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SHOWMAN
and the family nerve at getting away with things. I found that out the first time when she wheedled me into putting her on the ship's concert bill during an Atlantic crossing— and she came out and rendered a grand-opera aria with all the aplomb of a Metropolitan prima donna. The second eye-opener came when she cajoled me— and how she managed it I don't know yet— into casting her, a complete novice with no stage experience whatever, as one of the three little girls from school in my top-notch production of "The Mikado." That cast included DeWolf Hopper, Fritzi Scheff, Christie MacDonald and Christine Neilson— first-raters all. And pitchforking my daughter into a crucial spot in that kind of show just because she was my daughter didn't fit with my style at all.
I didn't like it and neither did the company, for which I can't blame them in the least. During rehearsals, I was told, the chorus-girls conspired to make life miserable for the boss' daughter. I didn't know about that myself because, out of an inability to face the music, I stayed away from rehearsals. It was all I could do to drag myself round to sit in the balcony the opening night. All during the opening chorus and the wandering minstrel song I felt like the last of peatime, with nothing to look forward to but the spectacle of my daughter making an amateurish hash of things in brilliant company. When YumYum and Pitti Sing and Peep-Bo made their first entrance, I hardly dared look at the stage. When I did look, my
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