“Are you going to try and smash up the show?” I said sternly.
“Me!” said Steggles. “Why, what could I do? Half a minute, I want to go and speak to a man.”
He buzzed off, leaving me distinctly disturbed. I could see from the fellow’s eye that he was meditating some of his customary rough stuff, and I thought Bingo ought to be warned. But there wasn’t time and I couldn’t get at him. Almost immediately after Steggles had left me the curtain went up.
Except as a prompter, Bingo wasn’t much in evidence in the early part of the performance. The thing at the outset was merely one of those weird dramas which you dig out of books published around Christmas time and entitled Twelve Little Plays for the Tots, or something like that. The kids drooled on in the usual manner, the booming voice of Bingo ringing out from time to time behind the scenes when the fatheads forgot their lines; and the audience was settling down into the sort of torpor usual on these occasions, when the first of Bingo’s interpolated bits occurred. It was that number which What’s-her-name sings in that revue at the Palace—you would recognise the tune if I hummed it, but I can never get hold of the dashed thing. It always got three encores at the Palace, and it went well now, even with a squeaky-voiced child jumping on and off the key like a chamois of the Alps leaping from crag to crag. Even the Tough Eggs liked it. At the end of the second refrain the entire house was shouting for an encore, and the kid with the voice like a slate-pencil took a deep breath and started to let it go once more.
At this point all the lights went out.
I don’t know when I’ve had anything so sudden and devastating happen to me before. They didn’t flicker. They just went out. The hall was in complete darkness.
Well, of course, that sort of broke the spell, as you might put it. People started to shout directions, and the Tough Eggs stamped their feet and settled down for a pleasant time. And, of course, young Bingo had to make an ass of himself. His voice suddenly shot at us out of the darkness.
“Ladies and gentlemen, something has gone wrong with the lights—”
The Tough Eggs were tickled by this bit of information straight from the stable. They took it up as a sort of battle-cry. Then, after about five minutes, the lights went up again, and the show was resumed.
It took ten minutes after that to get the audience back into its state of coma, but eventually they began to settle down, and everything was going nicely when a small boy with a face like a turbot edged out in front of the curtain, which had been lowered after a pretty painful scene about a wishing-ring or a fairy’s curse or something of that sort, and started to sing that song of George Thingummy’s out of Cuddle Up. You know the one I mean. “Always Listen to Mother, Girls!” it’s called, and he gets the audience to join in and sing the refrain. Quite a ripeish ballad, and one which I myself have frequently sung in my bath with not a little vim; but by no means—as anyone but a perfect sapheaded prune like young Bingo would have known—by no means the sort of thing for a children’s Christmas entertainment in the old village hall. Right from the start of the first refrain the bulk of the audience had begun to stiffen in their seats and fan themselves, and the Burgess girl at the piano was accompanying in a stunned, mechanical sort of way, while the curate at her side averted his gaze in a pained manner. The Tough Eggs, however, were all for it.
At the end of the second refrain the kid stopped and began to sidle towards the wings. Upon which the following brief duologue took place:
Young Bingo (Voice heard off, ringing against the rafters): “Go on!”
The Kid (coyly): “I don’t like to.”
Young Bingo (still louder): “Go on, you little blighter, or I’ll slay you!”
I suppose the kid thought it over swiftly and realised that Bingo, being in a position to get at him, had better be conciliated, whatever the harvest might be; for he shuffled down to the front and, having shut his eyes and giggled hysterically, said: “Ladies and gentlemen, I will now call upon Squire Tressidder to oblige by singing the refrain!”
You know, with the most charitable feelings towards him, there are moments when you can’t help thinking that young Bingo ought to be in some sort of a home. I suppose, poor fish, he had pictured this as the big punch of the evening. He had imagined, I take it, that the Squire would spring jovially to his feet, rip the song off his chest, and all would be gaiety and mirth. Well, what happened was simply that old Tressidder—and, mark you, I’m not blaming him—just sat where he was, swelling and turning a brighter purple every second. The lower middle classes remained in frozen silence, waiting for the roof to fall. The only section of the audience that really seemed to enjoy the idea was the Tough Eggs, who yelled with enthusiasm. It was jam for the Tough Eggs.
And then the lights went out again.
When they went up, some minutes later, they disclosed the Squire marching stiffly out at the head of his family, fed up to the eyebrows; the Burgess girl at the piano with a pale, set look; and the curate gazing at her with something in his expression that seemed to suggest that, although all this was no doubt deplorable, he had spotted the silver lining.
The show went on once more. There were great chunks of Plays-for-the-Tots dialogue, and then the girl at the piano struck up the prelude to that Orange-Girl number that’s
