How often we hear people say, "Oh, that's only a play!" or "That could
only happen in a play!" and yet it's surprising how often actors receive
proof positive that their plays are reflecting happenings in real life.

When Mr. Daly had "L'Article 47" on, at the 5th Avenue Theatre, for
instance, the key-note of the play was the insanity of the heroine. In
the second, most important act, before her madness had been openly
proclaimed, it had to be indicated simply by manner, tone, and gesture;
and the one action of drawing the knee up into her clasping arms, and
then swaying the body mechanically from side to side, while muttering
rapidly to herself, thrilled the audience with the conviction of her
affliction more subtly than words could have done. One night, when that
act was on, I had just begun to sway from side to side, when from the
auditorium there arose one long, _long_, agonizing wail, and that wail
was followed by the heavy falling of a woman's body from her chair into
the centre aisle.

In an instant all was confusion, every one sprang to his feet; even the
musicians, who were playing some creepy, incidental music, as was the
fashion then, stopped and half rose from their places. It was a dreadful
moment! Somehow I kept a desperate hold upon my strained and startled
nerves and swayed on from side to side. Mr. Stoepel, the leader, glanced
at me. I caught his eye and said quick and low, "Play! play!"

[Illustration: _Clara Morris in "L'Article 47"_]

He understood; but instead of simply resuming where he had left off,
from force of habit he first gave the leader's usual three sharp taps
upon his music desk, and then--so queer a thing is an audience--those