Priestley Plays Four (17 page)

‘When to the session of sweet silent thought
I summon up remembrance of things past.’

An obvious choice. But this isn’t. Listen –

‘Make me a willow cabin at your gate,
And call upon my soul within the house…’

OTLEY: I seem to remember that.
Twelfth Night
– Viola, isn’t it?

MARTIN: Yes.

OTLEY: I think that was the part they liked her best in. But I doubt if you’ll find that little book worth reading, Mr. Cheveril – old-fashioned, pompous stuff. Her story was simple enough. They had a stock company here in those days, under an actor-manage called Edmund Ludlow. Jenny Villiers came here from the Norfolk circuit, and got some leading parts. She fell in love with the leading juvenile, Julian Napier, but he suddenly left the company for a London engagement. Then she was taken ill – and died. And Napier didn’t last much longer – he went to New York, started drinking hard, and soon finished himself. That’s all there is to it, really.

MARTIN:
(Musingly.)
Nothing in it. Everything in it.
‘Be absolute for death; either death or life will thereby be the sweeter…’

OTLEY:
(Preparing to go.)
And I shan’t forget what you said, Mr. Cheveril – you’ll just take that one call from London…

MARTIN: Yes, please. And switch off the other lights…
‘And call upon my soul within the house…’

OTLEY switches off rest of lights and goes out R.
.

There is nothing now but light near desk. MARTIN, relaxed in his chair, stares idly at the booklet in his hand. After a moment it is hard to decide if he is asleep, half-asleep, or still awake but brooding. There is music
.

Then WALTER KETTLE, a youngish but thin, grotesque figure. White-face, dressed in black, enters slowly from upstage R., and moves like a ghost across, pausing to stare across at MARTIN, who sees him. But before MARTIN can move –

KETTLE had glided out upstage L.
.

Then as MARTIN still stares upstage, a soft golden light comes across upstage R.. Then a man’s voice, with other’s joining in, is heard singing ‘Villikins and his Dinah’. Then, as light spreads, more voices off R.
.

JOHN STOKES:
(Off R., calling)
What’s happening, Sam, me boy?

SAM MOON:
(Off R..)
Mr. Ludlow wants to see everybody in the Green Room.

STOKES:
(Off, but nearer, humorously.) Ay, ay – so shall it be. Come, ladies, the Green Room!

Two youngish ACTRESSES, dressed in the style of the forties, now enter R., whispering attended by JOHN STOKES, an old actor very like Alfred Leathers. MARTIN’s light is still burning, but it is much dimmer now. Slowly he rises, to stare at these people. Two youngish ACTORS, one smoking an old-fashioned pipe, now enter. They are followed by MRS. FANNY LUDLOW, a commanding oldish woman, wife of the manager, who carries a large shopping basket
.

1
^ST
ACTRESS: Did you find anything nice Mrs. Ludlow?

FANNY:
(In a deep solemn tone.)
Yes, my dear. Four pork chops and a fine cauliflower. Mr. Ludlow is extremely fond of pork chops – fortunately. He will need all his strength to sustain him through this crisis.

2
^ND
ACTRESS: Oh dear – has something terrible happened?

FANNY: Mr. Ludlow will explain.

There is now from outside an imitation galloping noise, with cries of ‘Gee up!’ then ‘Steady, my steed!’ etc. SAM MOON, the comedian of the company, enters R., riding a large umbrella. He pulls up sharply, sweeps off his hat
.

MOON: Ladies, your servant.

He goes through the business of dismounting, then hands umbrella, as horse, to STOKES, who enters into the spirit of the business
.

Give me ’orse a rub-down, fellow, an’ a mouthful o’ hay.

STOKES:
(As groom.)
Ay, ay, sir. Will your honour by staying here the night?

MOON: S’death! I am on urgent business for the Duke.

FANNY:
(Reproachfully.)
Sam!

MOON: Ma’am?

FANNY: Save your drollery for tonight’s performance, when you will need it. At the moment it is out of place.

MOON: Sorry to ’ear it, ma’am, most sorry to ’ear it. But still we’ve ’ad troubles before – and said good bye to ’em.

Here a few other minor members of Ludlow’s company can enter, taking their place on the outside of the circle. Then JULIAN NAPIER, the juvenile lead, enters. He is very handsome in a romantic forties style, with long dark hair, etc
.

JULIAN:
(Rather haughtily.)
I hope this won’t take long. I have an engagement with two gentlemen at the White Hart in half an hour. What’s the matter now, Mrs. Ludlow?

FANNY:
(Rather stiffly.)
Mr. Ludlow will explain, Mr. Napier. And you may be sure that Mr. Ludlow would not call the company together at this hour unless it was something serious.

JULIAN: Possibly not. But I must keep my engagement at the White Hart.

MOON: Are they swells, Julian, me boy?

JULIAN:
(With assumed nonchalance.)
One of them’s a baronet. He took a box the other night.
(Stares around.)
Miss Vincent not here?

FANNY:
(Grimly.)
I don’t see her.

Some exclamations of surprise and exchange of glances
.

JULIAN: Look here – what’s happened?

FANNY: All in good time.

1
^ST
ACTRESS: I think I saw Miss Vincent with Mr. Ludlow just before we came up here.

FANNY: They you were mistaken.

2
^ND
ACTRESS: Who was it then? I didn’t think it was Miss Vincent.

Enter EDMUND LUDLOW, actor-manager, an elderly man with a presence. LUDLOW immediately takes charge of the situation. He faces the company
.

LUDLOW: Ladies and gentlemen – Miss Vincent has left us.

Some cries of astonishment and annoyance
.

Left us in circumstances of the basest treachery.

FANNY:
(Grimly.)
And still owing much money in the town. Over five pounds to Trimbleby’s alone.

LUDLOW: So I believe, my love. I will not speak of ingratitude –

FANNY:
(Grimly.)
I will! The ungrateful creature!

LUDLOW: But as you know, I propsed to revive
The Maniac of the Wreck
chiefly because of Miss Vincent, and although she knew this, and allowed herself to be billed in the leading role, I have evidence now that she has agreed to accept the offer from Mr. Buckstone – for small parts –

FANNY:
Very
small parts.

LUDLOW: At least a week ago. Inexcusable, of course, Black treachery. In the old days she would have found it impossible to live down such an act – but now – when ambition is preferred to honour – when money and false pride reign undisputed –

JULIAN:
(Cutting in, impatiently.)
Well, the point is that she’s gone. And we certainly can’t do the
Maniac of the Wreck
without her. And what about our
Twelfth Night
– also widely announced? We haven’t a Viola now.

LUDLOW:
(Heavy rebuke.)
If you will kindly allow me. Mr. Napier, to discuss my business… Clearly we can’t do the
Maniac
, so I’m proposing to put back
The Soldier’s Widow
or
The Deserted Mill
, which always takes…

A groan from the company
.

STOKES: It depends on your broadsword combat – as I’ve said before…

LUDLOW: Yes, yes, I agree. We’ll have special rehearsals this time of the broadsword combat. And as for our
Twelfth Night
, we can put it off a week or so –

JULIAN: While you try to find a Viola worth seeing? Not much chance.

LUDLOW:
(With solemnity.)
I have a Viola worth seeing. And unless I am much mistaken, a far better one than Miss Vincent’s. A Lady Teazle and a Rosalind and a Ophelia too. Mr. Kettle remembered that our friend Mr. Murphy of the Norfolk Circuit recommened us a good juvenile female lead who wanted a change. Mr. Kettle saw her, and has brought her back with him. She has already given me some excellent readings from classic roles.
(Calls to L..)
Walter, you can do the honours.

KETTLE enters L., smiling
.

KETLLE: Ladies and gentlemen – may I present to you our new juvenile female lead – Miss Jenny Villiers!

JENNY now enters L.. She is very pretty, rather fragile type, with auburn, light-brown or golden ringleys, and is charmingly dressed. She smilingly curtsies, while the others applaud smilingly. She then drops a small gaily-coloured purse. KETTLE tries to pick it up, but JULIAN is quicker, and stand offering it to her, smiling, while KETTLE scowls at him. JENNY smiles at JULIAN
.

JULIAN: Yours, I think, Miss Villiers.

JENNY: Thank you.

JULIAN: I am your new leading juvenile – Julian Napier.

As the two stand looking at each other, the whole scene is completely silent and frozen and the light on it begins to fade slowly. The effect is rather like an old daguerreotype. MARTIN takes a pace forward, staring at the scene
.

MARTIN:
(In slow, rather drugged tone.)
So that’s how it began. But of course, that’s how it would begin. But is it beginning again now? Has this happened – or is it still happening – or am I dreaming. What am I talking about? I’m dreaming, of course.

He takes a pace of two forwards. The scene, much fainter now, comes to life in quick dumb show, with the music playing softly. JENNY is being introduces to the others, but in a quiet gliding fashion they all move towards left, and soon are all gone with the light gone too now. MARTIN mover upstage, then turns round to look at his desk light, which is now burning as before. In a bewildered, slow fashion he comes back towards desk and his chair, then sits down heavily and buries his face in his hands. After a moment we hear FANNY’s voice in darkness upstage R.. MARTIN slowly raises his head
.

FANNY: Yes, dear, but you can make more of it than that. It’s a big scene, and properly done, it always takes famously. Now when I did it, I always got on tip-toe and stretched my hands out on ‘Horror, horror’, and then on ‘Distraction, come’, I crossed my hands in front of my face. I’ll show you what I mean, dear – just watch me.

Golden light comes up on Fanny and JENNY, who are rehearsing upstage R.. If possible, JENNY should now be wearing plainer working dress. As MARTIN stares at them as their light comes up, his light at desk begins to fade. FANNY now illustrates the movements, which are as false and stagey as the dialogue. And it is clear that JENNY cannot take this speech seriously
.

You see, dear? ‘Oh, horror, horror!’
(She stands on tip-toe, with arms outstretched and fingers wide apart.)
Then – so and so and so and so – slowly coming down, you see, dear, till you get to ‘Distraction, come possess me now, for I will be thy bride’…like this…
(She bows her head, shuddering, and crosses her hands before her face.)

JENNY suddenly giggles
.

What’s the matter, dear?

JENNY: I’m sorry, Mrs. Ludlow. I do see what you mean, and you’re doing it beautifully. It’s just – that – well, this Moorish princess sounds such an idiot, asking to be Distraction’s bride.

FANNY:
(With dignified rebuke.)
Properly played, Miss Villiers, I assure you, the part never fails. Ask Mr. Ludlow.

Enter KETTLE, L.
.

Yes, Walter? Am I wanted on the stage?

KETTLE: Yes, Mrs. Ludlow.

FANNY: Very well. I’m just taking Miss Villiers through his big scene in the
Moorish Princess
– which she doesn’t seem to quite appreciate. Here’s the book –
(Hands him a prompt book.)
just see what you can do.

She goes off L. in dignified disapproval
.

JENNY: Oh dear – I hope I haven’t offended her. You see, I couldn’t help laughing – not at her – but at the part – it’s so silly! You must admit it is. Listen.
(She assumes tragic posture and tone, not too obviously burlesqued, doing the same movements as FANNY.)

‘Oh Carlos! Noble youth! How have my fears
Betray’d thee to thy doom!
Inhuman father! Noble, injured youth!
Methinks I see thee stretched upon the rack,
Naught I can do can save him. Vain, alas!
Vain are my maiden tears and pray’rs!
Distraction, come possess me now, for I
Will be
thy
bride!’

You see, Mr. Kettle? I can’t act it because I can’t believe in it. No girl ever behaved like that, or talked like that. It isn’t true!

KETTLE: Of course it isn’t. But then no girl ever talked like Viola or Rosalind.

JENNY:
(Earnestly.)
But that’s not the same thing. We’d
like
to talk as Viola and Rosalind do. It’s what we
feel
, turned into wonderful words. But this isn’t. It’s all just silly stuff. Asking for Distraction as if it were some old admirer who lived round the corner. Now – isn’t it silly?

KETLLE:
(In humorous whisper.)
Yes. I’ve thought so for years. Language, situations, gestures – all ridiculous. You’re quite right.

JENNY: Ph, bless you for saying that! You see, if she only said something quite simple and direct, like –

‘Oh Carlos – noble Carlos – because I was
frightened I betrayed you – perhaps to
your death!’

Just standing there, quite still, looking down on him –

KETTLE: Do it like that.

JENNY: Oh – do you think I dare?

As they stand there, looking at each other, MARTIN takes a pace or two forward, nearer to them
.

MARTIN:
(Quietly, but with a note of excitement.)
Yes, my dear, yes. Dare – break through the routine, smash the old moulds – dare – as we all must do – to give it new life –

JENNY:
(To KETTLE.)
All right. I will.

VOICE:
(Off L..)
Miss Villiers, Mr. Kettle, wanted on stage!

KETTLE:
(Calling.)
Coming!

He leads the way, JENNY following rather reluctantly, the light fading as they go
.