England -- Social life and customs -- Fiction; Guardian and ward -- Fiction; Inheritance and succession -- Fiction; Love stories
(3) Bear in mind the fact that the play is _not_ the thing, but the
players. The most thrilling Third Act is as dross compared with the
excitement and suspense of watching to see whether Johnny Blank will
_really_ kiss Connie Dash in the proposal scene, or whether the fact
(known to at least two-thirds of the audience) that they have not been
on speaking terms for the past six months will result in the usual
amateur _ne plus ultra_--a sort of frustrated peck, falling short by
about six inches. Again, the joy of hearing the hero falter in a
stirring apostrophe to the gallery is enhanced by the knowledge that he
is reading it from inside the crown of his hat, and has lost the place:
while the realistic and convincing air of deference with which the
butler addresses the duchess is the more readily recognized and
appreciated by an audience who are well aware that he happens in private
life to be that lady's husband.
The entertainment to which we must now draw the reader's unwilling
attention was to consist of three parts. First, the Tableaux
Vivants--thirty seconds of tableaux to about ten minutes of outer
darkness and orchestral selection; then a comedietta; and finally, Mrs.
Jarley's Waxworks.
The largest room behind the scenes had been reserved for the lady
_artistes_; a draughty passage, furnished chiefly with flaring candles
and soda-water syphons, being apportioned to the gentlemen. The _loge
des dames_ was a bare and cheerless apartment, but tables and mirrors
had been placed round the walls; and here some fifteen or twenty maidens
manoeuvred with freezing politeness or unrestrained elbowings (according
to their shade of social standing) for positions favourable to
self-contemplation.
Joan and Sylvia Tarrant foregathered in the middle of the floor.
"I think we'd better dress here, dear," said Joan cheerfully, "and leave
the nobility and gentry to fight for the dressing-tables. After all,"
she added complacently, "you and I need the least doing up of any of
them."
The tableaux on the whole were a success, though it was some time before
the audience were permitted to inspect them. The musical director, a
nervous individual with a _penchant_ for applied science, had spent the
greatest part of two days in fixing up an electric bell of heroic
proportions controlled from the conductor's desk, and ringing into the
ear of the gentleman in charge of the lighting arrangements. A carefully
type-written document (another by-product of the musician's versatility)
apprised this overwrought official that one ring signified "stage-lights
up," and two rings "stage-lights down."
Public-domain text, read in full here on John Shaqi.
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