Death at the Opera

Table of Contents

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Epub ISBN: 9781407064369

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Published by Vintage 2010

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Copyright © the Executors of the Estate of Gladys Mitchell 1934

Gladys Mitchell has asserted her right under the Copyright, Designs and Patents Act 1988 to be identified as the author of this work

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First published in Great Britain in 1934 by Grayson & Grayson

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About the Author

Gladys Maude Winifred Mitchell – or ‘The Great Gladys' as Philip Larkin described her – was born in 1901, in Cowley in Oxfordshire. She graduated in history from University College London and in 1921 began her long career as a teacher. She studied the works of Sigmund Freud and attributed her interest in witchcraft to the influence of her friend, the detective novelist Helen Simpson.

Her first novel,
Speedy Death
, was published in 1929 and introduced readers to Beatrice Adela Lestrange Bradley, the heroine of a further sixty-six crime novels. She wrote at least one novel a year throughout her career and was an early member of the Detection Club along with G. K. Chesterton, Agatha Christie and Dorothy Sayers. In 1961 she retired from teaching and, from her home in Dorset, continued to write, receiving the Crime Writers' Association Silver Dagger Award in 1976. Gladys Mitchell died in 1983.

ALSO BY GLADYS MITCHELL

To Florence H. Brace

CONTENTS

CHAPTER I

I

T
HE
Headmaster shook his head and smiled ruefully.

“There is nothing for it but Shakespeare,” he said.

“Dull,” suggested the Senior Science Master, grimacing Puck-like, at the Senior English Mistress, who had played at the Old Vic.

“Quite,” the Headmaster agreed meekly, and waited for further suggestions.

“The parents won't come,” said the Junior Music Mistress, sadly. She liked lots and lots of the parents to come. She waylaid them in corridors and places where parents get lost and, guiding them to the main hall, booked orders for their offspring to take Extra Music. The fees for Extra Music were heavy, and the Junior Music Mistress received twenty per cent of them. “I'm sure they'll think Shakespeare too boring.”

The Senior History Master did not agree. The parents would come, whatever the Musical, Operatic and Dramatic Society produced, he thought. The parents would come to see the children act and to hear them sing. The parents did not care whether it was Shakespeare or a revue. At least, that was his opinion, and it was based on a twenty years' experience of parents and their peculiar psychology.

At this point the Senior Mathematics Master wanted to know whether they could not produce a revue. Surely, with so much talent on the staff . . . ?

The Headmaster replied cordially that if the staff thought they could collaborate in the production of a revue, he should be delighted to assist them by any means in his power. A brisk discussion followed, but the idea was dropped. As the Junior English Master put it: “It sounded something like work.”

“What about another comic opera?” suggested the Arithmetic Mistress. “I am sure everybody enjoyed
The Gondoliers
.”

“I think that was the Head's point, wasn't it, sir?” said the Junior English Master, blending carefully the deference due to the Headmaster with a certain amount of youthful contempt for the Arithmetic Mistress. “We can't afford to tackle another opera this year.”

“We lost thirty pounds, one shilling and ninepence on
The Gondoliers
,” said the Headmaster; “and that in spite of the fact that we had a full house.”

“I would put up the money,” said the Arithmetic Mistress. She spoke breathlessly, out of nervousness. All eyes were upon her. She was shabbily dressed, heavy-faced and almost inarticulate except in the class-room. She taught the lower forms only.

The school was an expensive experiment in co-education. It was a private concern, and the Headmaster, who had spent a fortune on it, was chairman of the board of directors. None of the staff held shares, and it was against the terms of their engagement for them to do so. They were well paid, and were expected to be something more than merely efficient teachers, for the social side of school life was catered for as carefully and thoroughly as the educational.

Games for the girls and boys were of secondary importance to hobbies. Corporal punishment was never resorted to. There was no prefect system. English was the most important subject. In short, it was a freak school. The staff came to weep, and remained—wondering at themselves as they did so—to rejoice. All the senior members of the staff, both men and women, were married, although the Headmaster was a bachelor.

There were the usual friendships and enmities, but nearly everyone united in tolerating the Arithmetic Mistress, for she was the mildest and most inoffensive of persons: self-effacing, meek, quietly contented with her lot. All looked at her in surprise, and some in alarm, however, as she made the offer to finance the production of a comic opera. The Head broke the pause.

“But, really, you know, Miss Ferris—” he said. The Arithmetic Mistress interrupted him.

“I know how much it would cost,” she said. “I could afford it, Mr. Cliffordson. I should like it to be a little present to the school. I have been”—she gulped, and her dull eyes filled suddenly—“I have been so happy here.”

There was an awkward pause, then the Headmaster cleared his throat and pronounced his benediction on the scheme.

“In that case—a present to the school—very kind indeed of you. Well, now, what about parts? We ought to decide them before the holidays, I think, and then we can get on with the rehearsals next term. Any suggestions? Let me see—what are the parts?”