“I’m so glad that General Petcalf’s gout in his stomach did not carry him off—for young Petcalf could not have acted, you know, to-night.—Mrs. Harcourt is trying to catch your eye, Lady Kew.”
All those who were new to the theatre at Falconer-court, or who were not intimate with the family, were in great anxiety to inform themselves on one important point, before the prologue should begin. Stretching to those who were, or had the reputation of being, good authorities, they asked in whispers, “Do you know if there is to be any clapping of hands?—Can you tell me whether it is allowable to say any thing?”
It seems that at some private theatres loud demonstrations of applause were forbidden. It was thought more genteel to approve and admire in silence,—thus to draw the line between professional actors and actresses, and gentlemen and lady performers. Upon trial, however, in some instances, it had been found that the difference was sufficiently obvious, without marking it by any invidious distinction. Young and old amateurs have acknowledged, that the silence, however genteel, was so dreadfully awful, that they preferred even the noise of vulgar acclamations.
The cup of flattery was found so sweet, that objections were no longer made to swallowing it in public.
The overture finished, the prologue, which was written by Mr. Seebright, was received with merited applause. And, after a buzz of requests and promises for copies, the house was silent—the curtain drew up, and the first appearance of Zara, in the delicate sentimental blue satin, was hailed with plaudits, long and loud—plaudits which were reiterated at the end of her first speech, which was, indeed, extremely well recited. Count Altenberg leaned forward, and seemed to listen with delight; then stood up, and several times renewed his plaudits; at first, with an appearance of timidity, afterwards, with decision and energy. Miss Georgiana Falconer really acted uncommonly well, so that he could without flattery applaud; and if he did exaggerate a little in the expression of his admiration, he deemed it allowable. He had another object: he was absolutely determined to see whether or not Caroline was capable of the mean passions which had disgusted him in her rival. He reflected that he had seen her only when she was triumphant; and he was anxious to know how she would appear in different circumstances. Of her high intellectual endowments he could not doubt; but temper is not always a blessing given to the fair, or even to the wise. It may seem strange that a gallant man should think of a beauty’s temper; and, probably, if Count Altenberg had considered Caroline only as a beauty, he would not have troubled himself to make, on this point, any severe and dangerous scrutiny.
The play went on—Zara sustaining the interest of the scene. She was but feebly supported by the sulky Selima, and the other parts were but ill performed. The faults common to unpractised actors occurred: one of Osman’s arms never moved, and the other sawed the air perpetually, as if in pure despite of Hamlet’s prohibition. Then, in crossing over, Osman was continually entangled in Zara’s robe; or, when standing still, she was obliged to twitch her train thrice before she could get it from beneath his leaden feet. When confident that he could repeat a speech fluently, he was apt to turn his back upon his mistress; or, when he felt himself called upon to listen to his mistress, he would regularly turn his back upon the audience. But all these are defects permitted by the licence of a private theatre, allowable by courtesy to gentlemen-actors; and things went on as well as could be expected. Osman had not his part by heart, but still Zara covered all deficiencies: and Osman did no worse than other Osmans had done before him, till he came to the long speech, beginning with,
“The sultans, my great ancestors, bequeath’d
Their empire to me, but their tastes they gave not.”
Powerful prompting got him through the first six lines decently enough, till he came to
—“wasting tenderness in wild profusion,
I might look down to my surrounded feet,
And bless contending beauties,”
At this he bungled sadly—his hearing suddenly failing as well as his memory, there was a dead stop. In vain the prompter, the scene-shifter, the candle-snuffer, as loud as they could, and much louder than they ought, reiterated the next sentence,