No Name, Wilkie Collins [reading the story of the TXT] 📗

checked himself suddenly. “Curious,” he said, under his breath⁠—“she fronts the audience of her own accord!” Lucy opened the scene in these words: “Indeed, ma’am, I traversed half the town in search of it: I don’t believe there’s a circulating library in Bath I haven’t been at.” The manager started in his chair. “My heart alive! she speaks out without telling!” The dialogue went on. Lucy produced the novels for Miss Lydia Languish’s private reading from under her cloak. The manager rose excitably to his feet. Marvelous! No hurry with the books; no dropping them. She looked at the titles before she announced them to her mistress; she set down Humphrey Clinker on The Tears of Sensibility with a smart little smack which pointed the antithesis. One moment⁠—and she announced Julia’s visit; another⁠—and she dropped the brisk waiting-maid’s courtesy; a third⁠—and she was off the stage on the side set down for her in the book. The manager wheeled round on his stool, and looked hard at Miss Garth. “I beg your pardon, ma’am,” he said. “Miss Marrable told me, before we began, that this was the young lady’s first attempt. It can’t be, surely!”

“It is,” replied Miss Garth, reflecting the manager’s look of amazement on her own face. Was it possible that Magdalen’s unintelligible industry in the study of her part really sprang from a serious interest in her occupation⁠—an interest which implied a natural fitness for it.

The rehearsal went on. The stout lady with the wig (and the excellent heart) personated the sentimental Julia from an inveterately tragic point of view, and used her handkerchief distractedly in the first scene. The spinster relative felt Mrs. Malaprop’s mistakes in language so seriously, and took such extraordinary pains with her blunders, that they sounded more like exercises in elocution than anything else. The unhappy lad who led the forlorn hope of the company, in the person of “Sir Anthony Absolute,” expressed the age and irascibility of his character by tottering incessantly at the knees, and thumping the stage perpetually with his stick. Slowly and clumsily, with constant interruptions and interminable mistakes, the first act dragged on, until Lucy appeared again to end it in soliloquy, with the confession of her assumed simplicity and the praise of her own cunning.

Here the stage artifice of the situation presented difficulties which Magdalen had not encountered in the first scene⁠—and here, her total want of experience led her into more than one palpable mistake. The stage-manager, with an eagerness which he had not shown in the case of any other member of the company, interfered immediately, and set her right. At one point she was to pause, and take a turn on the stage⁠—she did it. At another, she was to stop, toss her head, and look pertly at the audience⁠—she did it. When she took out the paper to read the list of the presents she had received, could she give it a tap with her finger (Yes)? And lead off with a little laugh (Yes⁠—after twice trying)? Could she read the different items with a sly look at the end of each sentence, straight at the pit (Yes, straight at the pit, and as sly as you please)? The manager’s cheerful face beamed with approval. He tucked the play under his arm, and clapped his hands gayly; the gentlemen, clustered together behind the scenes, followed his example; the ladies looked at each other with dawning doubts whether they had not better have left the new recruit in the retirement of private life. Too deeply absorbed in the business of the stage to heed any of them, Magdalen asked leave to repeat the soliloquy, and make quite sure of her own improvement. She went all through it again without a mistake, this time, from beginning to end; the manager celebrating her attention to his directions by an outburst of professional approbation, which escaped him in spite of himself. “She can take a hint!” cried the little man, with a hearty smack of his hand on the promptbook. “She’s a born actress, if ever there was one yet!”

“I hope not,” said Miss Garth to herself, taking up the work which had dropped into her lap, and looking down at it in some perplexity. Her worst apprehension of results in connection with the theatrical enterprise had foreboded levity of conduct with some of the gentlemen⁠—she had not bargained for this. Magdalen, in the capacity of a thoughtless girl, was comparatively easy to deal with. Magdalen, in the character of a born actress, threatened serious future difficulties.

The rehearsal proceeded. Lucy returned to the stage for her scenes in the second act (the last in which she appears) with Sir Lucius and Fag. Here, again, Magdalen’s inexperience betrayed itself⁠—and here once more her resolution in attacking and conquering her own mistakes astonished everybody. “Bravo!” cried the gentlemen behind the scenes, as she steadily trampled down one blunder after another. “Ridiculous!” said the ladies, “with such a small part as hers.” “Heaven forgive me!” thought Miss Garth, coming round unwillingly to the general opinion. “I almost wish we were Papists, and I had a convent to put her in tomorrow.” One of Mr. Marrable’s servants entered the theater as that desperate aspiration escaped the governess. She instantly sent the man behind the scene with a message: “Miss Vanstone has done her part in the rehearsal; request her to come here and sit by me.” The servant returned with a polite apology: “Miss Vanstone’s kind love, and she begs to be excused⁠—she’s prompting Mr. Clare.” She prompted him to such purpose that he actually got through his part. The performances of the other gentlemen were obtrusively imbecile. Frank was just one degree better⁠—he was modestly incapable; and he gained by comparison. “Thanks to Miss Vanstone,” observed the manager, who had heard the prompting. “She pulled him through. We shall be flat enough at night, when the drop falls on the second act, and the audience have seen the last of