SCENE 1: The stage of the Fulton Theatre, during the morning hours just preceding the afternoon dress rehearsal of “April Follies.”
AT RISE: The curtain rises on a disorderly stage where a song and comedy “number” is being rehearsed. We are looking at the stage from the back—that is, we see directly into the footlights and into an empty auditorium.
Stage hands are working, shifting scenery back and forth; electricians are placing lamps and experimenting with lighting effects. As the curtain rises we hear the banging of a piano. We see a chorus in practice clothes. We see CARTER dancing.
In the back, at the footlights, Lee, the producer, sits in a tilted chair, a manuscript in his hand. Grouped between Lee and the chorus, on either side of Carter, are GENE, MISS GLYNN, MARY DALE, JIMMY and another actor. Seated in the shadowy foreground, playing cards with a stage-hand, is JACK ROBIN.
Most of the action in this scene is paced very swiftly. It gives the effect of the hurried disorder which is characteristic of the eleventh hour of a theatrical production. The action is almost frantic—one speech piles on top of another so that you can scarcely follow it. It is not necessary that you follow it. The picture is enough. It is only at certain moments—moments when the story of the play enters with its deeper note—that the action is slow, that characters begin to come into focus—such moments as when JACK and MARY are alone, when JACK is alone with LEE, etc.
LEE
That’s all right! Is everybody concerned in the Dixie scene here?
GENE
Everybody concerned in the Dixie scene stand by.
LEE
[A tall, stout man, meticulously dressed. He has a black mustache—probably dyed—and scant, grayish hair on an impressive bald head. Adversity sent him to the theatre, where he made money. Money sent him to Europe, where he achieved good clothes and an air of distinction. He never allows his air of distinction to interfere with efficiency, however; and, on the other hand, no matter how intense the excitement and confusion of the rehearsal, he never takes his coat off. He rises]. Now, remember—this is the finale of the first act and I want lots of pep. Speak out so that everybody can hear you. This is the last time we do this scene before the Dress Rehearsal, so get it right. All ready? Let’s go.
CARTER
[He is gray-haired. He has large, wistful, cynical eyes. He has a droll, rolling, weary mouth. Once he was a great comedian. Today, while still well-known, he is relying on formula—and is speeding, without realizing it, into oblivion. Reads from part]. “Mr. Carruthers, I’m from headquarters and I tell you that Gus, your colored porter, is none other than Dixie Dan, the Bootlegger.” [Turns to DETECTIVE. Speaks.] “Is that right?”
DETECTIVE
“That’s right, chief.”
CARTER
“And what’s more, he has been very disrespectful to your daughter, Gwendolyn.”
GENE
[He is the stage manager and one of the actors. He is a big, fat man in shirt sleeves, with the stub of a cigar in his mouth]. “Gwendolyn, come here!”
MARY
[She is bob-haired, slim and lovely. Five years ago she was a flapper. Four years ago she was a debutante. Three years ago she ran away and entered the chorus of the Metropolitan. Two years ago she had a minor rôle in musical comedy. Now she has the feminine lead. She is democratic, ironical, fastidious, informal, subtle and hearty]. “Yes, father.”
GENE
“Did you know that Gus is a bootlegger?”
MARY
“Father, don’t believe a word he says. It’s too bad Mr. Gus isn’t here to defend himself.”
GENE
“Where is Gus the porter? Has any one seen him? Where can he be?”
MISS GLYNN
“Look! Here he comes now.”
[In typical musical comedy fashion every one stagily steps one foot to the right and points with outstretched arm to the right. There is the typical musical comedy hush which announces the entrance of a principal.]
ALL
“Ah”!
LEE
Where is Jack?... Robin! That’s your cue. Come on!
[There is a moment of confused silence and then JACK, coming out of his absorption in the card game, rises hastily, apologetically. He turns for a second to the stage-hand.]
JACK
Spade—spade—spade! You lose! [Now he hastens to the center of the scene. With an apologetic word to MR. LEE he turns to his script.] Now, where are we?
GENE
“Gus, where’ve you been?”
JACK
“I’ve been down to my father’s farm where we have a black hen that lays a white egg.”
CARTER
“What’s so wonderful about that?”
JACK
“You go home and try it!”
CARTER
That’s the cue for my Poppy number, isn’t it, Mr. Lee?
LEE
No, Carter, I’ve changed my mind about that. I’ve decided to let Jack do that Poppy number in the second act.
CARTER
Now, Mr. Lee, that’s the best number I got. That’s where I do my specialty.
JACK
Yes, Mr. Lee, I think you should let Carter keep that number. I’ve got enough to do now.
LEE
[Impatiently]. That’s all right, Jack. I know that. Why do you think I postponed the opening? In order to give you more to do. You can carry this number, too. Now continue the scene and go right into the Dixie Number.
JACK
I’m sorry, Eddie.... Where were we? Oh, yes, sir. “I’m going down South again to the land of cotton and jasmine, where the watermelons grow, where I can be with my mammy. If you’ll all sit down, I’ll sing you a song all about it.”
[The girls all sink down in a wide semi-circle. The other principals back away. The piano beats out the “vamp.” JACK, his back to us, facing his own footlights, his shoulders shaking, his hat carelessly on the back of his head, goes into his jazz song. He does not do it earnestly, except for an occasional note on which he lingers with the easy assurance of the man who knows that when the time comes he will do it well. He sings.]
“Home pa-hals, home pa-hals,
Sad was the day when I blundered away
From my Home pals;
Wan-dered—
Squ-handered—
My mammy’s lo-hove without any ru-heason or ru-hyme
To have
A wo-hunderful time....”
[LEE blows his whistle and stops the singing.]
LEE
I’ve got an idea. We won’t use this stage again until the dress rehearsal. Gene, send the girls up on the roof. [In less time than it takes to tell, the chorus girls have been shooed off the stage. CARTER and the rest move back to an obscure part of the stage. LEE brings JACK down where we can hear clearly what they say. MARY comes with them. During the following conversation a drop comes down. It is the back of a country scene—you gather from the lights which play around its translucent surfaces that it represents a wisteria-hung house front.] Now, Jack, there’s a big kick in the Mammy number. I want you to do it alone with no one on the stage. Just you and the spot light. Cut out the running around and put your heart into it. Give it all you’ve got. If you do it that way, you’ll be a knockout.
MARY
That’ll be wonderful, Jack.
JACK
[Not quite casually]. Do you think so?
MARY
[To LEE]. Harry, they just brought my last act costume and it’s nothing like the sketch.
LEE
Let me see it, Mary.
MARY
CARTER
[He has been lingering, ill at ease and resentful, in the back]. Mr. Lee, I want to see you.
LEE
Well, Carter, what’s on your mind? Make it snappy.
CARTER
All right, I’ll make it snappy. What’s the big idea cutting my numbers down? Half the house tonight is going to be my personal friends. What do you think they’re going to say about your show tomorrow on Broadway?
JACK
[Comes between LEE and CARTER. He is disturbed. Something is troubling him. It must be something more serious than his words reveal]. Mr. Lee, I think you ought to let Carter keep that Poppy number. He’s an old song-and-dance man and that’s more in his line.
LEE
What’s the matter, Jack, losing your nerve?
JACK
It isn’t my nerve, Mr. Lee. It’s just the success of your show I’m thinking about.
LEE
Let me worry about the success of my show, Jack. Don’t you want the opportunity I’m giving you?
JACK
I think it’s great, Mr. Lee, but—
LEE
[Interrupts brusquely]. All right, then. [Turns to GENE.] Gene, tell O’Hara to send that little Glynn girl here at once.
GENE
Yes, sir. [He goes.] O’Hara, send that Glynn girl here. Mr. Lee wants to see her at once.
[CARTER and JACK sit on trunk facing up stage. GENE returns, sits at table.]
CARTER
[Mutters]. I haven’t had anything like this happen to me in over forty years. I’m going to quit.
JACK
[Pity for the old man swiftly welling up in him, yet realizing that nothing can be done, casts about for a jest with which to salve the other’s pain]. Look here, Eddie, you’re not going to quit on the night I’m making my debutt.
CARTER
Debutt?
JACK
Well, if that ain’t right, you can sue me! Now listen, Eddie. You just wait until after the opening tonight and you’ll probably have all your numbers back and maybe some of mine. [He rises.] Come here, Eddie. I wrote a new scene for us.
[CARTER, pathetically grateful for the respect and affection this implies, moves back, out of the scene, with JACK. MISS GLYNN comes in. She is blond, pretty. She is in the rompers which chorus girls use as practice clothes. As she moves toward MR. LEE she is obviously frightened.]
MISS GLYNN
Mr. Lee, did you want me?
LEE
Yes, Miss Glynn. I’ve been watching your work in the finale this morning, and it’s very bad. Didn’t you tell me you were an experienced Spanish dancer when I hired you?
MISS GLYNN
[Trembling]. Yes, sir.
LEE
Well, you’re not. I don’t believe you ever had any stage experience in your life. You dance like a school girl. Now answer my question. Did you do any professional work before?
MISS GLYNN
N—no—B—but I thought—
LEE
I don’t care what you thought. Did you or didn’t you tell me you were in the “Follies”?
JACK
[He has been listening to them while chatting with CARTER, and now moves down]. Excuse me, Mr. Lee. Could I see you just a minute?... Don’t blame this kid. Anything she slipped over on you was my fault. She—well I saw her in the waiting room—and she looked kind of bashful, poor kid—so I told her to tell you she had been in the “Follies.” I know you and Ziegfeld aren’t talking, so you’d never find out!
LEE
Well, I’ll be damned!
JACK
[A master of the tempo of kidding, he moves hastily toward the stricken MISS GLYNN and whispers to her. Her face lights up as she runs off the stage happily. Crescendo, JACK turns to LEE]. That’s all right, Mr. Lee. She forgives you! She isn’t mad at you at all! [JACK doubles up with a grimace of mock humility, and LEE succumbs. He laughs.]
LEE
You better not let Miss Dale catch you doing favors for little girls.
[JACK grins and strolls across the stage, watching the electrician who is playing with lighting effects.]
MARY
[Comes in and goes to LEE by the table. She has a sheet of paper which she places before him]. Harry, here’s the sketch—
JIMMY
[Enters]. Mr. Lee, Mr. Randolph Dillings just phoned and told me to tell you he was coming here this afternoon.
LEE
Thank you, Jimmy. [JIMMY goes. LEE rises, and the act settles into a slower pace; for the “atmosphere” is over. LEE speaks half to himself.] That’s too bad.
MARY
Is Randy still bothering you about Jack?
LEE
Yes. The last time he was down he wanted me to let Jack go.
MARY
Why?
LEE
You.
MARY
I don’t understand.
LEE
He’s jealous.
MARY
But he hasn’t even met Jack. He didn’t say anything to me about it.
LEE
Of course he wouldn’t—to you.
MARY
That’s perfectly childish of him.
LEE
[He has been half absorbed during this dialogue with papers on the table. He picks them up and mumbles]. Yes, I suppose it is. [He goes off.]
[JACK, who has been standing back-stage chatting with some girls, is now heard laughing and joking with them. They are called away and JACK comes down to MARY who is sitting on a trunk.]
MARY
Well, you seem to be happy, Jack. I was afraid you’d be nervous on your opening night.
JACK
Me happy? I feel like I’ve been elected mayor and can’t find the City Hall. Mary, if any one gave me an unkind look, I’d lie down on the floor and cry.
MARY
Is there anything wrong, Jack? Is something worrying you?
JACK
You’re worrying me.
MARY
I?
JACK
[Slowly]. I can’t get over the feeling that if I don’t make good tonight, you’re going to be the goat. You and Mr. Lee. You’ve done everything for me— the two of you. So far, I haven’t done a thing in return.... I ain’t even thinking about what it would mean to me deep down here—[He touches his heart.]—if I flop. But then, that’s my business and nobody else’s.... The way things are now, though.... Gee, if I don’t make good with you—and with Lee—I’ll feel like hell.
MARY
Is that all that’s worrying you? Why, Jack, how silly you are! You’re going to be a sensational success, don’t you realize that? And everybody’s going to be proud of you.
JACK
[Slowly]. Not everybody. I know somebody who won’t be proud of me.
MARY
[Intuitively]. You mean—your people?... I’ve often wondered why you never mentioned your people to me.
JACK
Well, I—I quarreled with them.
MARY
Where are they?
JACK
They’re far away. [He rises from trunk.] Oh, it’s no use to talk about it.
MARY
I’m sorry.
JACK
[Turns to her]. The point is, my people had other plans for me.... They—they’d sooner I was a criminal than be on the stage....
MARY
Well, I guess a lot of stage people have the same sort of problem you have.
JACK
My father and mother are different. I’m the only son, and they ... had other ideas about me.... I ran away from home.... They don’t think I’ll ever be any good.
MARY
Oh, my dear, serious young man, there’s nothing terrible in that.
JACK
You don’t know my father and mother, Mary.
MARY
Jack, there’s nothing as selfish as the selfishness of parents. Do you think my people liked the idea of my being on the stage? Mother threatened to have a nervous collapse. Father was frantic. But I did what I wanted, and they both got over it. And now they brag about me to the rest of the family.
JACK
Well, my father ain’t ever going to brag about me, I can tell you that!
[There is a deepening cloud on his face as he moves away from MARY. He has almost forgotten the excitement of the dress rehearsal. LEE and FRANKLYN FORBES enter briskly. FORBES is snappily dressed, about 30. The two of them bring back the speed and exuberance of the theatre.]
LEE
Here they are! Jack, you know Franklyn Forbes, our publicity man?
JACK
How are you, Mr. Forbes?
LEE
Franklyn wants to do a story on you in a hurry.
FORBES
First of all, I want to get the story of your life.
JACK
[Turns upon them in a curious mood—sardonic and humble, flippant and bitter]. Say I was born when I was very young. When I was a year old I sold newspapers. By the time I was two I owned the stand.
LEE
Come on, Jack. Franklyn’s in a hurry.
FORBES
Stop your kidding, Mr. Robin. I can get some real stuff into the papers about the way you put over a jazz song.
JACK
What has the story of my life got to do with the way I put over a jazz song?
MARY
Everything, Jack. If it’s the right kind of a story. [To LEE.] You know how Jack puts over a song. That intensity of his. Something like the intensity of Billy Sunday. It’s a new note.
FORBES
Yes, and if I can weave a colorful life story behind it—based just a little on fact—
JACK
All right. I’ll tell you. Say that every morning at eight o’clock I take a bath in certified milk.
LEE
Don’t waste any time kidding, Jack. Give Franklyn a general outline of your life—where you were born, your parents, and so on.
JACK
I—I’m sorry, Mr. Lee, but I’m kinda sensitive about my childhood. Not that I’ve been in jail or anything like that. But why doesn’t Mr. Forbes fake a story—I don’t care what he says—it’ll be O. K. with me.
FORBES
Fine! I think I’ll have the usual East Side back-ground—hanging around with the gang—singing waiter in a Bowery dive—pious old father—
JACK
I—I don’t think that East Side stuff is so good.
FORBES
I do. It always makes fine human interest material.
JACK
[Obstinately]. Well, I don’t think so.
LEE
We can’t waste any more time on this. Write anything you want to, Franklyn.
JACK
Now, please.... I don’t want you to think I am swell-headed.... I appreciate the fact that you are all trying to help me. But look—isn’t there enough in that Chicago stuff without going back to my cradle days?
LEE
That’s not a bad idea. Franklyn, why don’t you use the story of how Miss Dale discovered Jack?
MARY
I’ll tell it to you, Franklyn. I was playing in Chicago—
FORBES
[Takes out pad and pencil, sits at table]. You were playing in Chicago?
MARY
I had a half hour to kill one day, and I dropped into one of those West Madison Street movie houses, and there he was.
JACK
This won’t be any good either—
LEE
Why?
JACK
Because after the opening night I’ll probably go back to Chicago—by freight. And the old gang at the movie house will give me the laugh. They’ll say, “Here he is—the great Jack Robin from Broadway! Hurray! Catch a broom and sweep out the place!”
FORBES
What movie house was it, Miss Dale?
MARY
I don’t know. What house was it, Jack?
JACK
Oh, a funny little place under an elevated station—called The Happy Hour.
FORBES
What were you doing there?
JACK
I was looking at Mary.
MARY
Jack was standing in a spotlight—dressed in such clothes....
JACK
You ought to see the suit I had, Mr. Lee, for eighteen fifty, with nine pair of pants!
MARY
And he was singing, “Take Me Back to Tennessee.” I never heard jazz sung quite like that before. There was a tear in it. I came every day that week. Jack did all sorts of things, comic songs, Mammy songs, sold candy up and down the aisle, announced next week’s program—about fourteen times a day.
JACK
Yeh, and I checked baby carriages, too! I did everything in that joint except collect the money. They wouldn’t let me do that.
MARY
Well, you know the rest, Franklyn.
FORBES
[Rises]. Thanks very much, Mr. Robin. You gave me more stuff for a good story than you thought you did. So long, Miss Dale. See you in your office, Mr. Lee. [He goes.]
LEE
Come on, Jack. We’ve got a lot of work to do.
JACK
Mary, do you want to come along with us?
MARY
I’d love to, Jack, but I have to telephone Dad.
LEE
Give my regards to your father, Mary.
MARY
Thanks, I will. [She goes.]
JACK
Mr. Lee, I took the liberty of writing a new gag in. It’s a good hot weather gag I’m going to pull with Carter. I say to Carter, “Now that the days are getting longer, I’m going into the ice business, so that when it gets too hot to work I can sit down on my business, and—”....
GENE
[Enters]. Mr. Robin, that tailor just brought your suit. He wants you to try it on.
JACK
That funny suit for the last act with the little hat?
GENE
Yes.
JACK
I want to see that. [To LEE.] Excuse me.
[He goes. LEE is at the table sorting out some manuscripts when RANDOLPH DILLINGS enters. DILLINGS is about 30, well tailored, poised, healthy looking. He is clearly a person of wealth and breeding—a man whose only weakness, perhaps, is that he does not know what he wants and is not intently concerned with finding out.]
LEE
Hello, Randy.
DILLINGS
Hello, Harry.
LEE
Come to see the rehearsal?
DILLINGS
No, I came to see you. Can we go to your office?
LEE
The office is full of people. We can talk here. What’s on your mind?
DILLINGS
This jazz singer of yours, Jack Robin, and Mary’s interest in him.
LEE
I thought we settled that a month ago.
DILLINGS
I’m afraid we didn’t. I’ve been thinking it over, and I’ve decided to take my money out of your show.
LEE
I don’t get you, Randy. You know it isn’t very businesslike of you to come here at the last moment like this and—
DILLINGS
This wasn’t a business arrangement in the first place—and you know it. I think you know that Mary and I were once engaged to be married. You must realize that the only reason I put my money into this show was to protect her interests. She means a great deal to me....
LEE
Her interests are the same today as they were a month ago. The fact that she has discovered Jack and made me engage him does not alter anything.
DILLINGS
[Quietly, without malice]. Well, I’ve learned differently. The thing I was afraid of has happened. It was bound to happen sooner or later, I suppose—an attachment of this sort.... Now, I’m no stage-door Johnny. I have my limit, and I’ve reached it. Today I wash my hands of all responsibility for Mary’s career. Be a good fellow and don’t let’s argue the matter any more. Simply mail me a check today.
LEE
You’re not taking him seriously, are you? Why, he’s just a harmless kid—eager to get along—
DILLINGS
[Patiently]. You’re taking him seriously enough to prefer him to my money, aren’t you?
LEE
DILLINGS
And Mary is taking him seriously enough to risk the gossip of her friends, isn’t she?
LEE
Yes, but—
DILLINGS
I haven’t a thing against the boy. I wouldn’t know him if I saw him. But it’s clear he’s not Mary’s sort. And if she’s traveling in that direction, she’s going to travel without me.
LEE
[He has made a decision; calls suddenly]. Gene!
GENE
[Enters]. Yes, sir?
LEE
Get Miss Dale.
[GENE goes.]
DILLINGS
Here! I won’t have any of that. No scenes, please.
LEE
[With grim, vulgar efficiency]. We’re going to have it out right now. I’m going to prove to you that Jack Robin doesn’t mean anything in Mary Dale’s life.
DILLINGS
I won’t have Mary Dale brought into this discussion.
LEE
If I can prove to you that this boy doesn’t mean anything to Mary, will you leave things as they are?
MARY
[Enters]. Hello, Randolph.
DILLINGS
[Nervously]. Hello, Mary. Just dropped in for a moment. I must be running along.
LEE
[A direct man if not a subtle one]. Just a moment, Mary. Randy here thinks you are seriously in love with Jack Robin, and because of that he’s taking his money out of this show.
MARY
You gentlemen take my breath away with your—shall I say, delicacy? It’s very sweet of you to discuss me so intimately.
DILLINGS
[Furious]. See here, Harry, this isn’t the sort of thing—
LEE
The point is this—I told Randy that Jack doesn’t mean anything to you—except, of course—
MARY
Except what?
DILLINGS
Really, this is becoming intolerable. I’m going.
MARY
[Half amused, half indignant]. Just a minute, Randy. I know you too well not to understand that you’re acting, as usual, on principle. And I know Harry too well to mind his blunt ways. Apparently what you both want me to say is that Jack Robin doesn’t mean anything at all to me and that I shan’t see him after this except as one sees a fellow performer.
LEE
[With a hearty sigh of relief]. Exactly!
MARY
Well, I can’t say it. I like Jack tremendously and expect to see more of him than ever.
DILLINGS
I’m sorry this has happened.
MARY
Harry, does this mean that you’re going to be in a terrible fix for money?
LEE
I’m always in a terrible fix for money. But I’m going to put this show through with what I’ve got if it breaks me.
MARY
LEE
No—just a business man.
[JACK is heard singing and talking off-stage.]
MARY
There’s Jack now. Do you want to meet him? Jack! Yoo-hoo!
DILLINGS
No.
[But JACK is already entering—in comedy costume.]
JACK
How do you like these clothes, Mr. Lee? Don’t you think I look just like a manager? How’s this “Between the Acts”? [Shows a huge comedy cigar.] Long acts.
MARY
Jack, I want you to meet Mr. Randolph Dillings. Randy, this is Mr. Jack Robin.
JACK
[Cordially]. How are you, Mr. Dillings?
DILLINGS
[Coldly]. How do you do?
[There is a pause.]
JACK
Beautiful day for the opening of the new show, isn’t it? [There is a dead silence. It is not that DILLINGS wishes to snub JACK, but that he is furious and confused at the situation he has been forced into, and he does not quite know what to say. JACK turns to MARY and murmurs out of the corner of his mouth.] What’s the matter with this guy? [Pause—to DILLINGS.] I say, it’s a beautiful day.
MARY
[Mischievously]. Yes, Jack, it is a beautiful day.
JACK
Thank God, THAT’S settled! [There is another silence, then JACK turns, good-humoredly, to DILLINGS. He is like a healthy puppy wishing to make friends.] I feel that I have known you a long time, Mr. Dillings. Mary has spoken of you very often and any friend of Mary’s is a friend of mine....
DILLINGS
[To MARY]. Well, I must be going. Goodbye, Mary.
[JACK realizes clearly now that he has been snubbed. With a hurt expression he backs out of the scene and sits on the trunk.]
LEE
Will I see you again, Randy?
DILLINGS
I’m sorry—I’m afraid I won’t have time to see you again, Harry.
LEE
[Also snubbed]. Very well. [He goes.]
MARY
Goodbye, Randy.... I know you don’t mean to be like this.
[DILLINGS pauses a second, then he bows stiffly, turns, and, ignoring JACK, goes. After he has passed, JACK in solemn mockery tips his hat.]
JACK
[To MARY]. That’s that Randolph Dillings, isn’t it? I don’t think he likes me. Maybe he thinks I wear these clothes on the street.
MARY
He’s an old friend of mine. Fearfully rich and awfully nice, but old-fashioned.
JACK
Is he in the show business?
MARY
He was.
JACK
Smart enough to get out, huh?... He’s stuck on you, ain’t he?
MARY
We were engaged once.
JACK
Yeh.... Any time you see a guy act like that, you know he’s in love. Well, there’s one thing I’ll say about him, he’s got good taste.
MARY
Do you think so?
JACK
[Moves closer to MARY. She is still sitting on the trunk. All of the flippancy has left him. He is suddenly shy and very earnest]. Yeh.... You know, if I make one-half the hit tonight that Lee expects me to make—if I go over half as big as everybody thinks I will—do you know what I’d like to do? I’d like to come over close to you, like this, and tell you ... that I love you.
[JIMMY enters.]
JIMMY
Mr. Robin.
JACK
That guy picks the darndest time to come in!
JIMMY
There’s a man out there asking for a Jakie Robin. His name is—[Reads from card.]—Yudelson, Dealer in Diamonds and Jewelry. Do you know who it is?
JACK
Yudelson? It can’t be. [YUDELSON enters.] Well, well, well, Yudelson! What are you doing here?... He’s all right, Jimmy.
[Jimmy GOES.]
YUDELSON
Well, well, Jakele, what a big boy you are! I never would have known you. What a trouble I had with him! First I asked for Jakie Rabinowitz. I forgot your Mama told me to ask for Jakie Robin.
JACK
My Mama? What’s the matter with Mama?
YUDELSON
She’s all right. She told me to ask you—she asked I should say to you—[He is obviously uncomfortable in the presence of MARY.] I must see you in person.
JACK
[Looks around, sees MARY]. Oh, Mary ... I I want you to meet Mr. Yudelson. This is Miss Mary Dale.
MARY
How do you do?
YUDELSON
How do you do. [Looks at JACK as he shakes her hand.] A pleasure!
JACK
Mr. Yudelson is an old friend of the family. He’s known me since I was so high. [Measures with hand.] He and my father are great friends.
YUDELSON
Cantor Rabinowitz and me, we are like this. [Puts two fingers together.]
JACK
[There is a pause. YUDELSON has revealed significant detail. MARY’s involuntary expression of surprise shows this. JACK, for an instant, is confused. Then, with pride in his voice]. Yeh, my Father is the finest Cantor on the East Side.
YUDELSON
Did you never heard of Cantor Rabinowitz of the Orchard Street Synagogue? I’m surprised!
MARY
[The warm, friendly smile on her face is her answer—her fraternal declaration—to YUDELSON and to JACK]. Well I’ll run along. See you later, Jack. Goodbye, Mr. Yudelson. It was a pleasure to have met you.
YUDELSON
By me it’s all right, too!
[MARY goes.]
JACK
[His arm about YUDELSON’s shoulder, they move over to the table. YUDELSON sits in the chair and JACK lounges on the table leaning on his elbow]. Well, Yudelson, I’m glad to see you. Sit down. What brings you up in this neighborhood?
YUDELSON
Jakie, I came to tell you your papa is sick.
JACK
[Site up straight]. What’s the matter with him? Has he got a good doctor?
YUDELSON
The best doctor in New York. Dr. O’Shaughnessy from the Rockenfeller Institute.... Jakie, my boy, tonight starts the Day of Atonement—Yom Kippur—and this is the first time in your papa’s life what he wouldn’t be able to sing in the synagogue on Yom Kippur. So we had a meeting from the committee, who should sing in his place. Well, I was speaking to your mama, and she thought it would be a beautiful surprise for your papa if you would do it.
JACK
Me to sing? My God, Yudelson, he kicked me out of the house only a month ago.
YUDELSON
Don’t be foolish, Jakie. How much times was you kicked out—one time? A son could be kicked out twenty times, and yet a son is a son. If your papa knew you was singing tonight, it would make him happy.
JACK
But, Yudelson, I can’t do it!
YUDELSON
Nonsense. I was telling the committee—you know how it is a committee—they wanted Levy, the Shamus, should sing. But I’m the chairman, and they all owe me money, so when they voted it was the way your mama wanted. I told them, “Jakie, when he was a little boy and he sang in the choir, his papa learned him all the words of all the prayers. And what a little boy learns he never forgets....” And even if maybe a few words you should forget, you can look in the prayer book. Jakie, you can do it! I got confidence in you! And your mama—she’ll be the happiest—
JACK
But, Yudelson, this show opens tonight!
YUDELSON
What’s the matter with you, Jakie? Ain’t I telling you your papa is sick and your mama is waiting I should give her an answer?
JACK
[Slowly]. Yudelson, the show business is different from anything else. The finest actors keep right on working, even if there’s a death in the family. The show must go on.... It’s like a religion.... It’s like soldiers in an army....
LEE
[Enters with JIMMY]. Now remember, Jimmy, I don’t want any strangers on the stage during dress rehearsal. [JIMMY goes.] Jack! I want to see you.
JACK
Excuse me, this is Mr. Lee—my boss. Mr. Lee—gee, I don’t know how I can explain this to you. Well—this is Mr. Yudelson, an old family friend. He just told me that my father, down on the East Side, is very sick—
LEE
East Side?
JACK
I held out on you, Mr. Lee, because my father and I had quarreled. I thought he never wanted to see me again. It hurt me so much that I wanted to start fresh, live a new life.... But now I find I didn’t quite understand. My father is the Cantor of the Orchard Street Synagogue. Tonight is the eve of the Day of Atonement. He and my mother sent Mr. Yudelson to ask me to sing in my father’s place tonight. I know all the prayers—
LEE
My dear boy, it’s out of the question.
JACK
Mr. Lee, isn’t there any possible chance?
YUDELSON
Only tonight and tomorrow until it gets dark.
LEE
No, absolutely not. Why you’re the whole show. I’ve staked everything on you.... Jack, I’m going to tell you something. I was an actor myself once. My mother died one afternoon, but I went on that night....
GENE
[Appears left]. Say, chief—
LEE
GENE
The fire underwriters are here.
LEE
I’m coming. [To JACK, slowly, earnestly, in a lowered voice.] Something happened a while ago that puts me in a position where I’m depending on you more than you know. Now, talk him out of it. [He goes.]
YUDELSON
That’s your boss?
JACK
[After a moment of thought]. Yes.... Yudelson, do you realize what an awful lot of money is tied up in this show? It costs thousands and thousands of dollars....
YUDELSON
[Impressed, the business man in him responding]. Is that so!
JACK
The scenery ... the costumes ... and all the actors.... Mr. Lee is responsible for everything—and he’s counting on me. You heard him—he’s staking everything on me.
YUDELSON
Is that so?
JACK
Yudelson, you’re a business man ... now I ask you, how can I leave this show ... on a big opening night ... just because my mama and papa all of a sudden ... don’t you see?
YUDELSON
Well, Jakie, if you can’t sing tonight, I’ll have to sit and listen to that voice from Levy’s.
JACK
Levy—that’s the Sexton, isn’t it? I’ll bet he’s got a fine voice.
YUDELSON
Yeh, like a nanny goat! Nu, what can I do? I’ll explain to your mama the best way I can.
JACK
Yes, try to explain to them, Yudelson.
YUDELSON
You’re sure you can’t come?
JACK
[With feeling]. You wouldn’t have to ask me twice. You know I’d come if I could.
YUDELSON
[Shrugs shoulders]. All right, Jakie. Well, goodbye. Leshono Tovo Tikosamu.
JACK
Thank you. Happy New Year to you, too.
YUDELSON
Look! He remembers! [He goes.]
GENE
[Off-stage]. Dress rehearsal just starting. Everybody concerned in the opening on stage!
[From off-stage come the bustling sounds of final preparations for the dress rehearsal. JACK is standing motionless where YUDELSON left him. A brown velvet drop comes down. JACK is the figure of a tragic Pierrot as he stands against this simple background in his ludicrously wide comedy pants and his ludicrously short comedy coat.... He turns ... finds himself sitting on the trunk alone, heavy-hearted. LEE comes bustling in. He goes over to table, not seeing JACK. He is busy with a manuscript for a few seconds, then he feels JACK’s presence; looks up.]
LEE
Well, Jack, that old boy from the East Side has gone, eh?
JACK
[Barely raising his head]. Yes, he’s gone.
LEE
[Goes over to JACK]. Talked him out of it, did you?
JACK
[Slowly]. Yes, I talked him out of it.
LEE
I knew you could do it! You’re clever enough to get away with anything.... Just think of it, one more rehearsal and then the big opening. Aren’t you thrilled? Tomorrow everybody will be talking about you.
JACK
[To himself, in barely audible tones]. This is the first time in his life he won’t be able to sing in the synagogue....
LEE
What’s that, Jack?
JACK
[He rises, with a visible effort to shake himself out of his mood. He turns to LEE and begins walking off with the manager]. Oh, yes, Mr. Lee. I’ll do the best I can tonight—I only hope I won’t disappoint you.
[The words are scarcely out of JACK’s mouth when music is heard blaring off-stage, and the lights black out.]
CURTAIN