Expecting Jeeves (17 page)

“Oh, all right, let it go!”

“It's a big thing, you know, this Christmas Entertainment. Old Heppenstall is very much wrapped up in it Nibs from all over the countryside rolling up. The Squire present, with family. A big chance for me, Bertie, my boy, and I mean to make the most of it. Of course, I'm handicapped a bit by not having been in on the thing from the start. Will you credit it that that uninspired doughnut of a curate wanted to give the public some rotten little fairy play out of a book for children published about fifty years ago without one good laugh or the semblance of a gag in it? It's too late to alter the thing entirely, but at least I can jazz it up. I'm going to write them in something zippy to brighten the thing up a bit.”

“You can't write.”

“Well, when I say write, I mean pinch. That's why I've popped up to town. I've been to see that revue
Cuddle Up!
at the Palladium to-night. Full of good stuff. Of course, it's rather hard to get anything in the nature of a big spectacular effect in the Twing Village Hall, with no scenery to speak of and a chorus of practically imbecile kids of ages ranging from nine to fourteen, but I think I see my way. Have you seen
Cuddle Up
?”

“Yes. Twice.”

“
Well, there's some good stuff in the first act, and I can lift practically all the numbers. Then there's that show at the Palace. I can see the
matinée
of that to-morrow before I leave. There's sure to be some decent bits in that. Don't you worry about my not being able to write a hit. Leave it to me, laddie, leave it to me. And now, my dear old chap,” said young Bingo, snuggling down cosily, “you mustn't keep me up talking all night. It's all right for you fellows who have nothing to do, but I'm a busy man. Good night, old thing. Close the door quietly after you and switch out the light. Breakfast about ten to-morrow, I suppose, what? Right-o. Good night.”

∗

For the next three weeks I didn't see Bingo. He became a sort of Voice Heard Off, developing a habit of ringing me up on long-distance and consulting me on various points arising at rehearsal, until the day when he got me out of bed at eight in the morning to ask whether I thought “Merry Christmas!” was a good tide. I told him then that this nuisance must now cease, and after that he cheesed it, and practically passed out of my life, till one afternoon when I got back to the flat to dress for dinner and found Jeeves inspecting a whacking big poster sort of thing which he had draped over the back of an arm-chair.

“Good Lord, Jeeves!” I said. I was feeling rather weak that day, and the thing shook me. “What on earth's that?”

“Mr. Little sent it to me, sir, and desired me to bring it to your notice.”

“Well, you've certainly done it!”

I took another look at the object. There was no doubt about it, he caught the eye. It was about seven feet long, and most of the lettering in about as bright red ink as I ever struck.

This was how it ran:

TWING VILLAGE HALL,

Friday, December 23rd,

RICHARD
LITTLE

presents

A New and Original Revue

Entitled

WHAT HO, TWING!!

Book by

RICHARD LITTLE

Lyrics by

RICHARD LITTLE

Music by

RICHARD LITTLE.

With the Full Twing Juvenile

Company and Chorus.

Scenic Effects by

RICHARD LITTLE

Produced by

RICHARD LITTLE.

“What do you make of it, Jeeves?” I said.

“I confess I am a little doubtful, sir. I think Mr. Little would have done better to follow my advice and confine himself to good works about the village.”

“You think the thing will be a frost?”

“I could not hazard a conjecture, sir. But my experience has been that what pleases the London public is not always so acceptable to the rural mind. The metropolitan touch sometimes proves a trifle too exotic for the provinces.”

“I suppose I ought to go down and see the dashed thing?”

“I think Mr. Little would be wounded were you not present, sir.”

∗

The Village Hall at Twing is a smallish building, smelling of apples. It was full when I turned up on the evening of the twenty-third, for I had purposely timed myself to arrive not long before the kick-off. I had had experience of one or two of these binges, and didn't want to run any risk of coming early and find
ing
myself shoved into a seat in one of the front rows where I wouldn't be able to execute a quiet sneak into the open air halfway through the proceedings, if the occasion seemed to demand it. I secured a nice strategic position near the door at the back of the hall.

From where I stood I had a good view of the audience. As always on these occasions, the first few rows were occupied by the Nibs — consisting of the Squire, a fairly mauve old sportsman with white whiskers, his family, a platoon of local parsons and perhaps a couple of dozen of prominent pew-holders. Then came a dense squash of what you might call the lower middle classes. And at the back, where I was, we came down with a jerk in the social scale, this end of the hall being given up almost entirely to a collection of frankly Tough Eggs, who had rolled up not so much for any love of the drama as because there was a free tea after the show. Take it for all in all, a representative gathering of Twing life and thought. The Nibs were whispering in a pleased manner to each other, the Lower Middles were sitting up very straight, as if they'd been bleached, and the Tough Eggs whiled away the time by cracking nuts and exchanging low rustic wheezes. The girl, Mary Burgess, was at the piano playing a waltz. Beside her stood the curate, Wingham, apparently recovered. The temperature, I should think, was about a hundred and twenty-seven.

Somebody jabbed me heartily in the lower ribs, and I perceived the man Steggles.

“Hallo!” he said. “I didn't know you were coming down.”

I didn't like the chap, but we Woosters can wear the mask. I beamed a bit.

“Oh, yes,” I said. “Bingo wanted me to roll up and see his show.”

“I hear he's giving us something pretty ambitious,” said the man Steggles. “Big effects and all that sort of thing.”

“I believe so.”

“Of course, it means a lot to him, doesn't it? He's told you about the girl, of course?”

“Yes. And I hear you're laying seven to one against him.” I said, eyeing the blighter a trifle austerely.

He
didn't even quiver.

“Just a little flutter to relieve the monotony of country life,” he said. “But you've got the facts a bit wrong. It's down in the village that they're laying seven to one. I can do you better than that, if you feel in a speculative mood. How about a tenner at a hundred to eight?”

“Good Lord! Are you giving that?”

“Yes. Somehow,” said Steggles meditatively, “I have a sort of feeling, a kind of premonition that something's going to go wrong to-night. You know what Little is. A bungler, if ever there was one. Something tells me that this show of his is going to be a frost. And if it is, of course, I should think it would prejudice the girl against him pretty badly. His standing always was rather shaky.”

“Are you going to try and smash up the show?” I said sternly.

“Me!” said Steggles. “Why, what could I do? Half a minute, I want to go and speak to a man.”

He buzzed off, leaving me distinctly disturbed. I could see from the fellow's eye that he was meditating some of his customary rough stuff, and I thought Bingo ought to be warned. But there wasn't time and I couldn't get at him. Almost immediately after Steggles had left me the curtain went up.

Except as a prompter, Bingo wasn't much in evidence in the early part of the performance. The thing at the outset was merely one of those weird dramas which you dig out of books published around Christmas time and entitled
Twelve Little Plays for the Tots,
or something like that. The kids drooled on in the usual manner, the booming voice of Bingo ringing out from time to time behind the scenes when the fatheads forgot their lines; and the audience was settling down into the sort of torpor usual on these occasions, when the first of Bingo's interpolated bits occurred. It was that number which What's-her-name sings in that revue at the Palace — you would recognize the tune if I hummed it, but I can never get hold of the dashed thing. It always got three encores at the Palace, and it went well now, even with a squeaky-voiced child jumping on and off the key like a chamois of the Alps leaping from crag to crag. Even the Tough Eggs liked it. At the end of the second refrain the entire house was shouting for an encore, and the kid with the
voice
like a slate-pencil took a deep breath and started to let it go once more.

At this point all the lights went out.

∗

I don't know when I've had anything so sudden and devastating happen to me before. They didn't flicker. They just went out. The hall was in complete darkness.

Well, of course, that sort of broke the spell, as you might put it. People started to shout directions, and the Tough Eggs stamped their feet and settled down for a pleasant time. And, of course, young Bingo had to make an ass of himself. His voice suddenly shot at us out of the darkness.

“Ladies and gentlemen, something has gone wrong with the lights —”

The Tough Eggs were tickled by this bit of information straight from the stable. They took it up as a sort of battle-cry. Then, after about five minutes, the lights went up again, and the show was resumed.

It took ten minutes after that to get the audience back into its state of coma, but eventually they began to settle down, and everything was going nicely when a small boy with a face like a turbot edged out in front of the curtain, which had been lowered after a pretty painful scene about a wishing-ring or a fairy's curse or something of that sort, and started to sing that song of George Thingummy's out of
Cuddle Up.
You know the one I mean. “Always Listen to Mother, Girls!” it's called, and he gets the audience to join in and sing the refrain. Quite a ripeish ballad, and one which I myself have frequently sung in my bath with not a little vim; but by no means — as anyone but a perfect sap-headed prune like young Bingo would have known — by no means the sort of thing for a children's Christmas entertainment in the old village hall. Right from the start of the first refrain the bulk of the audience had begun to stiffen in their seats and fan themselves, and the Burgess girl at the piano was accompanying in a stunned, mechanical sort of way, while the curate at her side averted his gaze in a pained manner. The Tough Eggs, however, were all for it.

At
the end of the second refrain the kid stopped and began to sidle towards the wings. Upon which the following brief duologue took place:

Y
OUNG
B
INGO
(
Voice heard off, ringing against the rafters
): “Go on!”

T
HE
K
ID
(
coyly
):
“
I don't like to.”

Y
OUNG
B
INGO
(
still louder
): “Go on, you little blighter, or I'll slay you!”

I suppose the kid thought it over swiftly and realized that Bingo, being in a position to get at him, had better be conciliated, whatever the harvest might be; for he shuffled down to the front and, having shut his eyes and giggled hysterically, said: “Ladies and gentlemen, I will now call upon Squire Tressidder to oblige by singing the refrain!”

You know, with the most charitable feelings towards him, there are moments when you can't help thinking that young Bingo ought to be in some sort of a home. I suppose, poor fish, he had pictured this as the big punch of the evening. He had imagined, I take it, that the Squire would spring jovially to his feet, rip the song off his chest, and all would be gaiety and mirth. Well, what happened was simply that old Tressidder — and, mark you, I'm not blaming him — just sat where he was, swelling and turning a brighter purple every second. The lower middle classes remained in frozen silence, waiting for the roof to fall. The only section of the audience that really seemed to enjoy the idea was the Tough Eggs, who yelled with enthusiasm. It was jam for the Tough Eggs.

And then the lights went out again.

∗

When they went up, some minutes later, they disclosed the Squire marching stiffly out at the head of his family, fed up to the eyebrows; the Burgess girl at the piano with a pale, set look; and the curate gazing at her with something in his expression that seemed to suggest that, although all this was no doubt deplorable, he had spotted the silver lining.

The show went on once more. There were great chunks of Plays-for-the-Tots dialogue, and then the girl at the piano struck
up
the prelude to that Orange-Girl number that's the big hit of the Palace revue. I took it that this was to be Bingo's smashing act one finale. The entire company was on the stage, and a clutching hand had appeared round the edge of the curtain, ready to pull at the right moment. It looked like the finale all right. It wasn't long before I realized that it was something more. It was the finish.

I take it you know that Orange number at the Palace? It goes:

Oh, won't you something something oranges,

  My something oranges,

  My something oranges;

Oh, won't you something something something I forget, Something something something tumty tumty yet: Oh
—

or words to that effect. It's a dashed clever lyric, and the tune's good, too; but the thing that made the number was the business where the girls take oranges out of their baskets, you know, and toss them lightly to the audience. I don't know if you've ever noticed it, but it always seems to tickle an audience to bits when they get things thrown at them from the stage. Every time I've been to the Palace the customers have simply gone wild over this number.