Madame Flirt Part 44

"Mr. Rich means to do without a band for the singing. He says it isn't necessary."

"Rich is a fool," retorted her grace with much emphasis. "He knows nothing about it. Send him to me."

Gay went about his errand half pleased, for he quite agreed with the d.u.c.h.ess, and half in trepidation. A quarrel between Rich and the lady autocrat might cause the opera to end in disaster.

Rich dared not offend Queensberry's d.u.c.h.ess whose opinion went for so much among the aristocracy. The stage was practically dependent on its n.o.ble patrons. Without them a "benefit," which every notable member of a theatrical company looked forward to as making good the insufficiency of their salaries, would be nothing without the support of the n.o.bility, who, when in the mood, would readily unloose their purse strings. Rich therefore made but feeble resistance and the impetuous Kitty had her way.

The band, small as it was, just half-a-dozen instruments, could not be called together at a moment's notice. Rich accordingly invited his visitor to come the following day, when all would be in readiness. He was as good as his word, and the d.u.c.h.ess was graciously pleased to express her satisfaction. Polly and Lucy went back to their lodgings in high spirits.

January 29th was fixed for the production of the opera, and the days sped rapidly. Everybody concerned was on tenterhooks. Who could say how the audience would take a play the like of which they had never seen?

There was also danger in the political allusions contained in many of the verses. Sir Robert Walpole, England's most powerful minister of state, had taken a box and would be present with a party of his friends.

What would _he_ think? A riot was not beyond the bounds of possibility.

The play might be suppressed. A prosecution for seditious proceedings might follow. Anything might happen.

Meanwhile the house was packed. Every seat on each side of the stage reserved for the "quality" was occupied. There was just room for the actors and no more. The gallery was crammed with a mob--a host of footmen p.r.o.ne to unruly behaviour, butchers from Clare Market ready to applaud their favourite Jemmy Spiller, Covent Garden salesmen and porters--a miscellaneous rabble that might easily become turbulent.

In the pit were well to do tradesmen and their wives cheek by jowl with well seasoned playgoers who had seen every stage celebrity and every famous tragedy and comedy for the past quarter of a century, who were well versed in all the traditional "business" of the boards, who in fact were the real critics to be pleased--or offended. Into the second row Lancelot Vane had squeezed himself all expectation, with eyes and ears for no one but Polly Peachum.

Gay's friends filled a box next to that occupied by the Duke of Argyll, an enthusiastic patron of the stage. Gay himself was there supported on either side by Pope, Dr. Arbuthnot, Bolingbroke and others. Dean Swift, who had had so much to do with the inception of the opera and who had contributed to it some of the most stinging verse, would have been present had he not been in Ireland at the death-bed of his beloved Stella, and so also would have been Congreve but that he was blind and in feeble health.

It was seen at the very commencement that the audience was not disposed to accept the innovations of the "Beggar's Opera" without protest. To begin with there was no time-honoured prologue, and worse, there was no preliminary overture. They could not understand the dialogue between a player and the beggar, introduced as the author, with which the opera opens. They grumbled loudly. They thought they were to be defrauded of their usual music and they wouldn't allow the dialogue to proceed. Jack Hall who as a comedian was acceptable all round was sent on by the troubled manager to explain.

Hall advanced to the edge of the stage. There were no footlights in those days. Favourite though Jack Hall was not a hand nor a voice was raised to greet him. Jack Hall lost his nerve--which, however, as it turned out was the most fortunate thing which could have happened--and this is what he stammered out:

"Ladies and gentlemen, we--we--beg you'll not call for first and second music because you all know there is never any music at all at an opera!"

A roar of laughter followed this unique apology accentuated by the unconsciously comical twist of Hall's face with which the audience were so familiar; good humour was restored, the dialogue was permitted to be finished and the grumblers were further appeased by the playing of Dr.

Pepusch's overture.

More pitfalls had to be got over safely. Every eye was turned on Sir Robert's heavy rubicund, impa.s.sive face when Peachum sang the verse:

"The priest calls the lawyer a cheat, The lawyer be-knaves the divine, And the statesman because he's so great, Thinks his trade as honest as mine!"

The statesman in the box, whatever he might have felt, was far too astute to show any sign of ill temper. His eternal smile was as smug as ever and so also was it over the duet in the second act:

"When you censure the age Be cautious and sage Lest the courtiers offended should be; If you mention vice or bribe, 'Tis so pat to all the tribe, Each cries 'That was levelled at me.'"

The audience were somewhat timid in applauding this, though all felt how apt it was, until they saw Walpole actually clapping his hands, and then they followed suit right heartily.

Still success was not a.s.sured. True Polly captivated her hearers with her sweet natural delivery of "Can love be controlled by advice?" and afterwards with the tender pathos of "Oh ponder well," and there were roars of laughter and half suppressed chuckles from the men and t.i.tters from the women at the witty talk and the cynical hits at love and matrimonial felicity, but it was not until Spiller led the rousing choruses, "Fill every gla.s.s," and "Let us take the road," the latter adapted to the march from Handel's opera of "Rinaldo," then all the rage, that they were won over. The experienced Duke of Argyll cried out aloud enough for Pope in the next box to hear him, "It'll do--it must do--I see it in the eyes of 'em." And the duke was right.

When all was said and done pretty Polly Peachum was the pivot around which success revolved. Within twenty-four hours all the town was talking of her bewitching face, her artless manner, her sweet voice. The sordid surroundings of Newgate, its thieves, male and female, its thieve takers, gave zest to her naturalness and simplicity. Moreover she was not in a fas.h.i.+onable dress, she wore no hoops (and neither did Lucy) and this in itself was a novelty and a contrast.

It was some time after the performance that Lavinia--whom everyone now called Polly--left the theatre. The n.o.blemen who had seats on the stage crowded round her overwhelming her with compliments and looks of admiration. One of their number, a man of portly presence at least twice her age, whose face suggested good nature but little else, was a.s.siduous in his attentions. Lavinia accepted his flattery as a matter of course, and thought nothing more about him. She was told he was the Duke of Bolton, but duke or earl made no difference to her. Some of her t.i.tled admirers offered to escort her home but she shook her head laughingly and refused everyone. She knew very well that Lancelot Vane would be waiting for her as usual at the stage door, and she did not intend either to disappoint him or make him jealous.

She joined him, her cheeks flushed and her eyes s.h.i.+ning with excitement.

Vane looked eagerly and anxiously into her face and gave a little sigh.

"Well," said she, "are you disappointed with me?"

"Disappointed! Good heavens, no. Why Lavinia--"

"Lavinia," she cried tossing her head coquettishly. "Polly if you please. Polly is to be my name for ever after. Everybody knows me now as Polly, though dear Mr. Gay called me so long and long ago. Isn't it wonderful how his words have come true?"

"Mr. Gay is a clever man--a great man. I wish--"

"Yes, and what do you wish? Something nice I hope."

"I don't know about that. My wish was that I had been born a real poet and dramatist and had written 'The Beggar's Opera' for you. But my wits are dull--like myself."

"Please don't be foolish. I want you to tell me how I sang--how I acted.

You didn't mind Tom Walker making love to me?"

"No, I wished my arm had been round you instead of his, that was all."

"Wis.h.i.+ng again! Can't you do something beyond wis.h.i.+ng?"

She flashed a swift look at him and then the dark silky lashes drooped.

He must have been dull indeed not to have understood. His arm was about her. He drew her closer to him pa.s.sionately. It was the first time, though he had over and over again longed to do so.

"I love you--don't you know I do?" he whispered.

"I've sometimes thought as much but you've been very slow in telling me," she murmured lightly.

"Ah, I was afraid what your answer might be. Ridicule and a reproof for my impertinence. Even now I don't realise my happiness."

"Then you _must_," she cried imperiously. "How do you know I shan't be whirled away from you unless you hold me very tight? Oh, Lance, I've a misgiving--"

She stopped. She s.h.i.+vered slightly and he drew her cloak tightly about her and kissed the cherry lips within the hood.

"You're cold, dearest. Let us hurry. I ought not to have lingered," said he.

"No, no. I'm not a bit cold. I only had a sort of feeling that--kiss me again."

He was quick to obey and her kisses were as fervent as his.

"See me to my door and go quickly," she murmured.

"To-morrow, dear love, we shall meet each other again," was his reply.

"Why yes--yes."

"Many times more."

She nodded. Something seemed to choke her utterance. One more kiss and she vanished into the house.