My Actor-Husband: A true story of American stage life — John Shaqi
My Actor-Husband: A true story of American stage lifeAnonymous
General
My Actor-Husband: A true story of American stage life
Anonymous
Actors -- Fiction; Married people -- Fiction; Theater -- Moral and ethical aspects -- Fiction
Experience had come back to town with us. Before leaving the mountains,
Will had jestingly asked her whether she would like to see Broadway. She
took him at his word. We flattered ourselves she had become fond of us.
We discovered later that it was the profession, not the family, which
lured her. She had found a new volume of faery lore. Will was the faery
prince. Sometimes I wondered just how Experience reconciled Will's
morning grumpiness with her preconceived notion of a hero. I recall how
after seeing Will in a new rôle he had asked her how she liked him. She
expressed herself as pleased with the play in general and with him in
particular. But after he left the room she confided to me the following:
"Ain't he the naturalest thing when he yells at that man with the
powdered hair, Jackwees or somethin' like that--'Jackwees, bring me my
sword!' I declare, ma'am, I jumped a foot and started for that sword! It
was so natural; that's just the way he yells when I forget the morning
papers."
The reliability of Experience brought me more leisure. I was free to go
about without worry over the boy. I felt that intellectually I needed
stimulus and I planned a winter's work. Of course everything depended
upon the play "getting over," to use the vernacular. Will said he did
not see how it could fail. Everyone connected with the production said
the same thing. Success was in the air. Several times I had dropped in
to see a rehearsal. I was interested to know the "method" of this
particular manager about whom so much had been written. His productions
were always effectively mounted. Magazine articles, full-page interviews
had from time to time printed his recipes for evolving successful stars
as well as money-making plays. One thrilling account in
particular--supposedly his own words--told of the strenuous training of
the tyro; how he aroused in his actors the precise degree of emotion
necessary to a given scene. "I dragged her by the hair!" or "I pictured
her own mother lying dead, foully murdered, before her until she cried
aloud at the picture I had conjured." Again, "I tied my wrists together,
I rolled about the floor, struggling to free myself; I wanted to feel
just what a man would feel under similar conditions!" These and other
highly coloured statements had from time to time been served up to the
public. It is amazing how gullibly the public bites at the press-agent's
worm. In nearly all such instances nothing could be farther from the
truth. My own observation convinced me that the man's genius lay in his
ability to select the right person for the right place. Having made the
selection he played upon the _amour propre_ of his puppets. He led them
to believe he had supreme confidence in their ability. The ruse was
successful. It is the better part of human nature to want to measure up
to the good opinion of others.
Public-domain text, read in full here on John Shaqi.
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