‘It’s sweet of you to say so.’
‘Shut up. Leave me to do the talking. You’ve got everything. You’re the right height, you’ve got a good figure, you’ve got an indiarubber face.’
‘Flattering, aren’t you?’
‘That’s just what I am. That’s the face an actress wants. The face that can look anything, even beautiful, the face that can show every thought that passes through the mind. That’s the face Duse’s got. Last night even though you weren’t really thinking about what you were doing every now and then the words you were saying wrote themselves on your face.’
‘It’s such a rotten part. How could I give it my attention? Did you hear the things I had to say?’
‘Actors are rotten, not parts. You’ve got a wonderful voice, the voice that can wring an audience’s heart, I don’t know about your comedy, I’m prepared to risk that.’
‘What d’you mean by that?’
‘Your timing is almost perfect. That couldn’t have been taught, you must have that by nature. That’s the far, far better way. Now let’s come down to brass tacks. I’ve been making inquiries about you. It appears you speak French like a Frenchwoman and so they give you broken English parts. That’s not going to lead you anywhere, you know.’
‘That’s all I can get.’
‘Are you satisfied to go on playing those sort of parts for ever? You’ll get stuck in them and the public won’t take you in anything else. Seconds, that’s all you’ll play. Twenty pounds a week at the outside and a great talent wasted.’
‘I’ve always thought that some day or other I should get a chance of a straight part.’
‘When? You may have to wait ten years. How old are you now?’
‘Twenty.’
‘What are you getting?’
‘Fifteen pounds a week.’
‘That’s a lie. You’re getting twelve, and it’s a damned sight more than you’re worth. You’ve got everything to learn. Your gestures are commonplace. You don’t know that every gesture must mean something. You don’t know how to get an audience to look at you before you speak. You make up too much. With your sort of face the less make-up the better. Wouldn’t you like to be a star?’
‘Who wouldn’t?’
‘Come to me and I’ll make you the greatest actress in England. Are you a quick study? You ought to be at your age.’
‘I think I can be word-perfect in any part in forty-eight hours.’
‘It’s experience you want and me to produce you. Come to me and I’ll let you play twenty parts a year. Ibsen, Shaw, Barker, Sudermann, Hankin, Galsworthy. You’ve got magnetism and you don’t seem to have an idea how to use it.’ He chuckled. ‘By God, if you had, that old hag would have had you out of the play you’re in now before you could say knife. You’ve got to take an audience by the throat and say, now, you dogs, you pay attention to me. You’ve got to dominate them. If you haven’t got the gift no one can give it you, but if you have you can be taught how to use it. I tell you, you’ve got the makings of a great actress. I’ve never been so sure of anything in my life.’
‘I know I want experience. I’d have to think it over of course. I wouldn’t mind coming to you for a season.’
‘Go to hell. Do you think I can make an actress of you in a season? Do you think I’m going to work my guts out to make you give a few decent performances and then have you go away to play some twopenny-halfpenny part in a commercial play in London? What sort of a bloody fool do you take me for? I’ll give you a three years’ contract, I’ll give you eight pounds a week and you’ll have to work like a horse.’
‘Eight pounds a week’s absurd. I couldn’t possibly take that.’
‘Oh yes, you could. It’s all you’re worth and it’s all you’re going to get.’
Julia had been on the stage for three years and had learnt a good deal. Besides, Jane Taitbout, no strict moralist, had given her a lot of useful information.
‘And are you under the impression by any chance, that for that I’m going to let you sleep with me as well?’
‘My God, do you think I’ve got time to go to bed with the members of my company? I’ve got much more important things to do than that, my girl. And you’ll find that after you’ve rehearsed for four hours and played a part at night to my satisfaction, besides a couple of matinées, you won’t have much time or much inclination to make love to anybody. When you go to bed all you’ll want to do is to sleep.’
But Jimmie Langton was wrong there.
3
JULIA, taken by his enthusiasm and his fantastic exuberance, accepted his offer. He started her in modest parts which under his direction she played as she had never played before. He interested the critics in her, he flattered them by letting them think that they had discovered a remarkable actress, and allowed the suggestion to come from them that he should let the public see her as Magda. She was a great hit and then in quick succession he made her play Nora in The Doll’s House, Ann in Man and Superman, and Hedda Gabler. Middlepool was delighted to discover that it had in its midst an actress who it could boast was better than any star in London, and crowded to see her in plays that before it had gone to only from local patriotism. The London paragraphers mentioned her now and then, and a number of enthusiastic patrons of the drama made the journey to Middlepool to see her. They went back full of praise, and two or three London managers sent representatives to report on her. They were doubtful. She was all very well in Shaw and Ibsen, but what would she do in an ordinary play? The managers had had bitter experiences. On the strength of an outstanding performance in one of these queer plays they had engaged an actor, only to discover that in any other sort of play he was no better than anybody else.
When Michael joined the company Julia had been playing in Middlepool for a year. Jimmie started him with Marchbanks in Candida. It was the happy choice one would have expected him to make, for in that part his great beauty was an asset and his lack of warmth no disadvantage.
Julia reached over to take out the first of the cardboard cases in which Michael’s photographs were kept. She was sitting comfortably on the floor. She turned the early photographs over quickly, looking for that which he had had taken when first he came to Middlepool; but when she came upon it, it gave her a pang. For a moment she felt inclined to cry. It had been just like him then. Candida was being played by an older woman, a sound actress who was cast generally for mothers, maiden aunts or character parts, and Julia with nothing to do but act eight times a week attended the rehearsals. She fell in love with Michael at first sight. She had never seen a more beautiful young man, and she pursued him relentlessly. In due course Jimmie put on Ghosts, braving the censure of respectable Middlepool, and Michael played the boy and she played Regina. They heard one another their parts and after rehearsals lunched, very modestly, together so that they might talk of them. Soon they were inseparable. Julia had little reserve; she flattered Michael outrageously. He was not vain of his good looks, he knew he was handsome and accepted compliments, not exactly with indifference, but as he might have accepted a compliment on a fine old house that had been in his family for generations. It was a well-known fact that it was one of the best houses of its period, one was proud of it and took care of it, but it was just there, as natural to possess as the air one breathed. He was shrewd and ambitious. He knew that his beauty was at present his chief asset, but he knew it could not last for ever and was determined to become a good actor so that he should have something besides his looks to depend on. He meant to learn all he could from Jimmie Langton and then go to London.
‘If I play my cards well I can get some old woman to back me and go into management. One’s got to be one’s own master. That’s the only way to make a packet.’