There was a good deal of wet weather during those first six weeks at Rivermouth, and we set ourselves at work to find some indoor amusement for our half-holidays. It was all very well for Amadis de Gaul and Don Quixote not to mind the rain; they had iron overcoats, and were not, from all we can learn, subject to croup and the guidance of their grandfathers. Our case was different.
“Now, boys, what shall we do?” I asked, addressing a thoughtful conclave of seven, assembled in our barn one dismal rainy afternoon.
“Let's have a theatre,” suggested Binny Wallace.
The very thing! But where? The loft of the stable was ready to burst with hay provided for Gypsy, but the long room over the carriage-house was unoccupied. The place of all places! My managerial eye saw at a glance its capabilities for a theatre. I had been to the play a great many times in New Orleans, and was wise in matters pertaining to the drama. So here, in due time, was set up some extraordinary scenery of my own painting. The curtain, I recollect, though it worked smoothly enough on other occasions, invariably hitched during the performances; and it often required the united energies of the Prince of Denmark, the King, and the Grave-digger, with an occasional band from “the fair Ophelia” (Pepper Whitcomb in a low-necked dress), to hoist that bit of green cambric.
The theatre, however, was a success, as far as it went. I retired from the business with no fewer than fifteen hundred pins, after deducting the headless, the pointless, and the crooked pins with which our doorkeeper frequently got “stuck.” From first to last we took in a great deal of this counterfeit money. The price of admission to the “Rivermouth Theatre” was twenty pins. I played all the principal parts myself--not that I was a finer actor than the other boys, but because I owned the establishment.
At the tenth representation, my dramatic career was brought to a close by an unfortunate circumstance. We were playing the drama of “William Tell, the Hero of Switzerland.” Of course I was William Tell, in spite of Fred Langdon, who wanted to act that character himself. I wouldn't let him, so he withdrew from the company, taking the only bow and arrow we had. I made a cross-bow out of a piece of whalebone, and did very well without him. We had reached that exciting scene where Gessler, the Austrian tyrant, commands Tell to shoot the apple from his son's head. Pepper Whitcomb, who played all the juvenile and women parts, was my son. To guard against mischance, a piece of pasteboard was fastened by a handkerchief over the upper portion of Whitcomb's face, while the arrow to be used was sewed up in a strip of flannel. I was a capital marksman, and the big apple, only two yards distant, turned its russet cheek fairly towards me.