I packed up the play in its brown paper, and rushed from the house. At the post-office, at the bottom of the King's Road, I stopped to send a telegram. It consisted of the words, "Accept thankfully.--Cloyster."

Then I took a cab from the rank at Sloane Square, and told the man to drive to the stage-door of the Briggs Theatre in Shaftesbury Avenue.

The cab-rank in Sloane Square is really a Home for Superannuated Horses. It is a sort of equine Athenaeum. No horse is ever seen there till it has pa.s.sed well into the sere and yellow. A Sloane Square cab-horse may be distinguished by the dignity of its movements. It is happiest when walking.

The animal which had the privilege of making history by conveying me and _The Girl who Waited_ to the Briggs Theatre was asthmatic, and, I think, sickening for the botts. I had plenty of time to cool my brain and think out a plan of campaign.

Stanley Briggs, whom I proposed to try first, was the one man I should have liked to see in the part of James, the hero of the piece. The part might have been written round him.

There was the objection, of course, that _The Girl who Waited_ was not a musical comedy, but I knew he would consider a straight play, and put it on if it suited him. I was confident that _The Girl who Waited_ would be just what he wanted.

The problem was how to get him to himself for a sufficient s.p.a.ce of time. When a man is doing the work of half a dozen he is likely to get on in the world, but he has, as a rule, little leisure for conversation.

My octogenarian came to a standstill at last at the stage-door, and seemed relieved at having won safely through a strenuous bit of work.

I went through in search of my man.

His dressing-room was the first place I drew. I knew that he was not due on the stage for another ten minutes. Mr. Richard Belsey, his valet, was tidying up the room as I entered.

"Mr. Briggs anywhere about, Richard?" I asked.

"Down on the side, sir, I think. There's a new song in tonight for Mrs.

Briggs, and he's gone to listen how it goes."

"Which side, do you know?"

"O.P., sir, I think."

I went downstairs and through the folding-doors into the wings. The O.P. corner was packed--standing room only--and the overflow reached nearly to the doors. The Black Hole of Calcutta was roomy compared with the wings on the night of a new song. Everybody who had the least excuse for being out of his or her dressing-room at that moment was peering through odd c.h.i.n.ks in the scenery. Chorus-girls, show-girls, chorus-men, princ.i.p.als, children, scene-shifters, and other theatrical fauna waited in a solid ma.s.s for the arrival of the music-cue.

The atmosphere behind the scenes has always had the effect of making me feel as if my boots were number fourteens and my hands, if anything, larger. Directly I have pa.s.sed the swing-doors I shuffle like one oppressed with a guilty conscience. Outside I may have been composed, even jaunty. Inside I am hangdog. Beads of perspiration form on my brow. My collar tightens. My boots begin to squeak. I smile vacuously.

I shuffled, smiling vacuously and clutching the type-script of _The Girl who Waited_, to the O.P. corner. I caught the eye of a tall lady in salmon-pink, and said "Good evening" huskily--my voice is always husky behind the scenes: elsewhere it is like some beautiful bell. A piercing whisper of "Sh-h-h-!" came from somewhere close at hand. This sort of thing does not help bright and sparkling conversation. I sh-h-hed, and pa.s.sed on.

At the back of the O.P. corner Timothy Prince, the comedian, was filling in the time before the next entrance by waltzing with one of the stage-carpenters. He suspended the operation to greet me.

"Hullo, dear heart," he said, "how goes it?"

"Seen Briggs anywhere?" I asked.

"Round on the prompt side, I think. He was here a second ago, but he dashed off."

At this moment the music-cue was given, and a considerable section of the mult.i.tude pa.s.sed on to the stage.

Locomotion being rendered easier, I hurried round to the prompt side.

But when I arrived there were no signs of the missing man.

"Seen Mr. Briggs anywhere?" I asked.

"Here a moment ago," said one of the carpenters. "He went out after Miss Lewin's song began. I think he's gone round the other side."

I dashed round to the O.P. corner again. He had just left.

Taking up the trail, I went to his dressing-room once more.

"You're just too late, sir," said Richard; "he was here a moment ago."

I decided to wait.

"I wonder if he'll be back soon."

"He's probably downstairs. His call is in another two minutes."

I went downstairs, and waited on the prompt side. Sir Boyle Roche's bird was sedentary compared with this elusive man.

Presently he appeared.

"Hullo, dear old boy," he said. "Welcome to Elsmore. Come and see me before you go, will you? I've got an idea for a song."

"I say," I said, as he flitted past, "can I----"

"Tell me later on."

And he sprang on to the stage.

By the time I had worked my way, at the end of the performance, through the crowd of visitors who were waiting to see him in his dressing-room, I found that he had just three minutes in which to get to the Savoy to keep an urgent appointment. He explained that he was just dashing off.

"I shall be at the theatre all tomorrow morning, though," he said.

"Come round about twelve, will you?"

There was a rehearsal at half-past eleven next morning. When I got to the theatre I found him on the stage. He was superintending the chorus, talking to one man about a song and to two others about motors, and dictating letters to his secretary. Taking advantage of this spell of comparative idleness, I advanced (l.c.) with the typescript.

"Hullo, old boy," he said, "just a minute! Sit down, won't you? Have a cigar."

I sat down on the Act One sofa, and he resumed his conversations.

"You see, laddie," he said, "what you want in a song like this is tune.

It's no good doing stuff that your wife and family and your aunts say is better than Wagner. They don't want that sort of thing here--Dears, we simply can't get on if you won't do what you're told. Begin going off while you're singing the last line of the refrain, not after you've finished. All back. I've told you a hundred times. Do try and get it right--I simply daren't look at a motor bill. These fellers at the garage cram it on--I mean, what can you _do_? You're up against it--Miss Hinckel, I've got seventy-five letters I want you to take down. Ready? 'Mrs. Robert Boodle, Sandringham, Mafeking Road, Balham.

Dear Madam: Mr. Briggs desires me to say that he fears that he has no part to offer to your son. He is glad that he made such a success at his school theatricals.' 'James Winterbotham, Pleasant Cottage, Rhodesia Terrace, Stockwell. Dear Sir: Mr. Briggs desires me to say that he remembers meeting your wife's cousin at the public dinner you mention, but that he fears he has no part at present to offer to your daughter.' 'Arnold H. Bodgett, Wistaria Lodge....'"

My attention wandered.

At the end of a quarter of an hour he was ready for me.

"I wish you'd have a shot at it, old boy," he said, as he finished sketching out the idea for the lyric, "and let me have it as soon as you can. I want it to go in at the beginning of the second act. Hullo, what's that you're nursing?"

"It's a play. I was wondering if you would mind glancing at it if you have time?"