Rita Weiman

Rita Weiman

Summary

Portrait of Rita Weiman Rita Weiman Footlights

Sometimes the effect is overdone, a surface glazed too smooth to be startling. But it is never underdone, and the New York first night audience is often hypnotized under the hand of the magician into believing a mediocre piece of work an outstanding masterpiece.
Through the audience that flowed into the Kane Theater on the night of November 5th, like an undulating stream of scented sparkling color, drifted that murmur of eagerness which was breath of life to the famous producer. In it he found all the satisfaction of a woman in her beauty or a painter in the eyes lifted to his canvas.
Source: Gutenberg

Portrait of Rita Weiman Rita Weiman Footlights

And that was when she gave him the story of Thorne’s play—more to change the subject than anything else—with eyes shining and slim jeweled hands sending sparks into the room’s golden shadows. He listened, watching her, the light on her face, the blaze of enthusiasm under the thick lashes.
“It’s a splendid part for Lilla,” she ended. “She’ll be fascinating in it, don’t you think?”
“Great!” And after a moment, “Nancy—does seeing so much of Thorne and old Jerry ever tempt you to go back on the stage?”
She went close to him as if his bigness were a shelter.
Source: Gutenberg

Portrait of Rita Weiman Rita Weiman Footlights

What is there about an empty theater that fascinates? The bare boards of the stage, the heaps of scenery piled against bare brick walls, the bare table and chairs ranged to form a semicircle within which the actors move back and forth, the single electric light, bare of shade, jutting up in the center like a giant eye in the cool darkness—surely there is no illusion about them, no suggestion of the world of make-believe into which they evolve. Yet the very odor of the place redolent of grease-paint—those who love it sniff it as a thoroughbred sniffs tanbark.
Source: Gutenberg

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