‘C’est cliché comme une tartine de journal,’ said one. ‘C’est connu comme le dôme des Invalides,’ said another. ‘Cela fatigue; on commence à se désillusionner sur La Chicot.’
La Chicot saw the decline of her star, and that lively temper of hers, which had been growing more and more impulsive during the last three years, took reverse of fortune in no good spirit. She used to come home from the theatre in a diabolical humour, after having danced to empty benches and a languid audience, and Jack Chicot had to pay the cost. She would quarrel with him about a straw, a nothing, on these occasions. She abused the students who stayed away from the theatre in roundest and strongest phraseology. She was still more angry with those who came and did not applaud. She upbraided Jack for his helplessness. Was there ever such a husband? He could not advance her interests in the smallest degree. Had she married any one else—one of those little gentlemen who wrote for the papers, for instance—she would have been engaged at one of the boulevard theatres before now. She would be the rage among the best people in Paris. She would be earning thousands. But her husband had no influence with managers or newspapers, not enough to get a puff paragraph inserted in the lowest of the little journals. It was desolating.
This upbraiding was not without its effect upon Jack Chicot. He was a good-tempered fellow by nature, prone to take life easily. In all their quarrels it was his wife who took the leading part. When the cups and saucers and empty bottles went flying, she was the Jove who hurled those thunderbolts. Jack was too brave to strike a woman, too proud to lower himself to the level of his wife’s degradation. He suffered and was silent. He had found out his mistake long ago. The delusion had been brief, the repentance was long. He knew that he had bound himself to a low-born, low-bred fury. He knew that his only chance of escaping suicide was to shut his eyes to his surroundings, and to take what pleasure he could out of a disreputable existence. His wife’s reproaches stung him into activity. He wrote half-a-dozen letters to old friends in London—men more or less connected with the press or the theatres—asking them to get La Chicot an engagement. In these letters he wrote of her only as a clever woman in whose career he was interested; he shrank curiously from acknowledging her as his wife. He took care to enclose cuttings from the Parisian journals in which the dancer’s beauty and chic, talent and originality, were lauded. The result of this trouble on his part was a visit from Mr. Smolendo, the enterprising proprietor of the Prince Frederick Theatre, who had come to Paris in search of novelty, and the engagement of Mademoiselle Chicot for that place of entertainment. Mr. Smolendo had been going in strongly for ballet of late. His scenery, his machinery, his lime-light and dresses were amongst the best to be seen in London. Everybody went to the Prince Frederick. It had begun its career as a music-hall, and had only lately been licensed as a theatre. There was a flavour of Bohemianism about the house, but it only gave a zest to the entertainment. All the most notorious Parisian successes in the way of spectacular drama, all the fairy extravaganzas and demon ballets and comic operettas, were reproduced by Mr. Smolendo at the Prince Frederick. He knew where to find the prettiest actresses, the best dancers, the freshest voices. His chorus and his ballet were the most perfect in London. In a word, Mr. Smolendo had discovered the secret of dramatic success. He had found out that perfection always pays.
La Chicot’s beauty was startling and incontestible. There could not be two opinions about that. Her dancing was eccentric and clever. Mr. Smolendo had seen much better dancing from more carefully-trained dancers, but what La Chicot wanted in training she made up for with dash and audacity.
‘She won’t last many seasons. She’s like one of those high-stepping horses that knock themselves to pieces in a year or two,’ Mr. Smolendo said to himself; ‘but she’ll take the town by storm, and she’ll draw better for her first three seasons than any star I’ve had since I began management.’
La Chicot was delighted at being engaged by a London manager, who offered her a better salary than she was getting at the students’ theatre. She did not like the idea of London, which she imagined a city given over to fog and lung disease, but she was very glad to leave the scene where she felt that her laurels were fast withering. She gave her husband no thanks for his intervention, and went on railing at him for not having got her an engagement on the boulevard.
‘It is to bury myself to go to your dismal London,’ she exclaimed; ‘but anything is better than to dance to an assembly of idiots and cretins.’
‘London is not half a bad place,’ answered Jack Chicot, with his listless air, as of a man long wearied of life, and needing a stimulant as strong as aquafortis to rouse him to animation. ‘It is a big crowd in which one may lose one’s identity. Nobody knows one, one knows nobody. A man’s sense of shame gets comfortably deadened in London. He can walk the streets without feeling that fingers are being pointed at him. It is all the same to the herd whether he has just come out of a penitentiary or a palace. Nobody cares.’
The Chicots crossed the Channel, and took lodgings in a street in the neighbourhood of Leicester Square, near which, as everyone knows, the Prince Frederick is situated. It was a dingy street, offering scanty attractions to the stranger, but it was a street which from the days of Garrick and Woffington had been favoured by actors and actresses, and Mr. Smolendo recommended the Chicots to seek a lodging there. He gave them the names of three or four householders who let lodgings to ‘the profession,’ and among these Madame Chicot made her choice.
The apartments which pleased her best were two fair-sized rooms on a first floor, furnished with a tawdry pretentiousness which would have been odious to a refined eye, and which was particularly offensive to Jack’s artistic taste. The cheap velvet on the chairs, the gaudy tapestry curtains, the tarnished ormolu clock and candelabra, delighted La Chicot. It was almost Parisian, she told her husband.