Julius, The Street Boy

“Miles, then.”

“Dave fixes ’em up out of plays at the Theatre Comique, and some of the songs we gits from Tony Pastor’s. If there was time I’d take you behind the sceneries. But it’s most time to begin.”

“Miles O’Reilly is wanted,” was heard from behind the curtain, and the great comedian left our hero and hurried behind the scenes.

By this time the cellar was nearly full of boys, varying in age from five to twenty, who were crowded together in such near proximity as the limited size of the auditorium rendered imperatively necessary. The front row was close up to the curtain, and here Julius was fortunate enough to secure a place.

The stiffness and reserve which characterize the spectators at other theatres was dispensed with at the free and easy “Grand Duke’s Oprea House.” Cheerful and jocose remarks were interchanged, spiced with genial humor, and occasionally tinged with sarcastic remarks of a personal character. But all was taken in good part. At last, however, the patrons became impatient, and calls were heard, such as, “What yer waitin’ fur?” “Hurry up de overture!” “Have yer gone ter sleep behind there?”

At last the manager responded to the flattering impatience of his patrons. The curtain arose and displayed the orchestra consisting of two musicians, a performer on an accordeon and a bone-player. The overture was made up of pieces skillfully selected by the manager to suit the tastes of the audience. Choice gems from “Norma,” “Trovatore,” and “Faust” would not have satisfied the fastidious tastes of the Grand Duke’s patrons. Instead of these, such choice airs as “Squeeze me, Joe,” and “Up in Avenue A,” afforded unmistakable pleasure, and the whole closed with “The Campbells Are Coming,” which was rendered with spirit and general acceptance.

Next came the comedy, “Laughing Gas,” in which the gas is administered to a variety of patients, who are differently affected, one laughing, another dancing, another combative, and so on. The acting was rude, but lively, and the piece was rapturously applauded. In this applause Julius bore his full part. Though he is my hero I have no desire to represent him as more refined or better educated than the majority of his companions. The classic drama or the opera, as brought out at the Academy, would have been far less attractive to him than this rude performance.

He was no less pleased with the next piece, in which two boys, representing Tom King and Dick Turpin, appear on the stage with dark lanterns, and attempt the robbery of a house, but become panic-stricken, and exhibit more alarm than the occupants of the house. This, of course, amuses the spectators.

“It ’minds me of Jack and Marlowe,” said Julius to his next neighbor, “when they was robbin’ the house on Madison Avenue.”

“Was you there?” asked the other.

“No, but I knew all about it. I lived with Jack.”

“You did!” repeated the other, with something like awe at finding his neighbor to have been intimate with so illustrious a criminal. “How did you like him?”

“Jack wa’n’t a bad sort,” said Julius, “except when he was sprung. I like him better than Marlowe.”

“They was took by the cops, wasn’t they?”

“Yes, they was took,” said Julius, shortly.

His own agency in the affair he didn’t care to mention, chiefly because in the class to which he belonged it was considered a point of honor to make common cause against the cops, that is, against the conviction of those who transgress the laws, and our hero felt that the revelation of his agency in entrapping his associates would not increase his popularity. Nor would he have taken the part he did but for the gratitude he felt to Paul, and the fear that he would suffer harm.

Later in the evening the beneficiary, the great Miles O’Reilly, appeared in a jig, which was very creditably danced. His appearance was the signal for a noisy ovation; due partly to his general popularity, and partly to his position as the beneficiary of the evening.

“Good for yer, Miles!” expressed the general appreciation of his efforts. Space will not permit us to enlarge on the other features in the programme of the evening. Evidently “The Mulligan Guards” was most popular, being received with tremendous applause. To gratify the curiosity of such of my readers as are not familiar with this celebrated local song, the first verse is here introduced:

“We crave your condescension,
We’ll tell you what we know
Of marching in the Mulligan Guard,
From Sligoward below.
Our captain’s name was Hussey,
A Tipperary man,
He carried his sword like a Russian duke,
Whenever he took command.

    Chorus.
“We shouldered guns, and marched and marched away,
From Baxter Street we marched to Avenue A;
With drums and fifes how sweetly they did play,
As we marched, marched, marched in the Mulligan Guard.”

The effect of the song is heightened by the marching of the Guards, the roll of the drum, and presenting arms, which the young actors went through very creditably.

At the close, Miles was summoned before the curtain, and a speech was called for. As the recipient of the benefit the eminent actor could not very well decline. He presented himself with a low bow, and said:

“Boys, I’m glad to welcome yez here this evening. I don’t care so much for the stamps.” (“Oh, no! course yer don’t!” came in ironical accents from some one in the audience.) “That’s so, Jim Blin, and you know it. I’m glad yez like my dancin’! I won’t say no more, ’cause I ain’t used to makin’ speeches, but, with the kind permission of the manager, I’ll give yez anuther jig, and wish you good-night!”

Here the speaker bowed, the music struck up, and, to the satisfaction of all, the beneficiary repeated his performance. Then there was a rush for the door and in five minutes the “Grand Duke’s Oprea House” was silent and deserted.

CHAPTER III.

ON THE RAILWAY

As the time approached for his leaving New York, Julius could not help feeling a little regret. The great city had been a harsh stepmother to him. He had suffered often from cold and hunger, during the years that he had been drifting about her streets, an unconsidered waif in the great sea of life. He had received kindness from few, harshness from many. From the age of five he had been forced to earn his own living, with no one to look out for him except a professional thief. He had seen more of the dark than the bright side of life, but he had not been without his enjoyments. Youth is hopeful and can find enjoyment under the most unpropitious circumstances.

So Julius, as he took his last walk through the streets with which he had for years been familiar, felt sorry that he was to leave them the next day, perhaps, for many years. It is true he hoped to do better at the West, but all his present associations were with Broadway, Chatham Street, and the Bowery, and City Hall Park, and his new life would seem strange at first.

But when all preparations had been made and he found himself seated in the cars, dressed in a new suit, with thirty other boys, under the general charge of Mr. O’Connor, the superintendent of the Newsboys’ Lodging House, he forgot the city, and was exhilarated by the rapid motion of the cars, and the varied panorama through which he was swiftly passing.

“Ain’t it bully, Teddy?” said he to one of his city acquaintances who occupied the adjoining seat.

“That’s so, Julius. I never rid in the cars before.”

“Didn’t you?” said Julius, with complacent superiority. “I have.”

“Where’d you go?”

“Well, I went to Newark, and one summer I went to Long Branch—that’s a big watering place, you know. Both places are in New Jersey. I stayed a week at Long Branch.”

“Did you put up at one of the big hotels?”

“Yes, I put up at the Continental Hotel.”

“You’re gassin’!”

“No, I ain’t.”

“How much did you pay?”

“I forgot to ask for the bill,” said Julius.

“Where’d you sleep?”

“Oh, I slept in a bathing house, on the beach. It belonged to the hotel.”

“How’d you like it?”

“Pretty good, only the tide came up so high that it poured into the bathing house, and gave me a wetting.”