Up to this moment a certain restraint had marked that body, but at this sight they went into uncontrolled spasms of delight. Martin Christiansen, dramatic critic, was seen to wipe tears of joy from his cheeks. The actors were spurred to renewed efforts.
Carton declared his eternal devotion to Lucy, in words that were scarcely Dickensian.
“I like you, Lucy; you’re all right. I’ll stick to you for ever,” he improvised frantically.
The marriage scene between Lucy and D’Arnay ran something like this. D’Arnay, very accurate in his lines, remarks to Dr. Manet:
“Dr. Manet, I love your daughter—fondly, dearly. You loved once yourself; let your old love speak for me!”
Dr. Manet’s lines escaped him, so he replied informally:
“Oh—all right.”
Whereupon the bridal procession entered, with Isabelle as climax, in her mother’s best tulle scarf as a veil.
The scene once more shifted to Paris. D’Arnay was arrested, and resisted. It took the entire company to overpower and drag him forth to the Bastille.
A bit of unequalled histrionism followed in which Isabelle entered as Lucy, with little Nancy Holt as her child. She proceeded to impersonate both that heroine and Madame La Farge. It was simpler than it sounds. As Lucy she still wore the wedding veil, as Madame La Farge she snatched off the veil, wrapped a fur boa around her, seized her mother’s knitting, and by leaping from one side of the stage to the other, by using now a high voice now a low one, the illusion was perfect. The chee-ild was rather roughly pushed about during the scene, which was highly emotional.