Dramatists -- Fiction; London (England) -- Social life and customs -- 19th century -- Fiction
She asked him, she was perpetually asking him, and at the first
rehearsals, which were without form and void to a degree that made them
strike him much more as the death of an experiment than as the dawn of a
success, they threshed things out immensely in a corner of the stage,
with the effect of his coming to feel that at any rate she was in
earnest. He felt more and more that his heroine was the keystone of his
arch, for which indeed the actress was very ready to take her. But when
he reminded this young lady of the way the whole thing practically
depended on her she was alarmed and even slightly scandalised: she spoke
more than once as if that could scarcely be the right way to construct a
play—make it stand or fall by one poor nervous girl. She was almost
morbidly conscientious, and in theory he liked her for this, though he
lost patience three or four times with the things she couldn’t do and the
things she could. At such times the tears came to her eyes; but they
were produced by her own stupidity, she hastened to assure him, not by
the way he spoke, which was awfully kind under the circumstances. Her
sincerity made her beautiful, and he wished to heaven (and made a point
of telling her so) that she could sprinkle a little of it over Nona.
Once, however, she was so touched and troubled that the sight of it
brought the tears for an instant to his own eyes; and it so happened
that, turning at this moment, he found himself face to face with Mr.
Loder. The manager stared, glanced at the actress, who turned in the
other direction, and then smiling at Wayworth, exclaimed, with the humour
of a man who heard the gallery laugh every night:
“I say—I say!”
“What’s the matter?” Wayworth asked.
“I’m glad to see Miss Grey is taking such pains with you.”
“Oh, yes—she’ll turn me out!” said the young man, gaily. He was quite
aware that it was apparent he was not superficial about Nona, and
abundantly determined, into the bargain, that the rehearsal of the piece
should not sacrifice a shade of thoroughness to any extrinsic
consideration.
Public-domain text, read in full here on John Shaqi.
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