When they first appeared on stage, the audience saw nothing unusual. The two moved around from one side of the stage to the other, as if searching for something, and Rachael played the music to accompany their movement.
Then, with a crashing piano crescendo, Hugh turned, so that the audience could see his back.
Hanging from his back was a fish.
The audience roared with laughter.
Hugh reacted as if he had no idea what the audience was laughing at, and he kept whirling about, looking behind him, but of course, as the fish was attached to his back, he never saw it.
Rachael kept time with the antics on stage, the piano music adding to the comedy.
Finally, Hugh reached over his shoulder and, finding the fish, unhooked it, and brought it around so he could see it. He gasped, and opened his mouth and eyes wide as he looked at the fish.
Again, the piano music reflected his reaction.
HUGH: By heavens, that’s a
MARY: ’Tis, and was hanging to a
The crowd exploded with laughter.
HUGH: You’re only
More laughter.
MARY: What
By now, the laughter was nonstop.
HUGH: I’ve
The crowd’s laughter was so loud that for the moment, Rachael had to quit playing the piano.
Throwing the fish into the wings of the stage, Hugh and Mary looped their arms together and marched about singing:
If you want for information
Or in need of merriment,
Come over with me socially
To Murphy’s tenement.
He owns a row of houses
In the first ward, near the dock,
Where Ireland’s represented
By the babies on our block.
Rachael accompanied every act and every song, even playing while the curtain was drawn between acts. Most of her music was light, but as a finale to each show, she would play a piece from one of the well-known established composers, such as Bach, Beethoven, Vivaldi, or Chopin.
Such music was not foreign to Rachael, who was a classically trained pianist. She had performed on concert stages in New York, Boston, and Philadelphia, as well as in opera houses in London, Paris, and Berlin.
The conclusion of her number was met with thunderous applause, which intensified, and was accompanied by shouts of “Huzzah!” when the curtains parted for the final bows of the theater group.
Rachael continued to play until the theater emptied. Then, as a couple of theater employees went around extinguishing the gas lanterns, Rachael gathered her music and went backstage to join the others.
It was always an exciting time after a show, with the energy high and the performers teasing each other over the slightest gaff. Also, after every evening performance, the troupe would go out for a late dinner.
But when Rachael went backstage she found, not the merriment and excitement she expected, but angry expressions and harsh words.
“What is it?” she asked, puzzled by the reaction of the others. “What’s going on?”
“J. Garon, that’s what’s going on,” Hugh said.
“What about Mr. Garon? Where is he?”
“That’s what we’d like to know,” Mary said.
“The son of a bitch has absconded with the money,” Hugh said.
“You mean tonight’s take?”
Hugh shook his head. “No. I mean
“What’s worse, he has stuck us with the bill that is due for this theater this week,” Mary said.
“Yes, we owe the theater owner two hundred fifty dollars,” Hugh explained.
“We owe it? How could we owe it? Garon is the troupe manager.”
“Garon’s not here and we are,” Hugh explained. “The theater manager has already let us know that either we
