“They sure can turn them out over there,” avowed one seasoned first nighter. “Temperament, that’s the answer, Slav temperament. No little cut and dried two-by-four conventions to tie them down. They’ve got something the American woman don’t know the first thing about.”
“Well, they know how to let go, for one thing!”
The curtain rose on Act II, a modern drawing-room in the London home of an English peer, member of [20] ]Parliament, on the occasion of his thirty-ninth birthday. He entered, big, handsome, with his little, clinging English wife.
There was revealed the fact that for generations the oldest male of his line died before the age of forty, a violent death. They married, there were children, and always reaching the prime of manhood, they were cut down. A curse upon his family it seemed to be and the little wife trembled.
Guests dropped in to tea. With them came the announcement that a prominent barrister was bringing a French authoress who had asked to meet their host. She had heard him in the House of Lords. They spoke of her beauty, her extraordinary personality.
Then Mme. Parsinova appeared. In the brilliantly lighted set, the audience had its first good look at her. Slim, with a slenderness that made her seem tall, a mass of pitch-black hair piled high on her small head, a pair of burning eyes, dark and shadowed, creamy skin, a short nose, deep-cleft chin, and scarlet lips full and mobile, she seemed a living flame. She moved forward with gliding step, her lizard-green velvet gown clinging about her limbs, her sable cloak drooping from her shoulders. And one felt at once, as her white hand, weighted with a cabochon emerald, rested in his, the spell she would weave about the insular and very British member of Parliament.
Not so insular at that, for it developed that in his veins ran a strain, a very thin strain, of the blood of Egypt.
[21]
] There followed the love story, obvious if you like, but with the everlasting thrill and appeal of a great passion, magnificently portrayed. For as the drama moved to its climax, the spirit of the slave which through the ages had visited its will upon the family of its master, found itself captive. The French woman fell madly in love with her victim and in the end gave her life that the curse might be lifted and his saved.
In the climactic love scene at the end of Act III when passion tore from her lips, an onrushing tide, the beautiful voice ran a crescendo of emotion that was almost song. Its strange accent stirred and fascinated. Its abandon was that of a soul giving all, sweeping aside like an avalanche law, thought, ultimate penalty.
And still at the curtain, when the house rang with demands for her, Parsinova did not appear. Oswald Kane made his accustomed speech, coming before the purple velvet curtain to tell his audience in his usual reticent manner how deeply he appreciated their reception of the genius he had discovered. He thanked them—he thanked them—he thanked them. He raised a graceful hand, pushed back his weight of hair and slipped into the wings while the house resounded once more with clapping hands and stamping feet, and a full fifteen minutes elapsed before the play could go on.