in a despairing gesture at the hub-bub her dance had created. By the time she was ready to continue it had subsided. All were now anxious to see her interpretation of the jilted woman.

The second, though much harder to execute, Ronny liked far better than the first. Particularly fond of the Russian idea of the dance, she threw her whole heart into the story she was endeavoring to convey by motion.

When she had finished she was tired enough to gladly claim a rest while Portia went upstairs for a paper knife which would serve as a dagger for the third episode.

The wild strains of the ”Polish Dance” were well suited to the character of the episode. The flitting, white and gold figure of indolent grace had now become one of tense purpose. Every line of her figure had now become charged with the desire for revenge. Every step of the dance and movement of the arms were in accordance with the mood she was portraying. She enacted the dancer's plan to steal upon her rival unawares and deliver the fatal knife thrust.

Had Ronny not explained the dance beforehand, so vivid was her interpretation, her audience could have gained the meaning of it without difficulty. A united sighing breath of appreciation went up as she concluded the Terpsich.o.r.ean tragedy by a triumphant flinging of her arms above her head, one hand tightly grasping the murder knife.

Carried out of life ordinary by the glimpse of another world of emotion, it took the admiring girls a minute or so to realize that Ronny was herself and a fellow student. She had cast over them the perfect illusion of the tragic dancer; the sure measure of her art. When they came out of it they crowded about her asking all sorts of eager questions.

”Ronny has brought down the house, as usual. Look at those girls fairly idolizing her.” Jerry's round face was wreathed with smiles over Ronny's triumph. ”I shall go in for interpretative dancing myself, hereafter.

It's about time I did something to make myself popular around here.”