afford to do what we like. The tragedian will always be a limited
tragedian if he has not learned how to laugh. The comedian who cannot
weep will never touch the highest levels of mirth.

It was in the stock companies that we learned the great lesson of
usefulness; we played everything--tragedy, comedy, farce, and burlesque.
There was no question of parts "suiting" us; we had to take what we were
given.

The first time I was cast for a part in a burlesque I told the stage
manager I couldn't sing and I couldn't dance. His reply was short and to
the point. "You've got to do it," and so I did it in a way--a very funny
way at first, no doubt. It was admirable training, for it took all the
self-consciousness out of me to start with. To end with, I thought it
capital fun, and enjoyed burlesque as much as Shakespeare.

What was a stock company? I forget that in these days the question may
be asked in all good faith, and that it is necessary to answer it. Well,
then, a stock company was a company of actors and actresses brought
together by the manager of a provincial theater to support a leading
actor or actress--"a star"--from London. When Edmund Kean, the Kembles,
Macready, or Mrs. Siddons visited provincial towns, these companies were
ready to support them in Shakespeare. They were also ready to play
burlesque, farce, and comedy to fill out the bill. Sometimes the "stars"
would come for a whole season; if their magnitude were of the first
order, for only one night. Sometimes they would rehearse with the stock
company, sometimes they wouldn't. There is a story of a manager visiting
Edmund Kean at his hotel on his arrival in a small provincial town, and
asking the great actor when he would rehearse.