Actors and actresses -- Fiction; New York (N.Y.) -- Fiction; Theater -- Fiction
“None the less, Pottuh,” he said, “why shouldn't you play Othello as a
mulatto? I maintain, you see, it would be taking a step in technique;
they'd get the face, you see. Then I want you to do something really and
truly big: Oedipus. Why not Oedipus? Think of giving the States a thing
like Oedipus done as you could do it! Of coss, I don't say you could
ever be another Mewnay-Sooyay. No. I don't go that far. You haven't
Mewnay-Sooyay's technique. But you could give us just the savour of
Attic culture--at least the savour, you see. The mere savour would be
something. Why should you keep on producing these cheap little plays
they foist on you? Oh, I know you always score a personal success in
the wahst of them, but they've never given you a Big character--and
the play, outside of you, is always piffle. Of coss, you know what
I've always wanted you to do, what I've constantly insisted in print:
Rostand. You commission Rostand to do one of his magnificent things for
you and we serious men will do our part. Now, my duh good chap, I must
be getting on, or the little gel will be telephoning all round the
town!” He turned to the door, pausing upon the threshold. “Now, don't
let any of these cheap little fellows foist any of their cheap little
plays on you. This for my stirrup-cup: you cable Rostand tomorrow. Drop
the cheap little things and cable Rostand. Tell him I suggested it, if
you like.” He disappeared in the hallway, calling back: “My duh Pottuh,
good-night!” And the outer door was heard to close.
Canby, feeling a natural prejudice against this personage, glanced
uneasily at Talbot Potter's face and was surprised to find that fine
bit of modelling contorted with rage. The sight of this emotion was
reassuring, but its source was a mystery, for it had seemed to the
playwright that the wasp-waisted youth's remarks--though horribly
damaging to the cheap little Canbys with their cheap little “Roderick
Hanscoms”--were on the whole rather flattering to the subject of them,
and betokened a real interest in his career.
“Ass!” said Potter.
Canby exhaled a breath of relief. He began to feel that it might be
possible to like this man.
“Ass!” said Potter, striding up and down the room. “Ass! Ass! Ass! Ass!”
And Canby felt easier and happier. He foresaw, too, that there would be
no cabling to Rostand, a thing he had naively feared, for a moment, as
imminent.
Potter halted, bursting into speech less monosyllabic but no less
vehement: “Mr. Tinker, did you ever see Mounet-Sully?”
“No.”
“Did you, Mr. Canby?”
“No.”
“Mewnay-Sooyay!” Potter mimicked the pronunciation of his adviser.
“'Mewnay-Sooyay! Of coss I don't say YOU could ever be another
Mewnay-Sooyay!' Ass! I'll tell you what Mounet-Sully's 'technique'
amounts to, Mr. Tinker. It's yell! Just yell, yell, yell! Does he think
I can't yell! Why, Packer could open his mouth like a hippopotamus and
yell through a part! Ass!”
“Was that young man a-a critic?” Canby asked.
Public-domain text, read in full here on John Shaqi.
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