At the end of the piece Justina was received with what it is the fashion to call an ovation. There were no bouquets thrown to her, for these floral offerings are generally pre-arranged by the friends and admirers of an actress, and Justina had neither friends nor admirers in all the great city to plan her triumph. She had conquered by the simple force of an art which was spontaneous and unstudied as the singing of a nightingale. Time and practice had made her mistress of the mechanism of her art, had familiarized her with the glare of the lights and the strange faces of the crowd, had made her as much at her ease on the stage as in her own room. The rest had come unawares, it had come with the ripening of her mind, come with the thoughtfulness and depth of feeling that had been the growth of that early disappointment, that first brief dream of love, with its sad sudden ending.
When the piece was over, and Justina and Mr. Flittergilt had enjoyed their triumph, and all the actors had been called for and applauded by a delighted audience, Maurice suddenly left the box. He had done nothing to help the applause, but had stood in his dark corner like a rock, while the little theatre shook with the plaudits of pit and gallery.
‘Come, I say, that’s rather cool,’ the dramatist muttered to himself. ‘He might have said something civil, anyhow; I was just going to ask him if he’d like to go behind the scenes, too.’ The accomplished Flittergilt had contented himself with bowing from his box, and he was now in haste to betake himself to the green-room, there to receive the congratulations of the company, and to render the usual meed of praise and thanks to the interpreters of his play.
The green-room at the Royal Albert Theatre was a very superior apartment to the green-room at Eborsham. It was small, but bright and comfortable-looking, with carpeted floor, looking-glasses over chimney-piece and console table, photographs and engraved portraits of popular actors and actresses upon the gaily papered walls, a cushioned divan all round the room, and nothing but the table and its appurtenances wanted to make the apartment resemble a billiard-room in a pleasant unpretentious country house.
Here, standing by the console table, and evidently quite at his ease, Mr. Flittergilt found his friend talking to the new actress. Mr. Clissold had penetrated to the sacred chamber somehow, without the dramatist’s safe-conduct.
‘How did you get here?’ asked Flittergilt, annoyed.
‘Oh, I hardly know. The old man at the stage door didn’t want to admit me. I’m afraid I said I was Miss Elgood’s brother, or something of that kind, I was so desperately anxious to see her.’
He had been congratulating Justina on her developed talents. The girl’s success had surprised herself more than any one else. She had been applauded and praised by provincial critics of late, but she had not thought that a London audience was so easily conquered. The dark eyes shone with a new light, for success was very sweet. In the background stood a figure that Maurice had not observed till just now, when he made way for Mr. Flittergilt.
This was Matthew Elgood, clad in the same greasy-looking frock coat, or just such a coat as that which he had worn two years ago at Eborsham, but smartened by an expanse of spotless shirt-front, which a side view revealed to be only frontage, and not an integral part of his shirt, and a purple satin cravat.
‘How do you do, Mr. Elgood? Are you engaged here too?’ asked Maurice.