Showman (1937)

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SHOWMAN were staging new plays I wrote out the parts in longhand. I hung round the gallery door to see that the doorkeeper put the tickets in the box instead of his pocket. I put out daily dodgers announcing the night's bill and, before we left town, collected our lithographs from shop-windows to be used again somewhere else. I understudied several of the leading actors in all their repertory and used my spare time— what there was of it— in rehearsing. That was the way to get training. My eyes were always peeled for an opportunity to pull a ballyhoo stunt on the buying public. Grismer paid well for inspirations. In Seattle, our 4th of July matinee was in a bad spot because a balloon ascension was scheduled for the same afternoon in a vacant lot in the center of town. We could have announced that the ghost of John Wilkes Booth was going to dance on the slack wire and still Seattle wouldn't have been distracted from that balloon ascension. I tackled Grismer: "What do I get if I stand them up for you?" "Twenty-five dollars," he said, gloomily secure in promising so much. In five minutes I was over at the scene of the big doings. The daring aeronaut was busy with the delicate job of inflating his balloon, so I was safe in mounting a box at the other corner of the lot and giving tongue: "Ladies and gentlemen," I told those teeming hundreds—thousands wouldn't do for Seattle in those days —"I have been requested by the balloonist to announce that the ascension has been postponed until five p.m. 38