Behind the scenes of the Royal Parthenon Theatre, on a sultry evening in July. The first act of the play was over, and the carpenters were busy setting and preparing the scenes for the next act, while Hart, the stage manager, stood perspiring under his white hat with his back to the curtain. Figures in all kinds of costumes coming and going; female voices chattering, and male voices grumbling, made the confusion worse confounded, when Abrahams, the manager, sumptuously attired in a dress suit which might have been borrowed from a slop-shop in Hounds-ditch, came panting on to the stage.
‘Well,’ he asked, gazing at Hart with a bloodshot, questioning eye; ‘is it a go, will she do?’
The stage manager was too old a bird to commit himself so early in the evening, but he answered off-hand, with one eye on the carpenters, the other on his employer—
‘I think she will; what do they say in front?’
‘Say! They’re in ecstasies. Cakeford says she is the biggest thing he’s seen since Desclée. Why the devil doesn’t Brady act up to her? Well, it’ll depend now on her legs—if her legs are all right when she comes on as the boy.’
‘That’s in Act III.?’
‘Yes, in Act III. Hay says she’s too thin, but didn’t she have them in the garden scene? It was splendid. Well, I’m going to speak to her, and tell her the impression she has made. I think it’s all right.’
So saying, the manager pushed his way across the stage, and, winding in and out among set pieces, wings, loose pieces of canvas, and all the flotsam and jetsam of the theatre, made his way along a dirty passage till he came to a dingy door which stood ajar. Here he knocked, and, without waiting for an invitation, entered a largish chamber, hastily fitted up as an actress’s retiring room. Mirrors in various degrees of magnificent dinginess were hung on every side; a large gilded sofa, occasionally used on the stage in so-called ‘banqueting’ scenes, stood in a corner, chairs of divers gaudy patterns were scattered here and there, and in the centre was a white table with gilded legs.
At the further end of the room were drawn crimson curtains, communicating with the more private portion of the dressing-room.
‘Hallo, White, here you are!’ exclaimed the manager to a solitary figure sitting on the gilded sofa, and smoking a cigar.
The dramatic author (for it was he) rose and seized the manager’s hand. His own was trembling like a leaf, and his eyes were dim with moisture very like tears.
‘It’s all right, then?’ he said eagerly, almost pleadingly.
‘If she goes on as she has begun she’ll astonish the town. Ah, here she is.’
As he spoke the curtains were drawn back by the hand of a female attendant, and the heroine of the evening appeared, clad in her ‘change’ for the second act—an exquisite dress of white samite thinly embroidered with silver. Locks of flaxen hair fell loosely over her shoulders, and set in its midst was a face of the most dream-like and spiritual beauty, lit by two large eyes which, once seen, were never to be forgotten. In another woman perhaps those eyes might have seemed too pale, too forget-me-not like in hue, but in her they harmonised strangely with the wonderful hair and tremulous mobile lips. Tall, slight, and yet finely and even fully formed, the actress was in the prime of her womanhood, and as she advanced with eyes full of limpid light and mouth tremulously smiling, she looked supremely bright and fair.
Yet despite her loveliness and despite her air of evanescent happiness, there was something in her look, and still more in her manner, which seemed full of nameless trouble. There was too quick an attempt to seem unrestrained and gay, too strange a readiness to seize light occasions for nervous laughter, too impatient a sense of her own beauty, and of the light sparkling upon it. Her very gesture at times was at once imperious and reckless; she seemed like one who commands, yet shrinks from the obedience of, some wild animal crouching at her feet.
What was strangest of all, she seemed suddenly, in the midst of her gayest laughter, to pause with a kind of listening terror, while the light faded from her eyes, and the sickness of a nameless horror touched every feature of her face.
It is not to be supposed that these fluctuations of feeling would at once have struck any one but a very close observer. To the ordinary eye, such as that of Abrahams, hers was simply a lovely face, characterised by marvellous lights and shades of expression.
She advanced smiling into the room, and held out both her hands to White.
‘Oh, Mr. White,’ she said, with something of her childish manner, ‘I am so glad you have come round.’
White took both her hands and held them tenderly in his own, while the manager beamed and nodded.
‘How do you feel, my dear?’ asked the latter. ‘Nerves all right, eh? Shall I send you up some champagne?’
‘No, thank you; I never drink wine.’
‘And right you are,’ said Abrahams. ‘It’s the curse of the profession, and death to a pretty face. Look at Mrs. Claudesley! She was the talk of the town for a whole season, and yet she drank herself to death. The very year she died they offered her one hundred pounds a night to star in the States, and if she had gone and kept sober she might have come back with twenty thousand pounds.’
The actress was not listening, her smile had faded, and she was gazing with strange wistfulness into White’s face. She did not speak; but her look said something more significant than words, something that filled his eyes and throat with tears, and misted the glasses of his spectacles. He squeezed her little fingers in his trembling hands.
‘I can’t tell you how happy I am,’ he said. ‘More than happy; proud! This is a great night for all of us—a great night.’
‘You think so?’ she returned sweetly; ‘then I am quite satisfied. I don’t care for what the others think; I only want to please you!’ and though her eyes were quite dry, she passed her hands lightly across them, as if brushing away a tear.
Abrahams looked at her with growing admiration.
‘How about the big scene in Act III.?’ he asked. ‘Do you feel quite up to it, my dear? Well, that’s right; and what White here says I say—this will be a great night for all of us, if you only finish as you’ve begun.’
Here there was a rap at the door and a shrill voice, ‘Overture’s finished, Miss Vére;’ whereupon the three, still in conversation, moved slowly towards the stage.
The play was ‘Cymbeline,’ and it was ‘Miss Vere’s’ first appearance in the character of ‘Imogen.’ The regular season at the Parthenon being over, and the eminent tragedian who was generally its chief ornament being away in the provinces, Abrahams had been persuaded to try the new actress in an unfamiliar Shakespearian character.
Of course, as is usual in such cases, the play was ‘scamped.’ All the old scenery of the theatre was called into requisition, and the costumes were a startling combination of all the early periods. This gave the critics of the daily newspapers an opportunity of saying, next morning, that ‘the new and appropriate scenery was everything that could be desired, and that the strictest accuracy was observed in the minutest detail of properties and costumes.’
But the play-going public had come that night not to see the fine scenery or good costumes, not to listen to the dreary spouting of the members of the stock company, but to witness the first London appearance of a young lady of whom rumour had prophesied great things. The house was crammed with ‘paper.’ The critics of the big papers sat in the stalls, and the critics of the small papers were sprinkled through the dress circle. Literature, art, and the drama were well represented. Sir Tilbury Swallow, who had married the once famous actress, Miss Fawn, and who had been knighted for his literary services by the reigning family, occupied a private box with his still beautiful wife. Professional beauties, of less conspicuous virtue, shone resplendent everywhere. Deep in a stall, buried in the abyss of his own personality, and glaring thence occasionally, with saturnine cheek and lack-lustre eye, sat the great Mr. Blanco Serena, the pre-Raphaelite painter. The fact was, nearly every individual present in the better parts of the house possessed, or was supposed to possess, some sort of interest in dramatic, pictorial, or literary art.
In the centre of the stalls, however, sat a figure whose appearance was in striking contrast to that of the habitual theatre-goers surrounding him. In any gathering he would have attracted attention; in the present he was specially remarkable. He was a broad-shouldered muscular man of about thirty, with a face bronzed to a deep brown by exposure to the tropical sun. He had a high forehead, black eyes, a square, determined jaw; a thick, black moustache covered his upper lip, but his cheeks were clean shaven. Even in his well-made dress suit, with faultless linen and spotless tie, he had the appearance of a man whose true place would be leading a forlorn hope or standing alone in some pos............