M'CULLOUGH AS "VIRGINIUS."
CHAPTER IX.
STAGE CHARMS AND OMENS.
The night the Southern Hotel burned down in St. Louis, I was standing at the ladies' entrance when Kate Claxton, whose presence is now always regarded in a city as ominous of a conflagration, came down through the fire and smoke in her night dress and was hurried across the street and out of danger by a gentleman who lent her his overcoat while she made her way to another hotel. There were seventeen lives lost that terrible night, and a young and beautiful actress—Frankie McLellan—in a frantic effort to escape the flames, jumped from a three story window and had her face marked for life by the fall. Just as soon as people got over the horror of the first news of the catastrophe, gossip turned to theorizing and from that diversant stories were told concerning the prominent people who figured in the calamity. Then it became known that Milton Nobles had lost a brand new pair of lavender trousers, in the pockets of which were several hundred dollars that "The Phœnix" had brought him that same evening. Then too, the narrow escape of Rose Osborne, of the Olympic stock company, was recited; but prominent above all, Miss Kate Claxton's presence in the hotel was dwelt upon, and, as she had already fairly earned the unanimous reputation that has since followed her, her name became part of the history of the conflagration, as it has been associated with every conflagration that occurred in her vicinage since. She is rather ungallantly and untruly styled the "Fire Fiend," and all sorts of predictions are made about the theatre she plays in, the hotel she has her rooms at, and the very town and county in which she is temporarily domiciled. But Kate Claxton, who by the way is Mrs. Stevenson, is not the first person in her profession to have acquired such an unenviable reputation. Thomas S. Hamblin, an actor and manager of the early half of the present century, who came from England in 1825 to star in "Shakespeare," was followed by fire even more relentlessly than Miss Claxton has been. No less than four theatres burned under his management, and it was generally said when he undertook to open or run a place of amusement that from that moment it was fated to the flames. Hamblin figures conspicuously in the history of the Bowery. He died in 1854.
KATE CLAXTON.
The sailor who braves the dangers of the deep is always blindly superstitious. There is something in the vastness of the ocean, in its misty immensity, in its magic mirage, its wonders and its terrors, that puzzles the mind and sets fire to the imagination of poor Jack, and even bewilders his superior officers. The artist who undertakes to sail before the public and to amuse it for a living is quite as much at sea as your genuine Jack Tar. He or she finds himself or herself on a veritable ocean, beset by dangers, surrounded by unknown and fickle conditions of atmosphere and phenomena. All the logic of the dry land is of no avail in such a situation. The relations of cause and effect are broken up. Magic is the only excuse for the arrival of the unexpected. The seemingly impossible in results is always the most possible. Once embarked in the dramatic sea, no one can tell where the voyage may end, or what it may bring forth. A shipwreck on auriferous rocks may prove a success.
Triumph may come from ruin; happiness from danger, and the longest voyage and the richest freight are often given the most leaky and shallow craft. There is no knowing which boat will float the longest on the dramatic sea—the best equipped or the most shaky and flimsy. So it is no wonder that actors are all superstitious. They have no compass even to guide them when beset by the varying winds of public opinion. The impossible is always sure to meet them; so they are always on the lookout for magic, and depend in secret quite as much upon their simple necromancy as upon their talent or their study. Every star has, so to speak, a fetich that insures success, or goes through an imaginary formula to invoke prosperity. The public is constantly under the influence of the voudoo arts of actors, and incantations and mystic signs rule the world of Thespis and enslave the public without its knowledge. Some of these fancies and formulæ of intelligent actors are, indeed, more simple and childlike than those that characterize poor Jack of the briny deep.
Imagine, for instance, an actor like John McCullough refusing to approach a theatre except by one route (the one he first takes, no matter how roundabout) from night to night, for fear of breaking the charm of success. Imagine, too, a lot of other trifling things that beset him—signs, omens and the like. If he stumbles when he first enters a scene it is a sign of good luck. If he receives faint applause in the first scene he is sure to succeed, amid thunderous plaudits, in the last; if Forrest's sword, used in the Gladiator, becomes dim by damp air or other cause, it is a sign of lack of fervor in the audience of the evening, while, on the contrary an extraordinary brightness of the weapon is a sure sign of great success. If a negro should cross his path while he is on his way to a performance, that is a never-failing omen of a prosperous engagement, while to encounter a cross-eyed woman (not a man, for strabismus in that sort of creature does not affect John, probably because it is only the woman he looks at), is a sure sign if not of failure, at least of annoyance to himself and coldness on the part of his audience. The Macbeth music is, of course, his great bugbear, as it is with all actors.
THE LATE VENIE CLANCIE.
No success could attend any of his performances if any one were to hum or whistle the witches' chorus in the wings or the dressing-rooms. Any poor, inexperienced devil who might try it would find John, and, in fact, all the company, wrestling with him, and himself lying in the gutter at the back door before he had warbled through two bars of the fatal music. This is, in the opinion of every actor, a sure invocation of disaster. Under the malign influence of this melodic devilishness either the theatre will be burned down (for, if we are to believe the actors and stage tradition, every theatre that was ever burned in this country was put under the spell of fire by some singer or whistler of the witches' chorus), or salaries will not be paid, or the manager will bring his season to an early and disastrous end. Something ill is sure to happen if the Macbeth music is heard, and John shares that belief in common with even the humblest Roman of them all who parades his scraggy shanks nightly in ridiculous contrast with the heroic legs of the tragedian.
John T. Raymond, while believing faithfully in all the regular signs and omens of the stage, has his own special claims to "hog 'em," using the stage vernacular. He has only one suit of clothes for Colonel Sellers, and would not have any other under any circumstances. It would change his luck from good to bad.
"Remark," he says, "there never was a success continued where a play was entirely re-costumed. The public interest began to flag always in some mysterious way from the time the new dresses came on. It is the old story of old wine in new bottles. The wine will burst the bottles. There's going to be no burst with my wine. I stick to my old clothes as long as they will stick to me."
CATHERINE LEWIS.
He has also a lucky $5 gold piece, which he always carries in his vest pocket on the stage, whatever part he is playing, and when he is nervous and fearful of lack of appreciation he has only to rub his magic coin to make everything lovely. In getting out of bed he will not