Fragile Things: Short Fictions and Wonders(American Gods #1.1)(11)

Once we were seated in the stalls (I had bought a threepenny orange from one of the lovely young women who sold them to the members of the audience, and I sucked it as we waited), my friend said, quietly, “You should only count yourself lucky that you did not need to accompany me to the gambling dens or the brothels. Or the madhouses—another place that Prince Franz delighted in visiting, as I have learned. But there was nowhere he went to more than once. Nowhere but—”

The orchestra struck up, and the curtain was raised. My friend was silent.

It was a fine enough show in its way: three one-act plays were performed. Comic songs were sung between the acts. The leading man was tall, languid, and had a fine singing voice; the leading lady was elegant, and her voice carried through all the theater; the comedian had a fine touch for patter songs.

The first play was a broad comedy of mistaken identities: the leading man played a pair of identical twins who had never met, but had managed, by a set of comical misadventures, each to find himself engaged to be married to the same young lady—who, amusingly, thought herself engaged to only one man. Doors swung open and closed as the actor changed from identity to identity.

The second play was a heartbreaking tale of an orphan girl who starved in the snow selling hothouse violets—her grandmother recognized her at the last, and swore that she was the babe stolen ten years back by bandits, but it was too late, and the frozen little angel breathed her last. I must confess I found myself wiping my eyes with my linen handkerchief more than once.

The performance finished with a rousing historical narrative: the entire company played the men and women of a village on the shore of the ocean, seven hundred years before our modern times. They saw shapes rising from the sea, in the distance. The hero joyously proclaimed to the villagers that these were the Old Ones whose coming was foretold, returning to us from R’lyeh, and from dim Carcosa, and from the plains of Leng, where they had slept, or waited, or passed out the time of their death. The comedian opined that the other villagers had all been eating too many pies and drinking too much ale, and they were imagining the shapes. A portly gentleman playing a priest of the Roman God told the villagers that the shapes in the sea were monsters and demons, and must be destroyed.

At the climax, the hero beat the priest to death with his own crucifer, and prepared to welcome Them as They came. The heroine sang a haunting aria, whilst, in an astonishing display of magic-lantern trickery, it seemed as if we saw Their shadows cross the sky at the back of the stage: the Queen of Albion herself, and the Black One of Egypt (in shape almost like a man), followed by the Ancient Goat, Parent to a Thousand, Emperor of all China, and the Czar Unanswerable, and He Who Presides over the New World, and the White Lady of the Antarctic Fastness, and the others. And as each shadow crossed the stage, or appeared to, from out of every throat in the gallery came, unbidden, a mighty “Huzzah!” until the air itself seemed to vibrate. The moon rose in the painted sky, and then, at its height, in one final moment of theatrical magic, it turned from a pallid yellow, as it was in the old tales, to the comforting crimson of the moon that shines down upon us all today.

The members of the cast took their bows and their curtain calls to cheers and laughter, and the curtain fell for the last time, and the show was done.

“There,” said my friend. “What did you think?”

“Jolly, jolly good,” I told him, my hands sore from applauding.

“Stout fellow,” he said, with a smile. “Let us go backstage.”

We walked outside and into an alley beside the theater, to the stage door, where a thin woman with a wen on her cheek knitted busily. My friend showed her a visiting card, and she directed us into the building and up some steps to a small communal dressing room.

Oil lamps and candles guttered in front of smeared looking glasses, and men and women were taking off their makeup and costumes with no regard to the proprieties of gender. I averted my eyes. My friend seemed unperturbed. “Might I talk to Mr. Vernet?” he asked, loudly.

A young woman who had played the heroine’s best friend in the first play, and the saucy innkeeper’s daughter in the last, pointed us to the end of the room. “Sherry! Sherry Vernet!” she called.

The young man who stood up in response was lean; less conventionally handsome than he had seemed from the other side of the footlights. He peered at us quizzically. “I do not believe I have had the pleasure…?”

“My name is Henry Camberley,” said my friend, drawling his speech somewhat. “You may have heard of me.”

“I must confess that I have not had that privilege,” said Vernet.

My friend presented the actor with an engraved card.

The man looked at the card with unfeigned interest. “A theatrical promoter? From the New World? My, my. And this is…?” He smiled at me.

“This is a friend of mine, Mister Sebastian. He is not of the profession.”

I muttered something about having enjoyed the performance enormously, and shook hands with the actor.

My friend said, “Have you ever visited the New World?”

“I have not yet had that honor,” admitted Vernet, “although it has always been my dearest wish.”

“Well, my good man,” said my friend, with the easy informality of a New Worlder. “Maybe you’ll get your wish. That last play. I’ve never seen anything like it. Did you write it?”