up a satin slipper, size 7½ C—"hasn't any business on the stage. She ought to travel with a circus. Here, Etta. Hang this away in D, next to the amethyst blue velvet, and be sure and lock the door."
McCabe had been right. A waspish wit was Josie's.
The question is whether to reveal to you now where it was that Josie Fifer reigned thus, queen of the cast-offs; or to take you back to the days that led up to her being there—the days when she was José Fyfer on the programme.
Her domain was the storage warehouse of Hahn & Lohman, as you may have guessed. If your business lay Forty-third Street way, you might have passed the building a hundred times without once giving it a seeing glance. It was not Forty-third Street of the small shops, the smart crowds, and the glittering motors. It was the Forty-third lying east of the Grand Central sluice gates; east of fashion; east, in a word, of Fifth Avenue—a great square brick building smoke-grimed, cobwebbed, and having the look of a cold-storage plant or a car barn fallen into disuse; dusty, neglected, almost eerie. Yet within it lurks Romance, and her sombre sister Tragedy, and their antic brother Comedy, the cut-up.
A worn flight of wooden steps leads up from the sidewalk to the dim hallway; a musty-smelling passage wherein you are met by a genial sign which reads:
"No admittance. Keep out. This means you."
To confirm this, the eye, penetrating the gloom, is confronted by a great blank metal door that sheathes the elevator. To ride in that elevator is to know adventure, so painfully, so protestingly, with such creaks and jerks and lurchings does it pull itself from floor to floor, like an octogenarian who, grunting and groaning, hoists himself from his easy-chair by slow stages that wring a protest from ankle, knee, hip, back and shoulder. The corkscrew stairway, broken and footworn though it is, seems infinitely less perilous.
First floor—second—third—fourth. Whew! And there you are in Josie Fifer's kingdom—a great front room, unexpectedly bright and even cosy with its whir of sewing machines: tables, and tables, and tables, piled with orderly stacks of every sort of clothing, from shoes to hats, from gloves to parasols; and in the room beyond this, and beyond that, and again beyond that, row after row of high wooden cabinets stretching the width of the room, and forming innumerable aisles. All of Bluebeard's wives could have been tucked away in one corner of the remotest and least of these, and no one the wiser. All grimly shut and locked, they are, with the key in Josie's pocket. But when, at the behest of McCabe, or sometimes even Sid Hahn himself, she unlocked and opened one of these doors, what treasures hung revealed! What shimmer and sparkle and perfume—and moth balls! The long-tailed electric light bulb held high in one hand, Josie would stand at the door like a priestess before her altar.
There they swung, the ghosts and the skeletons, side by side. You remember that slinking black satin snakelike sheath that Gita Morini wore in "Little Eyolf"? There it dangles, limp, invertebrate, yet how eloquent! No other woman in the world could have worn that gown, with its unbroken line from throat to hem, its smooth, high, black satin collar, its writhing tail that went slip-slip-slipping after her. In it she had looked like a sleek and wicked python that had fasted for a long, long time.
Dresses there are that have made stage history. Surely you remember the beruffled, rose-strewn confection in which the beautiful Elsa Marriott swam into our ken in "Mississipp'"? She used to say, wistfully, that she always got a hand on her entrance in that dress. It was due to the sheer shock of delight that thrilled audience after audience as it beheld her loveliness enhanced by this floating, diaphanous tulle cloud. There it hangs, time-yellowed, its pristine freshness vanished quite, yet as fragrant with romance as is the sere and withered blossom of a dead white rose pressed within the leaves of a book of love poems. Just next it, incongruously enough, flaunt the wicked froufrou skirts and the low-cut bodice and the wasp waist of the abbreviated costume in which Cora Kassell used so generously to display her charms. A rich and portly society matron of Pittsburgh now—she whose name had been a synonym for pulchritude these thirty years; she who had had more cold creams, hats, cigars, corsets, horses, and lotions named for her than any woman in history! Her ample girth would have wrought sad havoc with that eighteen-inch waist now. Gone are the chaste curves of the slim white silk legs that used to kick so lithely from the swirl of lace and chiffon. Yet there it hangs, pertly pathetic, mute evidence of her vanished youth, her delectable beauty, and her unblushing confidence in those same.
Up one aisle and down the next—velvet, satin, lace and broadcloth—here the costume the great Canfield had worn in Richard III; there the little cocked hat and the slashed jerkin in which Maude Hammond, as Peterkins, winged her way to fame up through the hearts of a million children whose ages ranged from seven to seventy. Brocades and ginghams; tailor suits and peignoirs; puffed sleeves and tight—dramatic history, all, they spelled failure, success, hope, despair, vanity, pride, triumph, decay. Tragic ghosts, over which Josie Fifer held grim sway!
Have I told you that Josie Fifer, moving nimbly about the great storehouse, limped as she went? The left leg swung as a normal leg should. The right followed haltingly, sagging at hip and knee. And that brings us back to the reason for her being where she was. And what.
The story of how Josie Fifer came to be mistress of the cast-off robes of the firm of Hahn & Lohman is one of those stage tragedies that never have a public performance. Josie had been one of those little girls who speak pieces at chicken-pie suppers held in the basement of the Presbyterian church. Her mother had been a silly, idle woman addicted to mother hubbards and paper-backed novels about the house. Her one passion was the theatre, a passion that had very scant opportunity for feeding in Wapello, Iowa. Josie's piece-speaking talent was evidently a direct inheritance. Some might call it a taint.
Two days before one of Josie's public appearances her mother would twist the child's hair into innumerable rag curlers that stood out in grotesque, Topsy-like bumps all over her fair head. On the eventful evening each rag chrysalis would burst into a full-blown butterfly curl. In a pale-blue, lace-fretted dress over a pale-blue slip, made in what her mother called "Empire style," Josie would deliver herself of "Entertaining Big Sister's Beau" and other sophisticated classics with an incredible ease and absence of embarrassment. It wasn't a definite boldness in her. She merely liked standing there before all those people, in her blue dress and her toe slippers, speaking her pieces with enhancing gestures taught her by her mother in innumerable rehearsals.
Any one who has ever lived in Wapello, Iowa, or its equivalent, remembers the old opera house on the corner of Main and Elm, with Schroeder's drug store occupying the first floor. Opera never came within three hundred miles of Wapello, unless it was the so-called comic kind. It was before the day of the ubiquitous moving-picture theatre that has since been the undoing of the one-night stand and the ten-twenty-thirty stock company. The old red-brick opera house furnished unlimited thrills for Josie and her mother. From the time Josie was seven she was taken to see whatever Wapello was offered in the way of the drama. That consisted mostly of plays of the tell-me-more-about-me-mother type.
By the time she was ten she knew the whole repertoire of the Maude La Vergne Stock Company by heart. She was blasé with "East Lynne" and "The Two Orphans," and even "Camille" left her cold. She was as wise to the trade tricks as is a New York first nighter. She would sit there in the darkened auditorium of a Saturday afternoon, surveying the stage with a judicious and undeceived eye, as she sucked indefatigably at a lollipop extracted from the sticky bag clutched in one moist palm. (A bag of candy to each and every girl; a ball or a top to each and every boy!) Josie knew that the middle-aged soubrette who came out between the first and second acts to sing a gingham-and-sunbonnet song would whisk off to reappear immediately in knee-length pink satin and curls. When the heroine left home in a shawl and a sudden snowstorm that followed her upstage and stopped when she went off, Josie was interested, but undeceived. She knew that the surprised-looking white horse used in the Civil War comedy-drama entitled "His Southern Sweetheart" came from Joe Brink's livery stable in exchange for four passes, and that the faithful
