The circumscribed space afforded the players by the
intrusion on the stage of the seats for the "quality" did not embarrass
her. The combined odours of oranges and candle snuff had their charm.
The house was full, but in the dim and smoky candlelight the faces of
the audience were little better than rows of shadowy masks. The pit
occupied the entire floor of the house right up to the orchestra. Here
the critics were to be found. The pit could make or mar the destiny of
plays, and the reputation of players. Dozens of regular playgoers knew
the traditions of the theatre better than many actors and actresses.
They were sticklers for the preservation of the stage "business" to
which they had been accustomed. They knew certain lines of their
favourite plays by heart, and how those lines ought to be delivered.
The curtain rose. Acasto, Monimia, Chamont mouthed their various parts,
and did exactly what was expected from them. Curiosity was excited only
when Serina, the daughter of Acasto, in love with Chamont, made her
appearance. Lavinia's winsome face, her eyes half tender, half alluring,
her pretty mouth with not an atom of ill nature in its curves, her
sympathetic voice, at once attracted the audience. It was a pity,
everyone felt, she had so little to say and do. Her few lines expressed
but one sentiment--her love for Chamont.
Lavinia played the part as if she felt it, which was indeed the fact,
for she was thinking of Lancelot Vane all the time.
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