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During that first season she learned to manage her affairs and to take care of herself and her small belongings, without admonition from any one. At the same time she was learning much of the technique of the profession, and was deeply interested as she began to understand how illusions are produced. She declares that one of the proofs that she was meant to be an actress was her enjoyment of the mechanism of stage effects.

“I was always on hand when a storm had to be worked,” she says, “and would grind away with a will at a crank that, turning against a tight band of silk, made the sound of a tremendously shrieking wind. And no one sitting in front of the house, looking at a white-robed woman ascending to heaven, apparently floating upward through the blue clouds, enjoyed the spectacle more than I enjoyed looking at the ascent from the rear, where I could see the tiny iron support for her feet, the rod at her back with the belt holding her securely about the waist, and the men hoisting her through the air, with a painted, sometimes moving sky behind her.

“This reminds me,” says Miss Morris, “that Mrs. Bradshaw had several times to go to heaven (dramatically speaking), and as her figure and weight made the support useless, she always went to heaven on the entire gallery, as it is called, a long platform the whole width of the stage, which is raised and lowered by windlass. The enormous affair would be cleaned and hung about with nice white clouds, and then Mrs. Bradshaw, draped in long white robes, with hands meekly crossed upon her breast and eyes piously uplifted, would rise heavenward, slowly, as so heavy an angel should. But alas! There was one drawback to this otherwise perfect ascension. Never, so long as the theater stood, could that windlass be made to work silently. It always moved up or down to a succession of screaks, unoilable, blood-curdling, that were intensified by Mrs. Bradshaw’s weight, so that she ascended to the blue tarletan heaven accompanied by such chugs and long-drawn yowlings as suggested a trip to the infernal regions. Her face remained calm and unmoved, but now and then an agonized moan escaped her, lest even the orchestra’s effort to cover up the support’s protesting cries should prove useless. Poor woman, when she had been lowered again to terra firma and stepped off, the whole paint frame would give a kind of joyous upward spring. She noticed it, and one evening looked back and said; ‘Oh, you’re not one bit more glad than I am, you screaking wretch!'”

Having successfully existed through the Columbus season, in the spring the company was again in Cleveland, playing for a few weeks before disbanding for that horror of all theatrical persons–the summer vacation.

As her mother was in a position, and could not be with Clara, the young actress spent the sweltering months in a cheap boarding-house, where a kindly landlady was willing to let her board bill run over until the fall, when salaries should begin again. Clara never forgot that kindness, for she was in real need of rest after her first season of continuous work. Although her bright eyes, clear skin, and round face gave an impression of perfect health, yet she was far from strong, owing partly to the privations of her earlier life and to a slight injury to her back in babyhood. Because of this, she was facing a life of hard work handicapped by that most cruel of torments, a spinal trouble, which an endless number of different treatments failed to cure.

Vacation ended, to her unspeakable joy she began work again as a member of the ballet corps, and during that season and the next her ability to play a part at short notice came to be such an accepted fact that more than once she was called on for work outside of her regular “line,” to the envy of the other girls, who began to talk of “Clara’s luck.” “But,” says Clara, “there was no luck about it. My small success can be explained in two words–extra work.” While the others were content if they could repeat a part perfectly to themselves in their rooms, that was only the beginning of work to their more determined companion. “I would repeat those lines,” said Miss Morris, “until, had the very roof blown off the theater at night, I should not have missed one.” And so it was that the youngest member of the ballet corps came to be looked on as a general-utility person, who could be called on at a moment’s notice to play the part of queen or clown, boy or elderly woman, as was required.