Ryloff, an eccentric Belgian, was our musical director for a short time. He was exceedingly fond of beer and used to drink it morning, noon, and night,--especially night. Even our rehearsals were not sacred from his thirst. In the middle of one of our full dress rehearsals he suddenly stopped the orchestra, laid down his baton, and said to the men:
Then he got up and deliberately went off to a nearby saloon while we awaited his good pleasure.
I have previously mentioned what a handsome and dashing Fra Diavolo Theodore Habelmann was, and naturally other singers with whom I sang the opera later have suffered by comparison. In discussing the point with a young girl cousin who was travelling with me, we once agreed, I remember, that it was a great pity no one could ever look the part like our dear old Habelmann. Castle was doing it just then, and doing it very well except for his clothes and general make-up. But he was so extremely sensitive and yet, in some ways, so opinionated, that it was impossible to tell him plainly that he did not look well in the part. At last, my cousin conceived the brilliant scheme of writing him an anonymous letter, supposed to be from some feminine admirer, telling him how splendid and wonderful and irresistible he was, but also suggesting how he could make himself even more fascinating. A description of Habelmann's appearance followed and, to our great satisfaction, our innocent little plot worked to a charm. Castle bought a new costume immediately and strutted about in it as pleased as Punch. He really did present a much more satisfactory appearance, which was a comfort to me, as it is really so deplorably disillusioning to see a man looking frumpy and unattractive while he is singing a gallant song like:
[Illustration: Musical notation; Proud-ly and wide ... my stand-ard
flies O'er dar-ing heads, a no-ble band!]
Naturally these tours brought me all manner of adventures that I have long since forgotten--little incidents "along the road" and meetings with famous personages. Among them stand out two experiences, one grave and one gay. The former was an occasion when I went behind the scenes during a performance of _Henry VIII_ to see dear Miss Cushman (it must have been in the early seventies, but I do not know the exact date), who was playing Queen Katherine. She asked me if I would be kind enough to sing the solo for her. I was very glad to be able to do so, of course, and so, on the spur of the moment, complied. I have wondered since how many people in front ever knew that it was I who sang _Angels Ever Bright and Fair_ off stage, during the scene in which the poor, wonderful Queen was dying! The other experience of these days which I treasure was my meeting with Eugene Field. It was in St. Louis, where Field was a reporter on one of the daily papers. He came up to the old Lindell Hotel to interview me; but that was something I would _not_ do--give interviews to the press--so my mother went down to the reception room with her sternest air to dismiss him. She found the waiting young man very mild-mannered and pleasant, but she said to him icily: