It had certainly changed greatly since the pre-revolutionary period. The Moscow plutocracy of bald merchants and bejewelled fat wives had gone. Gone with them were evening dresses and white shirt fronts. The whole audience was in the monotone of everyday clothes. The only contrast was given by a small group of Tartar women in the dress circle, who were shawled in white over head and shoulders, in the Tartar fashion. There were many soldiers, and numbers of men who had obviously come straight from their work. There were a good many grey and brown woollen jerseys about, and people were sitting in overcoats of all kinds and ages, for the theatre was very cold. (This, of course, was due to lack of fuel, which may in the long run lead to a temporary stoppage of the theatres if electricity cannot be spared for lighting them.) The orchestra was also variously dressed. Most of the players of brass instruments had evidently been in regimental bands during the war, and still retained their khaki-green tunics with a very mixed collection of trousers and breeches. Others were in every kind of everyday clothes. The conductor alone wore a frock coat, and sat in his place like a specimen from another age, isolated in fact by his smartness alike from his ragged orchestra and from the stalls behind him. I looked carefully to see the sort of people who fill the stalls under the new regime, and decided that there has been a general transfer of brains from the gallery to the floor of the house. The same people who in the old days scraped kopecks and waited to get a good place near the ceiling now sat where formerly were the people who came here to digest their dinners. Looking from face to face that night I thought there were very few people in the theatre who had had anything like a good dinner to digest. But, as for their keenness, I can imagine few audiences to which, from the actor's point of view, it would be better worth while to play. Applause, like brains, had come down from the galleries.