“Yes,” said Ronnie with devastating truthfulness, “but my hair has been this colour longer than yours has.”
Peace was restored by the opportune arrival of a middle-aged man of blond North-German type, with an expression of brutality on his rather stupid face, who sat in the front of the box for a few minutes on a visit of ceremony to Cicely. His appearance caused a slight buzz of recognition among the audience, and if Yeovil had cared to make enquiry of his neighbours he might have learned that this decorated and obviously important personage was the redoubtable von Kwarl, artificer and shaper of much of the statecraft for which other men got the public credit.
The orchestra played a selection from the “Gondola Girl,” which was the leading musical-comedy of the moment. Most of the audience, those in the more expensive seats at any rate, heard the same airs two or three times daily, at restaurant lunches, teas, dinners and suppers, and occasionally in the Park; they were justified therefore in treating the music as a background to slightly louder conversation than they had hitherto indulged in. The music came to an end, episode number two in the evening’s entertainment was signalled, the curtain of Alexandrine blue rolled heavily upward, and a troupe of performing wolves was presented to the public. Yeovil had encountered wolves in North Africa deserts and in Siberian forest and wold, he had seen them at twilight stealing like dark shadows across the snow, and heard their long whimpering howl in the darkness amid the pines; he could well understand how a magic lore had grown up round them through the ages among the peoples of four continents, how their name had passed into a hundred strange sayings and inspired a hundred traditions. And now he saw them ride round the stage on tricycles, with grotesque ruffles round their necks and clown caps on their heads, their eyes blinking miserably in the blaze of the footlights. In response to the applause of the house a stout, atrociously smiling man in evening dress came forward and bowed; he had had nothing to do either with the capture or the training of the animals, having bought them ready for use from a continental emporium where wild beasts were prepared for the music-hall market, but he continued bowing and smiling till the curtain fell.
Two American musicians with comic tendencies (denoted by the elaborate rags and tatters of their costumes) succeeded the wolves. Their musical performance was not without merit, but their comic “business” seemed to have been invented long ago by some man who had patented a monopoly of all music-hall humour and forthwith retired from the trade. Some day, Yeovil reflected, the rights of the monopoly might expire and new “business” become available for the knockabout profession.
The audience brightened considerably when item number five of the programme was signalled. The orchestra struck up a rollicking measure and Tony Luton made his entrance amid a rousing storm of applause. He was dressed as an errand-boy of some West End shop, with a livery and box-tricycle, as spruce and decorative as the most ambitious errand-boy could see himself in his most ambitious dreams. His song was a lively and very audacious chronicle of life behind the scenes of a big retail establishment, and sparkled with allusions which might fitly have been described as suggestive—at any rate they appeared to suggest meanings to the audience quite as clearly as Gorla Mustelford’s dances were likely to do, even with the aid, in her case, of long explanations on the programmes. When the final verse seemed about to reach an unpardonable climax a stage policeman opportunely appeared and moved the lively songster on for obstructing the imaginary traffic of an imaginary Bond Street. The house received the new number with genial enthusiasm, and mingled its applause with demands for an earlier favourite. The orchestra struck up the familiar air, and in a few moments the smart errand-boy, transformed now into a smart jockey, was singing “They quaff the gay bubbly in Eccleston Square” to an audience that hummed and nodded its unstinted approval.
The next number but one was the Gorla Mustelford début, and the house settled itself down to yawn and fidget and chatter for ten or twelve minutes while a troupe of talented Japanese jugglers performed some artistic and quite uninteresting marvels with fans and butterflies and lacquer boxes. The interval of waiting was not destined, however, to be without its interest; in its way it provided the one really important and dramatic moment of the evening. One or two uniforms and evening toilettes had already made their appearance in the Imperial box; now there was observable in that quarter a slight commotion, an unobtrusive reshuffling and reseating, and then every eye in the suddenly quiet semi-darkened house focussed itself on one figure. There was no public demonstration from the newly-loyal, it had been particularly wished that there should be none, but a ripple of whisper went through the vast audience from end to end. Majesty had arrived. The Japanese marvel-workers went through their display with even less attention than before. Lady Shalem, sitting well in the front of her box, lowered her observant eyes to her programme and her massive bangles. The evidence of her triumph did not need staring at.
CHAPTER IX: AN EVENING “TO BE REMEMBERED”
To the uninitiated or unappreciative the dancing of Gorla Mustelford did not seem widely different from much that had been exhibited aforetime by exponents of the posturing school. She was not naturally graceful of movement, she had not undergone years of arduous tutelage, she had not the instinct for sheer joyous energy of action that is stored in some natures; out of these unpromising negative qualities she had produced a style of dancing that might best be labelled a conscientious departure from accepted methods. The highly imaginative titles that she had bestowed on her dances, the “Life of a fern,” the “Soul-dream of a topaz,” and so forth, at least gave her audience and her critics something to talk about. In themselves they meant absolutely nothing, but they induced discussion, and that to Gorla meant a great deal. It was a season of dearth and emptiness in the footlights and box-office world, and her performance received a welcome that would scarcely have befallen it in a more crowded and prosperous day. Her success, indeed, had been waiting for her, ready-made, as far as the managerial profession was concerned, and nothing had been left undone in the way of advertisement to secure for it the appearance, at any rate, of popular favour. And loud above the interested applause of those who had personal or business motives for acclaiming a success swelled the exaggerated enthusiasm of the fairly numerous art-satellites who are unstinted in their praise of anything that they are certain they cannot understand. Whatever might be the subsequent verdict of the theatre-filling public the majority of the favoured first-night audience was determined to set the seal of its approval on the suggestion dances, and a steady roll of applause greeted the conclusion of each item. The dancer gravely bowed her thanks; in marked contradistinction to the gentleman who had “presented” the performing wolves she did not permit herself the luxury of a smile.
“It teaches us a great deal,” said Rhapsodic Pantril vaguely, but impressively, after the Fern dance had been given and applauded.
“At any rate we know now that a fern takes life very seriously,” broke in Joan Mardle, who had somehow wriggled herself into Cicely’s box.