Part 15 (2/2)
The frenzy of activity grew greater as the time of opening approached.
The three weeks allotted for the rehearsal swept by for Morgan in tempestuous flight--an impression which he got from watching the feverish evolutions of his Cleo. He found himself, too, drawn into London night life, a.s.sisting at restaurant supper parties and sitting down with men in evening dress who affected cloaks and crush hats, and who were scarcely names to him. Cleo presided, sometimes as hostess, sometimes as guest; Morgan, who figured as ”my husband,” having the feeling that the others were just civilly tolerant to him. As for himself, he was inclined to be taciturn, being little versed in the matters on which the rest discoursed so racily. Cleo gave him to understand that these men, and others he had stumbled against in the corridors of the theatre and who seemed to have an easy entree to her, were those whose good will it was necessary to secure--critics, journalists and the like. She further confided to him that she considered she had achieved a triumph in drawing them round her. Asked if they were of the first importance, she had to confess most of them were attached to various weekly papers, whose influence, however, she thought must be considerable. The names of the sheets were but dimly familiar to Morgan and had that equivocal ring about them that suggested vagueness of circulation. He did not quite approve of this fawning on critics and hinted as much, whereupon Cleo insisted the critics were only too glad to fawn on her.
”Do you suppose they have no insight?” she asked, ”that they are incapable of recognising beauty and genius? They can read the future in my face, and for the sake of their own reputation they dare not overlook or ignore me at the outset.”
The world seemed to hold its breath on the last day, and Morgan was conscious of a strange hush that seemed to hang over the crowded, grinding thoroughfares. The last of the money had been spent in advertising, and every portable effect, including his own watch, had gone to raise more. All day long he lounged about the theatre in feverish suspense. From the box office man--an incommunicative individual with an absurd mustache, who spoke with an air of resentment at being accosted--he learned that the advance booking had been very slight, that, so far, the announcements and the various odd paragraphs from the pen of Bohemian acquaintances, who had spoken very favourably of Cleo's beauty, had failed to attract more than seven or eight pounds.
But never for a moment did Cleo lose faith in the venture--that would have been to lose faith in herself. Of course she knew her name was absolutely unfamiliar to the public, she explained, in antic.i.p.ation of unsatisfactory takings, and, therefore, she could not expect to draw a full house the first night. She had, however, taken steps to secure appearances by an extensive distribution of paper. But she expected the effect of her performance to be magnetic. She alone would stand forth and the play and the rest of the players would scarcely obtrude on the consciousness of the spectators. After the first evening or two they would certainly have to turn away business.
The near approach of the moment when the realisation of his panoramic visions was at last to begin, freshened again in Morgan all his sense of the romance of the situation. There had been times in the last few days when he had suffered from despondency. There were sides to theatrical life that were little to his taste. He had long since known, for instance, that the stage manager was addicted to obscene talk; and when, one day, just as in the middle of a rehearsal he was about to step from the wings on to the stage, he was arrested by a torrent of vileness that came from that same individual, he was not very much surprised at the mere fact. But he was vexed and disgusted that the fellow should not have restrained himself in the presence of Cleo. What was worse, Cleo herself seemed to be perfectly unaware of anything exceptionable, for she made not the least protest; from which Morgan gathered that the sort of thing must be quite usual and that, had he not shunned the rehearsals so persistently, he would have known it before. Thus, there were moments when he felt utterly alone in this strange life, when he longed for real, human sympathy. He yearned for some other being who was not Cleo, to whom to turn, to whom to pour out the human emotion that was in him; some being who belonged to the life from which he had cut himself off, and to which he looked back almost as from another world. Yet these were only momentary longings that mastered him. His whole interest, his whole imagination, were bound up with his present life; and the fascination exerted over him by Cleo and the wonderful future he believed was to be hers sufficed to attach him enthusiastically to her career.
Thus, as the rising of the curtain approached, so did the excitement in him overcome every other emotion; so did he become absolutely a creature of this region into which he had plunged, breathing its air with avidity and entranced by the prospect.
”I've a surprise in store for you, dear,” Cleo confided to him that day at lunch. ”I've arranged a special scene at the beginning of the second act, in which I alone appear. No one has any suspicion of it, but I tell you, dear, the effect will be wonderful. Coming after I shall have charmed everybody with my acting in the first act, it will carry the audience off its feet with enthusiasm.”
CHAPTER IV.
Morgan, installed in a box, all by himself, was eagerly interested in the audience as it came straggling into the house, which, thanks to the paper distributed, ultimately presented a pretty compact appearance. He himself was ignorant how much real business had been done, but, so far as he could judge, the gallery and pit were being fairly well patronised. No doubt a good many had been drawn by the gorgeous poster representing Cleo, twice her natural size, and dressed in a costume somewhat like the one she had worn when he had first made her acquaintance. Appropriately huge ornamental letter-press declared her to be ”The Basha's Favourite;” and it was on the first act of ”The Basha's Favourite” that the audience was now waiting for the curtain to rise.
And at this moment of culminating excitement the scene impressed Morgan curiously. His mood was essentially one of romance. That the play itself was full of inanities was forgotten; but its t.i.tle and Egyptian colour together with Cleo's personality had somehow got inter-blent and interwoven with the enterprise itself, making even its commercial and prosaic sides instinct with mystery and unreality.
He seemed to have wandered into an Arabian Nights' tale. The figures that filled the stalls, pit, and galleries took on the aspect of a crowd that might people a dream or the visions a child seeks in its pillow. He was conscious of the shapeless totality of myriad conversations--a blur of sound, mystic and bewildering.
Now, too, the front rows of stalls, which he knew were reserved for the critics, began to fill, and a waft of unpleasantness came to him as he recognised a few of the acquaintances he had made at recent supper parties. The disturbance was fatal to his mood. He felt suddenly unstrung. A strange sense of unhappiness invaded him--a bitter, far-embracing uncertainty. He was uncertain of himself, of his life, of all life. The solid scene faded from before his eyes. He became self-centred. All his consciousness of living and having lived--his consciousness of all he had ever felt and all he had ever thought and all he had ever done--was with him as a vast bitterness that gave him a sense as of an infinite nebula. And then, as in a flash, this nebula concentred itself into a point--a point that was his whole sense of life and consciousness. He was now as in a black tomb, without past, without future, without sense of direction, without an active thought; with only a mere awareness of existing, with only the cognizance of the present time-point on the flowingness of his consciousness.
The tuning of instruments began just then, and the rasping sound tore at him, dragging him back to a consciousness of externals. Then, as his eyes rested again on the stalls, he drew right back instinctively into the shadow of his box. For he had caught sight of Lady Thiselton.
She was in the fourth row from the orchestra and by her side he recognised Mrs. Blackstone. They could only have just entered, for he was sure those two seats had been empty but the moment before. He felt tolerably certain Helen had not yet seen him, and he intended to take care she should not see him. Yet he had an intuition that she knew all.
In his altered position in the box he was fairly safe from recognition by her, even whilst he could watch her closely, noting the quick, eager glances she cast about her from time to time as if she thought it possible he might be seated amid the audience. Eventually, however, she lapsed into a sort of listless immobility.
And even though he shrank from her, her advent brought back to him a yearning wistfulness; it awakened and half-appeased a sense akin to home-sickness. In that moment he would have liked to fly to her--how much had she stood for in his life! She symbolized for him all that of humanness which is comprised in the word ”comrades.h.i.+p;” she represented the truth, attachment and loyalty in human relations even as Margaret represented the perfume, the sweetness, and the perfection.
The rise of the curtain forced him to take his eyes off her. The background of the scene on the stage was apparently the pillared exterior of a palace, yet the foreground was a carpeted s.p.a.ce in which a many-coloured medley of yataghaned men with baggy breeches and beautiful slave-girls in Oriental costumes kept re-forming in ever-s.h.i.+fting kaleidoscopic grouping. And then the audience suddenly were aware that the medley had divided into two harmonious sub-medleys, whilst, in the chasm left towards the front, Cleo stood majestically and addressed a verbose harangue to the Basha, her relation to whom was known from the t.i.tle of the play. In full view and hearing of so heterogeneous a crowd did the Basha in return reproach her with coldness and indifference to him, which she vehemently denied, playing the _femme incomprise_ and by her perfect self-a.s.surance cloaking an intrigue, which Morgan knew she was carrying on with a handsome Christian, because, having read the play, he knew what was coming.
In the unfolding of the plot, Morgan was quite uninterested. In fact, he had long since lost all grasp of its movement and meaning, and, instead of taking in the dialogue, he contented himself with judging effects and their impression on the audience.
Though he had seen a little of the rehearsals, he had not yet acquired any notion of Cleo's abilities, for she had been busy directing and criticising, simply reading her part as a ”fill-in.” He had all along taken it for granted that she must be a great actress. At his most despondent moments he had never doubted that, simply because it had never occurred to him to doubt it. However, he was not without some notion of what good acting should be, and he felt something like a murderous bludgeon blow when, at the end of five minutes, it began to be forced on him that she had not even the least glimmer of instinct for her art.
Despite all her magnificence and the absence of any gaucherie in her movements when off the stage, all natural grace disappeared the moment she attempted to be somebody else. Her delivery was unnatural and pompous; her motions were stiff, strained, ridiculous. The whole of the first act was unsatisfying to the intelligence, but instead of dominating it by the force of her personality, Cleo, by the incompetence of her acting, set up its silliness in relief. If she had not talked as much as all the other characters put together--for every word that even the Basha managed to steal in elicited ten against it--there would have been nothing to suggest she was the leading character. At one point, indeed, her absurd strutting about the stage drew a chuckle from somewhere among the ranks of the critics. To watch her became so painful that Morgan at last turned away his eyes.
All was over. His beautiful visions had gone. His eyes were suddenly opened and he found himself transported from dreamland, not to reality--for he could not yet believe this was reality--but into what seemed a horrible nightmare.
The act ended at last and the curtain fell amid a frigid silence. Then there was a little clapping in the gallery--the colour had no doubt pleased a few of the spectators. But it died away immediately in discouragement.
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