Afterwards I learned the wonderful telling-power of these "waits" and the great dignity that they lend to a scene. There is no hurry in Wagner. His work is full of pauses and he has done much to give leisure to the stage. When I was at Bayreuth--that most beautiful monument to genius--I met many actors from the Théâtre Français who had journeyed there, as to a Mecca, to study this leisurely stage effect among others. Our production was a fair one but not elaborate. We had, I remember, a very good ship, but there were many shortcomings. There is supposed to be a transfiguration scene at the end in which Senta is taken up to heaven; but this was beyond us and _I_ was never thus rewarded for my devotion to an ideal! I liked Senta's clothes and make-up. I used to wear a dark green skirt, shining chains, and a wonderful little apron, long and of white woollen. For hair, I wore Marguerite's wig arranged differently. I should like to be able to put on a production of _Die Fliegende Holländer_ now! There is just one artist, and only one, whom I would have play the Dutchman--and that is Renaud, for the reason, principally, that he would have the necessary repose for the part. I had understudies as a matter of course. One of them was wall-eyed; and, on an occasion when I was ill, she essayed Senta. William Carlton, was, as usual, our Dutchman, and he had not been previously warned of Senta's infirmity. He came upon it so unexpectedly, indeed, and it was so startling to him, that he sang the whole opera without looking at her for fear that he would break down! CHAPTER XXV ENGLISH OPERA (_Continued_) No account of our English Opera would be complete without mention of Mike. He was an Irish lad with all the wit of his race, and his head was of a particularly classic type. He was only sixteen when he joined us, but he became an institution, and I kept track of him for years afterwards. His duties were somewhat arbitrary, and chiefly consisted of calling at the dressing-room of the chorus each night after the opera with a basket to collect the costumes. Beyond this, his principal occupation was watching my scenes and generally pervading the performances with genuine interest. He particularly favoured the third act of _Faust_, I remember; and absolutely considered himself a part of my career, constantly making use of the phrase "Me and Miss Kellogg."