When the Cuckoo Called by H.D. Umbstaetter

The announcement that London music hall audiences are losing their heads and hearts over "The Girl with the Guitar" causes Mr. Seymour Gaston to smile as he looks down upon the world from his offices on the nineteenth floor of a New York sky-scraper. Mr. Gaston is an ingenious, much traveled young bachelor with a history and a fortune. He recently invented a folding fire-escape, which also has a history and in which another fortune is said to await him. And "The Girl with the Guitar" is one of the two Zillerthaler sisters, whose permanent address is unknown and who receive two hundred guineas a night for presenting their Tyrolean second-sight séance. To such an extent do these mysterious maidens from the mountains hypnotize the public that they appear nightly at four different music halls. At the Alhambra they open the performance at eight o'clock, after which they are rushed by their manager in an automobile to the stage door of the second music hall, where they appear at eight forty-five, and so on, winding up at the Aquarium at a few minutes before ten with a thousand dollars in their pockets for the evening's work.

When the curtain rises upon their ten-minute act it discloses a typical Tyrolean scene -- dim mountains in the background, a sombre pine forest, a toylike, gabled cottage in the distance. The lights are low and the stage is empty. The orchestra begins almost inaudibly a simple melody in the minor key. Presently a rich voice, that raises doubt in the mind of the listener as to whether it is male or female, joins in. It is a song of love, a serenade. The lights grow dimmer. A new sound steals into the concerted music of voice and instruments; there are strange, bizarre chords and rippling arpeggios, and then the music is drowned in the burst of wild applause that greets the appearance of "The Girl with the Guitar. " She bows modestly, the lights go up, the rich voice is heard again in a joyous yodel, and the sister, too, appears, dressed in the picturesque attire of an Alpine hunter. This artistically conceived prologue brings the audience into closer sympathy with what follows. "The Girl with the Guitar," unheeding the applause and the demonstrations of the male portion of the audience, seats herself at the extreme right of the stage near the footlights. The sister is led by the manager along a narrow platform projecting into the centre of the hall, where, after being blindfolded, she seats herself with her back to the stage, and the real performance begins, to the muted music of the orchestra and the sad, fantastic chords of the guitar.