"Sentimental soloist, soprano," she answered promptly, remembering Irwin's advice to talk up.
"Whatcher name?" Mr. Symes asked, scarcely deigning to glance at her.
She hesitated. So rapidly had she been rushed into the adventure that she had not considered the question of a name at all.
"Any name? Stage name?" he bellowed impatiently.
"Nan Bellayne," she invented on the spur of the moment. "B-e-l-l-a-y-n-e. Yes, that's it."
He scribbled it into a notebook. "All right. Take your turn Wednesday and Saturday."
"How much do I get?" Edna demanded.
"Two-an'-a-half a turn. Two turns, five. Getcher pay first Monday after second turn."
And without the simple courtesy of "Good day," he turned his back on her and plunged into the newspaper he had been reading when she entered.
Edna came early on Wednesday evening, Letty with her, and in a telescope basket her costume—a simple affair. A plaid shawl borrowed from the washerwoman, a ragged scrubbing skirt borrowed from the charwoman, and a gray wig rented from a costumer for twenty-five cents a night, completed the outfit; for Edna had elected to be an old Irishwoman singing broken-heartedly after her wandering boy.
Though they had come early, she found everything in uproar. The main performance was under way, the orchestra was playing and the audience intermittently applauding. The infusion of the amateurs clogged the working of things behind the stage, crowded the passages, dressing rooms, and wings, and forced everybody into everybody else's way. This was particularly distasteful to the professionals, who carried themselves as befitted those of a higher caste, and whose behavior toward the pariah amateurs was marked by hauteur and even brutality. And Edna, bullied and elbowed and shoved about, clinging desperately to her basket and seeking a dressing room, took note of it all.
A dressing room she finally found, jammed with three other amateur "ladies," who were "making up" with much noise, high-pitched voices, and squabbling over a lone mirror. Her own make-up was so simple that it was quickly accomplished, and she left the trio of ladies holding an armed truce while they passed judgment upon her. Letty was close at her shoulder, and with patience and persistence they managed to get a nook in one of the wings which commanded a view of the stage.
A small, dark man, dapper and debonair, swallow-tailed and top-hatted, was waltzing about the stage with dainty, mincing steps, and in a thin little voice singing something or other about somebody or something evidently pathetic. As his waning voice neared the end of the lines, a large woman, crowned with an amazing wealth of blond hair, thrust rudely past Edna, trod heavily on her toes, and shoved her contemptuously to the side. "Bloomin' hamateur!" she hissed as she went past, and the next instant she was on the stage, graciously bowing to the audience, while the small, dark man twirled extravagantly about on his tiptoes.
"Hello, girls!"
This greeting, drawled with an inimitable vocal caress in every syllable, close in her ear, caused Edna to give a startled little jump. A smooth-faced, moon-faced young man was smiling at her good-naturedly. His "make-up" was plainly that of the stock tramp of the stage, though the inevitable whiskers were lacking.
"Oh, it don't take a minute to slap'm on," he explained, divining the search in her eyes and waving in his hand the adornment in question. "They make a feller sweat," he explained further. And then, "What's yer turn?"
"Soprano—sentimental," she answered, trying to be offhand and at ease.
"Whata you doin' it for?" he demanded directly.
"For fun; what else?" she countered.
"I just sized you up for that as soon as I put eyes on you. You ain't graftin' for a paper, are you?"
"I never met but one editor in my life," she replied evasively, "and I, he—well, we didn't get on very well together."
"Hittin' 'm for a job?"
Edna nodded carelessly, though inwardly anxious and cudgelling her brains for something to turn the conversation.
"What'd he say?"
"That eighteen other girls had already been there that week."
"Gave you the icy mit, eh?" The moon-faced young man laughed and slapped his thighs. "You see, we're kind of suspicious. The Sunday papers 'd like to get Amateur Night done up brown in a nice little package, and the manager don't see it that way. Gets wild-eyed at the thought of it."
"And what's your turn?" she asked.
"Who? me? Oh, I'm doin' the tramp act tonight. I'm Charley Welsh, you know."
She felt that by the mention of his name he intended to convey to her complete enlightenment, but the best she could do was to say politely, "Oh, is that so?"
She wanted to laugh at the hurt disappointment which came into his face, but concealed her amusement.
"Come, now," he said brusquely, "you can't stand there and tell me you've never heard of Charley Welsh? Well, you must be young. Why, I'm an Only, the Only amateur at that. Sure, you must have seen me. I'm everywhere. I could be a professional, but I get more dough out of it by doin' the amateur."
"But what's an 'Only'?" she queried. "I want to learn."
"Sure," Charley Welsh said gallantly. "I'll put you wise. An 'Only' is a nonpareil, the feller that does one kind of a turn better'n any other feller. He's the Only, see?"
And Edna saw.
"To get a line on the biz," he continued, "throw yer lamps on me. I'm the Only all-round amateur. To-night I make a bluff at the tramp act. It's harder to bluff it than to really do it, but then it's acting, it's amateur, it's art. See? I do everything, from Sheeny monologue to team song and dance and Dutch comedian. Sure, I'm Charley Welsh, the Only Charley Welsh."
And in this fashion, while the thin, dark man and the large, blond woman warbled dulcetly out on the stage and the other professionals followed in their turns, did Charley Welsh put Edna wise, giving her much miscellaneous and superfluous information and much that she stored away for the Sunday Intelligencer.
"Well, tra la loo," he said suddenly. "There's his highness chasin' you up. Yer first on the bill. Never mind the row when you go on. Just finish yer turn like a lady."
It was at that moment that Edna felt her journalistic ambition departing from her, and was aware of an overmastering desire to be somewhere else. But the stage manager, like an ogre, barred her retreat. She could hear the opening bars of her song going up from the orchestra and the noises of the house dying away to the silence of anticipation.
"Go ahead," Letty whispered, pressing her hand; and from the other side came the peremptory "Don't flunk!" of Charley Welsh.
But her feet seemed rooted to the floor, and she leaned weakly against a shift scene. The orchestra was beginning over again, and a lone voice from the house piped with startling distinctness:
"Puzzle picture! Find Nannie!"
A roar of laughter greeted the sally, and Edna shrank back. But the strong hand of the manager descended on her shoulder, and with a quick, powerful shove propelled her out on to the stage. His hand and arm had flashed into full view, and the audience, grasping the situation, thundered its appreciation. The orchestra was drowned out by the terrible din, and Edna could see the bows scraping away across the violins, apparently without sound. It was impossible for her to begin in time, and as she patiently waited, arms akimbo and ears straining for the music, the house let loose again (a favorite trick, she afterward learned, of confusing the amateur by preventing him or her from hearing the orchestra).
But Edna was recovering her presence of mind. She became aware, pit to dome, of a vast sea of smiling and fun-distorted faces, of vast roars of laughter, rising wave on wave, and then her Scotch blood went cold and angry. The hard-working but silent orchestra gave her the cue, and, without making a sound, she began to move her lips, stretch forth her arms, and sway her body, as though she were really singing. The noise in the house redoubled in the attempt to drown her voice, but she serenely went on with her pantomime. This seemed to continue an interminable time, when the audience, tiring of its prank and in order to hear, suddenly stilled its clamor, and discovered the dumb show she had been making. For a moment all was silent, save for the orchestra, her lips moving on without a sound, and then the audience realized that it had been sold, and broke out afresh, this time with genuine applause in acknowledgment of her victory. She chose this as the happy moment for her exit, and with a bow and a backward retreat, she was off the stage in Letty's arms.