No Name Wilkie Collins (e book reader android TXT) 📖

Mrs. Marrable gave up the drawing-room to be laid waste for a stage and a theater. Mr. Marrable secured the services of a respectable professional person to drill the young ladies and gentlemen, and to accept all the other responsibilities incidental to creating a dramatic world out of a domestic chaos. Having further accustomed themselves to the breaking of furniture and the staining of walls⁠—to thumping, tumbling, hammering, and screaming; to doors always banging, and to footsteps perpetually running up and down stairs⁠—the nominal master and mistress of the house fondly believed that their chief troubles were over. Innocent and fatal delusion! It is one thing in private society to set up the stage and choose the play⁠—it is another thing altogether to find the actors. Hitherto, only the small preliminary annoyances proper to the occasion had shown themselves at Evergreen Lodge. The sound and serious troubles were all to come.

The Rivals having been chosen as the play, Miss Marrable, as a matter of course, appropriated to herself the part of “Lydia Languish.” One of her favored swains next secured “Captain Absolute,” and another laid violent hands on “Sir Lucius O’Trigger.” These two were followed by an accommodating spinster relative, who accepted the heavy dramatic responsibility of “Mrs. Malaprop”⁠—and there the theatrical proceedings came to a pause. Nine more speaking characters were left to be fitted with representatives; and with that unavoidable necessity the serious troubles began.

All the friends of the family suddenly became unreliable people, for the first time in their lives. After encouraging the idea of the play, they declined the personal sacrifice of acting in it⁠—or, they accepted characters, and then broke down in the effort to study them⁠—or they volunteered to take the parts which they knew were already engaged, and declined the parts which were waiting to be acted⁠—or they were afflicted with weak constitutions, and mischievously fell ill when they were wanted at rehearsal⁠—or they had Puritan relatives in the background, and, after slipping into their parts cheerfully at the week’s beginning, oozed out of them penitently, under serious family pressure, at the week’s end. Meanwhile, the carpenters hammered and the scenes rose. Miss Marrable, whose temperament was sensitive, became hysterical under the strain of perpetual anxiety; the family doctor declined to answer for the nervous consequences if something was not done. Renewed efforts were made in every direction. Actors and actresses were sought with a desperate disregard of all considerations of personal fitness. Necessity, which knows no law, either in the drama or out of it, accepted a lad of eighteen as the representative of “Sir Anthony Absolute”; the stage-manager undertaking to supply the necessary wrinkles from the illimitable resources of theatrical art. A lady whose age was unknown, and whose personal appearance was stout⁠—but whose heart was in the right place⁠—volunteered to act the part of the sentimental “Julia,” and brought with her the dramatic qualification of habitually wearing a wig in private life. Thanks to these vigorous measures, the play was at last supplied with representatives⁠—always excepting the two unmanageable characters of “Lucy” the waiting-maid, and “Falkland,” Julia’s jealous lover. Gentlemen came; saw Julia at rehearsal; observed her stoutness and her wig; omitted to notice that her heart was in the right place; quailed at the prospect, apologized, and retired. Ladies read the part of “Lucy”; remarked that she appeared to great advantage in the first half of the play, and faded out of it altogether in the latter half; objected to pass from the notice of the audience in that manner, when all the rest had a chance of distinguishing themselves to the end; shut up the book, apologized, and retired. In eight days more the night of performance would arrive; a phalanx of social martyrs two hundred strong had been convened to witness it; three full rehearsals were absolutely necessary; and two characters in the play were not filled yet. With this lamentable story, and with the humblest apologies for presuming on a slight acquaintance, the Marrables appeared at Combe-Raven, to appeal to the young ladies for a “Lucy,” and to the universe for a “Falkland,” with the mendicant pertinacity of a family in despair.

This statement of circumstances⁠—addressed to an audience which included a father of Mr. Vanstone’s disposition, and a daughter of Magdalen’s temperament⁠—produced the result which might have been anticipated from the first.

Either misinterpreting, or disregarding, the ominous silence preserved by his wife and Miss Garth, Mr. Vanstone not only gave Magdalen permission to assist the forlorn dramatic company, but accepted an invitation to witness the performance for Norah and himself. Mrs. Vanstone declined accompanying them on account of her health; and Miss Garth only engaged to make one among the audience conditionally on not being wanted at home. The “parts” of “Lucy” and “Falkland” (which the distressed family carried about with them everywhere, like incidental maladies) were handed to their representatives on the spot. Frank’s faint remonstrances were rejected without a hearing; the days and hours of rehearsal were carefully noted down on the covers of the parts; and the Marrables took their leave, with a perfect explosion of thanks⁠—father, mother, and daughter sowing their expressions of gratitude broadcast, from the drawing-room door to the garden-gates.

As soon as the carriage had driven away, Magdalen presented herself to the general observation under an entirely new aspect.

“If any more visitors call today,” she said, with the profoundest gravity of look and manner, “I am not at home. This is a far more serious matter than any of you suppose. Go somewhere by yourself, Frank, and read over your part, and don’t let your attention wander if you can possibly help it. I shall not be accessible before the evening. If you will come here⁠—with papa’s permission⁠—after tea, my views on the subject of Falkland will be at your disposal. Thomas! whatever else the gardener does, he is not to make any floricultural noises under my window. For the rest of the afternoon I shall be immersed in study⁠—and the quieter the house is,