Huge posters outside the Caravansery Theatre of Varieties announced the first performance of the uniquely interesting Suggestion Dances, interpreted by the Hon. Gorla Mustelford. An impressionist portrait of a rather severe-looking young woman gave the public some idea of what the danseuse might be like in appearance, and the further information was added that her performance was the greatest dramatic event of the season. Yet another piece of information was conveyed to the public a few minutes after the doors had opened, in the shape of large notices bearing the brief announcement, “house full.” For the first-night function most of the seats had been reserved for specially-invited guests or else bespoken by those who considered it due to their own importance to be visible on such an occasion.
Even at the commencement of the ordinary programme of the evening (Gorla was not due to appear till late in the list) the theatre was crowded with a throng of chattering, expectant human beings; it seemed as though every one had come early to see every one else arrive. As a matter of fact it was the rumour-heralded arrival of one personage in particular that had drawn people early to their seats and given a double edge to the expectancy of the moment.
At first sight and first hearing the bulk of the audience seemed to comprise representatives of the chief European races in well-distributed proportions, but if one gave it closer consideration it could be seen that the distribution was geographically rather than ethnographically diversified. Men and women there were from Paris, Munich, Rome, Moscow and Vienna, from Sweden and Holland and divers other cities and countries, but in the majority of cases the Jordan Valley had supplied their forefathers with a common cradle-ground. The lack of a fire burning on a national altar seemed to have drawn them by universal impulse to the congenial flare of the footlights, whether as artists, producers, impresarios, critics, agents, go-betweens, or merely as highly intelligent and fearsomely well-informed spectators. They were prominent in the chief seats, they were represented, more sparsely but still in fair numbers, in the cheaper places, and everywhere they were voluble, emphatic, sanguine or sceptical, prodigal of word and gesture, with eyes that seemed to miss nothing and acknowledge nothing, and a general restless dread of not being seen and noticed. Of the theatre-going London public there was also a fair muster, more particularly centred in the less expensive parts of the house, while in boxes, stalls and circles a sprinkling of military uniforms gave an unfamiliar tone to the scene in the eyes of those who had not previously witnessed a first-night performance under the new conditions.
Yeovil, while standing aloof from his wife’s participation in this social event, had made private arrangements for being a personal spectator of the scene; as one of the ticket-buying public he had secured a seat in the back row of a low-priced gallery, whence he might watch, observant and unobserved, the much talked-of début of Gorla Mustelford, and the writing of a new chapter in the history of the fait accompli. Around him he noticed an incessant undercurrent of jangling laughter, an unending give-and-take of meaningless mirthless jest and catchword. He had noticed the same thing in streets and public places since his arrival in London, a noisy, empty interchange of chaff and laughter that he had been at a loss to account for. The Londoner is not well adapted for the irresponsible noisiness of jesting tongue that bubbles up naturally in a Southern race, and the effort to be volatile was the more noticeable because it so obviously was an effort. Turning over the pages of a book that told the story of Bulgarian social life in the days of Turkish rule, Yeovil had that morning come across a passage that seemed to throw some light on the thing that had puzzled him:
“Bondage has this one advantage: it makes a nation merry. Where far-reaching ambition has no scope for its development the community squanders its energy on the trivial and personal cares of its daily life, and seeks relief and recreation in simple and easily obtained material enjoyment.” The writer was a man who had known bondage, so he spoke at any rate with authority. Of the London of the moment it could not, however, be said with any truth that it was merry, but merely that its inhabitants made desperate endeavour not to appear crushed under their catastrophe. Surrounded as he was now with a babble of tongues and shrill mechanical repartee, Yeovil’s mind went back to the book and its account of a theatre audience in the Turkish days of Bulgaria, with its light and laughing crowd of critics and spectators. Bulgaria! The thought of that determined little nation came to him with a sharp sense of irony. There was a people who had not thought it beneath the dignity of their manhood to learn the trade and discipline of arms. They had their reward; torn and exhausted and debt-encumbered from their campaigns, they were masters in their own house, the Bulgarian flag flew over the Bulgarian mountains. And Yeovil stole a glance at the crown of Charlemagne set over the Royal box.
In a capacious box immediately opposite the one set aside for royalty the Lady Shalem sat in well-considered prominence, confident that every press critic and reporter would note her presence, and that one or two of them would describe, or misdescribe, her toilet. Already quite a considerable section of the audience knew her by name, and the frequency with which she graciously nodded towards various quarters of the house suggested the presence of a great many personal acquaintances. She had attained to that desirable feminine altitude of purse and position when people who go about everywhere know you well by sight and have never met your dress before.
Lady Shalem was a woman of commanding presence, of that type which suggests a consciousness that the command may not necessarily be obeyed; she had observant eyes and a well-managed voice. Her successes in life had been worked for, but they were also to some considerable extent the result of accident. Her public history went back to the time when, in the person of her husband, Mr. Conrad Dort, she had contested two hopeless and very expensive Parliamentary elections on behalf of her party; on each occasion the declaration of the poll had shown a heavy though reduced majority on the wrong side, but she might have perpetrated an apt misquotation of the French monarch’s traditional message after the defeat of Pavia, and assured the world “all is lost save honours.” The forthcoming Honours List had duly proclaimed the fact that Conrad Dort, Esquire, had entered Parliament by another door as Baron Shalem, of Wireskiln, in the county of Suffolk. Success had crowned the lady’s efforts as far as the achievement of the title went, but her social ambitions seemed unlikely to make further headway. The new Baron and his wife, their title and money notwithstanding, did not “go down” in their particular segment of county society, and in London there were other titles and incomes to compete with. People were willing to worship the Golden Calf, but allowed themselves a choice of altars. No one could justly say that the Shalems were either oppressively vulgar or insufferably bumptious; probably the chief reason for their lack of popularity was their intense and obvious desire to be popular. They kept open house in such an insistently open manner that they created a social draught. The people who accepted their invitations for the second or third time were not the sort of people whose names gave importance to a dinner party or a house gathering. Failure, in a thinly-disguised form, attended the assiduous efforts of the Shalems to play a leading rôle in the world that they had climbed into. The Baron began to observe to his acquaintances that “gadding about” and entertaining on a big scale was not much in his line; a quiet after-dinner pipe and talk with some brother legislator was his ideal way of spending an evening.
Then came the great catastrophe, involving the old order of society in the national overthrow. Lady Shalem, after a decent interval of patriotic mourning, began to look around her and take stock of her chances and opportunities under the new régime. It was easier to achieve distinction as a titled oasis in the social desert that London had become than it had been to obtain recognition as a new growth in a rather overcrowded field. The observant eyes and agile brain quickly noted this circumstance, and her ladyship set to work to adapt herself to the altered conditions that governed her world. Lord Shalem was one of the few Peers who kissed the hand of the new Sovereign, his wife was one of the few hostesses who attempted to throw a semblance of gaiety and lavish elegance over the travesty of a London season following the year of disaster. The world of tradesmen and purveyors and caterers, and the thousands who were dependent on them for employment, privately blessed the example set by Shalem House, whatever their feelings might be towards the fait accompli, and the august newcomer who had added an old Saxon kingdom and some of its accretions to the Teutonic realm of Charlemagne was duly beholden to an acquired subject who was willing to forget the bitterness of defeat and to help others to forget it also. Among other acts of Imperial recognition an earldom was being held in readiness for the Baron who had known how to accept accomplished facts with a good grace. One of the wits of the Cockatrice Club had asserted that the new earl would take as supporters for his coat of arms a lion and a unicorn oublié.
In the box with Lady Shalem was the Gräfin von Tolb, a well-dressed woman of some fifty-six years, comfortable and placid in appearance, yet alert withal, rather suggesting a thoroughly wide-awake dormouse. Rich, amiable and intelligent were the adjectives which would best have described her character and her life-story. In her own rather difficult social circle at Paderborn she had earned for herself the reputation of being one of the most tactful and discerning hostesses in Germany, and it was generally suspected that she had come over and taken up her residence in London in response to a wish expressed in high quarters; the lavish hospitality which she dispensed at her house in Berkeley Square was a considerable reinforcement to the stricken social life of the metropolis.
In a neighbouring box Cicely Yeovil presided over a large and lively party, which of course included Ronnie Storre, who was for once in a way in a chattering mood, and also included an American dowager, who had never been known to be in anything else. A tone of literary distinction was imparted to the group by the presence of Augusta Smith, better known under her pen-name of Rhapsodic Pantril, author of a play that had had a limited but well-advertised success in Sheffield and the United States of America, author also of a book of reminiscences, entitled “Things I Cannot Forget.” She had beautiful eyes, a knowledge of how to dress, and a pleasant disposition, cankered just a little by a perpetual dread of the non-recognition of her genius. As the woman, Augusta Smith, she probably would have been unreservedly happy; as the super-woman, Rhapsodic Pantril, she lived within the border-line of discontent. Her most ordinary remarks were framed with the view of arresting attention; some one once said of her that she ordered a sack of potatoes with the air of one who is making enquiry for a love-philtre.
“Do you see what colour the curtain is?” she asked Cicely, throwing a note of intense meaning into her question.
Cicely turned quickly and looked at the drop-curtain.
“Rather a nice blue,” she said.
“Alexandrine blue—my colour—the colour of hope,” said Rhapsodie impressively.
“It goes well with the general colour-scheme,” said Cicely, feeling that she was hardly rising to the occasion.
“Say, is it really true that His Majesty is coming?” asked the lively American dowager. “I’ve put on my nooest frock and my best diamonds on purpose, and I shall be mortified to death if he doesn’t see them.”
“There!” pouted Ronnie, “I felt certain you’d put them on for me.”
“Why no, I should have put on rubies and orange opals for you. People with our colour of hair always like barbaric display—”
“They don’t,” said Ronnie, “they have chaste cold tastes. You are absolutely mistaken.”
“Well, I think I ought to know!” protested the dowager; “I’ve lived longer in the world than you have, anyway.”
“Yes,” said Ronnie with devastating truthfulness, “but my hair has been this colour longer than yours has.”
Peace was restored by the opportune arrival of a middle-aged man of blond North-German type, with an expression of brutality on his rather stupid face, who sat in the front of the box for a few minutes on a visit of ceremony to Cicely. His appearance caused a slight buzz of recognition among the audience, and if Yeovil had cared to make enquiry of his neighbours he might have learned that this decorated and obviously important personage was the redoubtable von Kwarl, artificer and shaper of much of the statecraft for which other men got the public credit.
The orchestra played a selection from the “Gondola Girl,” which was the leading musical-comedy of the moment. Most of the audience, those in the more expensive seats at any rate, heard the same airs two or three times daily, at restaurant lunches, teas, dinners and suppers, and occasionally in the Park; they were justified therefore in treating the music as a background to slightly louder conversation than they had hitherto indulged in. The music came to an end, episode number two in the evening’s entertainment was signalled, the curtain of Alexandrine blue rolled heavily upward, and a troupe of performing wolves was presented to the public. Yeovil had encountered wolves in North Africa deserts and in Siberian forest and wold, he had seen them at twilight stealing like dark shadows across the snow, and heard their long whimpering howl in the darkness amid the pines; he could well understand how a magic lore had grown up round them through the ages among the peoples of four continents, how their name had passed into a hundred strange sayings and inspired a hundred traditions. And now he saw them ride round the stage on tricycles, with grotesque ruffles round their necks and clown caps on their heads, their eyes blinking miserably in the blaze of the footlights. In response to the applause of the house a stout, atrociously smiling man in evening dress came forward and bowed; he had had nothing to do either with the capture or the training of the animals, having bought them ready for use from a continental emporium where wild beasts were prepared for the music-hall market, but he continued bowing and smiling till the curtain fell.
Two American musicians with comic tendencies (denoted by the elaborate rags and tatters of their costumes) succeeded the wolves. Their musical performance was not without merit, but their comic “business” seemed to have been invented long ago by some man who had patented a monopoly of all music-hall humour and forthwith retired from the trade. Some day, Yeovil reflected, the rights of the monopoly might expire and new “business” become available for the knockabout profession.
The audience brightened considerably when item number five of the programme was signalled. The orchestra struck up a rollicking measure and Tony Luton made his entrance amid a rousing storm of applause. He was dressed as an errand-boy of some West End shop, with a livery and box-tricycle, as spruce and decorative as the most ambitious errand-boy could see himself in his most ambitious dreams. His song was a lively and very audacious chronicle of life behind the scenes of a big retail establishment, and sparkled with allusions which might fitly have been described as suggestive—at any rate they appeared to suggest meanings to the audience quite as clearly as Gorla Mustelford’s dances were likely to do, even with the aid, in her case, of long explanations on the programmes. When the final verse seemed about to reach an unpardonable climax a stage policeman opportunely appeared and moved the lively songster on for obstructing the imaginary traffic of an imaginary Bond Street. The house received the new number with genial enthusiasm, and mingled its applause with demands for an earlier favourite. The orchestra struck up the familiar air, and in a few moments the smart errand-boy, transformed now into a smart jockey, was singing “They quaff the gay bubbly in Eccleston Square” to an audience that hummed and nodded its unstinted approval.
The next number but one was the Gorla Mustelford début, and the house settled itself down to yawn and fidget and chatter for ten or twelve minutes while a troupe of talented Japanese jugglers performed some artistic and quite uninteresting marvels with fans and butterflies and lacquer boxes. The interval of waiting was not destined, however, to be without its interest; in its way it provided the one really important and dramatic moment of the evening. One or two uniforms and evening toilettes had already made their appearance in the Imperial box; now there was observable in that quarter a slight commotion, an unobtrusive reshuffling and reseating, and then every eye in the suddenly quiet semi-darkened house focussed itself on one figure. There was no public demonstration from the newly-loyal, it had been particularly wished that there should be none, but a ripple of whisper went through the vast audience from end to end. Majesty had arrived. The Japanese marvel-workers went through their display with even less attention than before. Lady Shalem, sitting well in the front of her box, lowered her observant eyes to her programme and her massive bangles. The evidence of her triumph did not need staring at.
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