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Louis Wolheim, Ph. D.
129
Fourth. Me. But whatthehell, I got by. And my fifth was an old Jew in ‘The Idle Inn/ an old bird with a beard.”
“Meantime, was Lionel saying anything?”
“To me? Hell, no. He’s too white to give a man the absolute accolade, too much of a fellow to speak the sign manual of approval. He’d cuss, and say, ‘You big son-of-a-stiff, that’s not half lousy!’ but never the voice of royalty. Lionel? God, no!”
“What was part number six?”
“This one in ‘The Hairy Ape’!”
“How’d you come to get cast for it?”
“I don’t know actually. Only this I know. After Lionel’s opening in ‘The Claw’ — which I had helped translate from the French — O’Neill and his wife were among the little crowd at supper. And he and I talked ; but not of O’Neill’s next play, which was to be ‘The Hairy Ape.’ And a few weeks after that I was notified that O’Neill wanted me for the part.”
I was at this point dying to ask Mr. Wolheim if, in his talk with Mr. O’Neill at supper, he had cussed as casually for him as he was now cussing for me. But I feared to make him conscious. I feared to hear him say, “Whatthehell! Can that swear stuff when you write the damn piece for the paper!” — the doing of which would be as fatal to the flavor of his interview as a policeman’s blue pencil would be to his role in “The Hairy Ape.” And I also feared that my question might suggest in his mind, as it did in mine, another: “Mr. Wolheim, do you think your own personal vocabulary influenced the creator of Yank?” To which a gentleman of his modesty could only reply with perjury at worst. So I very brilliantly said nothing at all.
“The manuscript was sent to me and I saw a tremendous play,” he went on, “and, as I’ve told you, I