There is Nothing like a Dame A novel by Bronwen Welsh Copyright© 2017 & 2018 Bronwen Welsh A sequel to 'The Might-Have-Been Girl' and 'All the World's a Stage'

Chapter 34   Another opening to another show.

The rest of Saturday, and also Sunday were very low-key days. Reggie was recovering rapidly, but I was determined that he should not drive back to York for a few more days at least. I asked him to stay on until after the opening night of 'Romeo and Juliet', and if he did so I would do my best to get him a ticket. I was so pleased when he agreed. There are some perks to being in the cast of a show; the booking office told me that the performance was sold out but promised to let me know if they had any returns, and thank goodness they came up with one. It's often much easier to come up with a single seat than a pair of them.

On Monday I returned to the theatre after telling Dale and Frank to call me if they were at all worried about Reggie. At the theatre I gave Hannah the 'official version' of Reggie's 'accident' and asked her to keep my mobile phone with her, turned to silent, just in case of an emergency. Towards the end of the week, Reggie visited a local GP for a check-up and was pronounced well on the road to recovery, which was a great relief to me. His bruises were still quite spectacular but gradually resolving.

During the first week of rehearsals, Hannah had informed us all that one of the television production companies was starting a project to make new recordings of all of Shakespeare's plays as presented onstage before a live audience. 'As opposed to a dead one?' I heard someone mutter quietly behind me. I kept a straight face.

Our company had been chosen for the current production of 'Romeo and Juliet' and might be selected for more of the plays since, along with the Globe Theatre in London, Shakespeare was our speciality.

“After discussions with the production company, we've decided that the best time to do the recording will be at one of the previews. A number of cameras will be set up in the auditorium so that a mixture of long shots, mid shots and close-ups can be recorded. We will sell the tickets at a big discount so that we can be sure of filling the theatre, and no-one can complain if there are any delays. However, the intention is to run the play through as if the cameras were not there,” said Hannah. She went on to inform us that we would receive a bonus in lieu of royalties for the recording and hoped that our agents would be in agreement.

There were to be three preview performances with reduced ticket prices so that any little kinks could be ironed out. The recording would take place during the second one, so on that morning when I arrived at the theatre, I saw that there were several large vans parked outside, with a number of thick cables snaking out of one, through the stage door and down to the auditorium. I sneaked a look and saw that technicians were setting up a number of cameras, one at the rear of the stalls, one part-way down each side aisle and a couple actually in the wings. I later saw that there were a few in the circle too. This was quite a production!

Before we had lunch, Hannah called us all together on the stage. There was a young man with her.

“Ladies and gentlemen, I'd like to introduce you to Brian Shakespeare, the producer from ABC Productions who will be working with me today.”

There was a murmur from the cast at the sound of his name of course.

“Good morning, ladies and gentlemen; I am so pleased to be here today. First things first, my wife who is very keen on genealogy has been doing her best to see if I am related to William, but so far without success. However, as you can imagine, it means that from a very early age I was interested in the Bard and it is now my privilege to be involved in this project to produce new recordings of all his plays. When we heard that you had such a stellar cast performing 'Romeo and Juliet'; Harriet Stow and Richard Jenkins in the name parts, Dame Emily Good as the 'Nurse' and Sir John McKenna as 'Friar Lawrence', well it was a no-brainer to approach ISC to participate and so here we are.

“Now some of you have considerable experience in film and television productions, but in this recording we want you to ignore the cameras and perform just as you would normally do for the audience. There might be a slightly longer pause between scenes if we need to reset any of the cameras, but we will only stop if there is a major glitch, in which case we may have to backpedal to a suitable place in the script to restart the recording.”

Having absorbed this information, we all went to our dressing rooms to check that everything was ready to transform ourselves into our characters, and then we dispersed for a light lunch.

Two hours later, we were all made up and in costume, ready for the start of the performance.

Richard decided to tease me by saying “Well, you heard what Brian said, how does it feel to be a star?”

“I think he meant that I was working with stars,” I replied, colouring slightly. I had heard what Brian said of course and was very flattered, but I determined to keep a cool head.

I always liked to stand in the wings at the start of a performance to absorb the atmosphere.
I should mention at this point that in recent years the main theatre in Stratford has undergone a major renovation with a large thrust stage installed. However, at the time of which I write, it was still a conventional theatre with all the action taking place on the stage behind a proscenium arch.

The curtain was down, but the buzz of the audience was clearly audible and to my ears, they sounded more excited than usual. Presumably, the presence of the cameras, and the thought that in some way they were taking part in the recording, had something to do with that. Brian was standing on the stage and then he stepped through the gap in the curtains to face the audience, and we heard the applause.

He introduced himself and there was the usual reaction. Then he told the audience that because of the video recording there was a little bit of 'housekeeping' before the performance started.

“You will recognise some famous faces in the cast, but we ask you not to applaud when they first appear. In fact we ask you to save all your applause until the final curtain of the play.”

This, I'm sure, was aimed at any Americans in the audience where it is common practice to applaud any well-known faces. He went on to mention that except in an emergency, nobody in the audience should stand up and leave the auditorium as this might result in the recording having to be paused if they passed in front of the main camera recording the action and this couldn't be worked around.

“Apart from that, please sit back and enjoy the performance as you normally would. If there are no questions, the performance will start in five minutes,” he concluded.

There were no questions, so he walked through the divide in the curtains again, and 'Chorus' took his position to start the play.

Everything went very well until Act Three Scene One in which Mercutio and Tybald fight a duel. Unfortunately, Mercutio dropped his rapier but quickly stooped and picked it up and they continued with the fight, just as would have happened in a normal performance. Unfortunately, Brian was not happy and called 'Cut' loudly from the wings. Everyone stopped, and Brian and Hannah appeared on the stage and conferred. I could tell from the look on Hannah's face that she wasn't happy. The discussion was about whether the action could be picked up part of the way through the scene, but it was finally decided that for the sake of continuity, the best thing was to start the scene again. This was announced to the audience and after a couple of minutes, so they had time to settle down, the action was started again. This time the scene proceeded faultlessly.

At the conclusion of the play, the applause was prolonged and genuine, concluding with a standing ovation. After the curtain came down for the final time, Brian came on stage and thanked us all for a 'magnificent performance' as he put it. He actually apologised for stopping the action in the fight scene, saying that our production was so good that he didn't want to spoil it by including an obvious error. It seemed Hannah had forgiven him as she was all smiles and kissed him on the cheek.

The production was broadcast and also sold on DVD and all the cast were given a complimentary copy. I still have mine, and from time to time enjoy watching a much younger version of myself acting as 'Juliet'.

At the start of the final week of rehearsals, I was thinking that the Thompsons and Rabinovichs must be arriving in England soon, but I'd heard nothing so far. Then on Tuesday, while at the theatre, I had a message to call Penny Lane. She informed me that both families were in Stratford, and Duncan Morgan had invited me, and also Reggie if he was in Stratford to join him for lunch with his guests on Friday. Normally, Reggie wouldn't have been in Stratford, but thanks to our little 'contretemps', he was still with me. I had bribed him with a ticket to the opening night of 'Romeo and Juliet' and a promise that I would drive with him back to York on Sunday, and then take the train back to Stratford. He thought it was too much for me, but I said that I could sleep on the train so it wasn't a problem.

The booking was at one of Stratford's best restaurants, and it was lovely to see the Thompsons and Rabinovichs again. I noticed that Miriam had her violin with her, and when she saw me looking at the case, she told me that even though she was sure that everyone in England was honest, she didn't want to let it out of her sight!

“England has its share of bad people too, so I think that's a wise move,” I said. “So are you playing for someone while you are here?”

“Yes, both Itzak and I have been to see some of Britain's top teachers in London.”

“Are you thinking of coming over to further your musical education?” I asked.

“It's possible,” replied Miriam. “They did say that we were quite talented.” She coloured slightly when she said that.

“My darling, you are being too modest; they said you were both very talented and should seriously consider careers as musicians,” said Mrs Rabinovich.

“We have to finish school first before we decide what we want to do,” said Itzak. “There are some good music teachers in the States too.”

“I'm sure there are,” I said diplomatically.

“We're really looking forward to seeing you perform on Saturday night,” said Mr Thompson, changing the subject.

I told them about the recording the previous day and both families said they must buy one.

“Of course nothing beats a live performance,” said Duncan.

“Have you had a look around Stratford?” I asked the visitors.

“Oh yes, we've seen Shakespeare's birthplace, the school he attended, visited his grave and the Knott garden at New Place. We also saw Anne Hathaway's cottage. I guess you could say we are typical tourists. What a pity that the minister who bought his house had it knocked down.”

“I believe he was annoyed by visitors wanting to see it. Anyway, it made him very unpopular and he had to leave the town in the end,” I replied.

I should mention that Reggie wasn't left out of the conversation. He was asked about his studies in York, and rather mischievously what it was like being married to a famous actress.

“I've known Harriet since we were children,” he replied. “So I knew what I was taking on when I married her.” That got a laugh of course, even from me. Altogether it was a very nice lunch.

We had one final preview performance on Friday evening, and then it was Saturday. Even though we had already performed at three previews, there is always something special about an opening night. It's almost always a sell-out and most of the audience get dressed up, especially those in the 'A Reserve' seats. There was also a special buzz in the dressing rooms when we learned that there was a member of the royal family and his wife in the 'Royal Box'.

I met Dame Emily after we emerged from our dressing rooms.

“You look lovely my dear, and so young!” she exclaimed. “Maybe not quite fourteen but still just a teenager.”

I laughed, trying to cover up my blush. “I don't think anyone who is really fourteen plays this part, they just wouldn't remember all the lines.”

Like me, Dame Emily liked to stand in the wings at the start of the play to absorb the atmosphere before going onstage. We would both first appear in Scene Three of the First Act. Young Harry Miles who played 'Chorus' was standing beside us, ready to go on and I could tell that he was nervous. It was a small rôle but an important one since it sets the scene for the whole play. I gave his arm a squeeze.

“Break a leg, Harry. I saw you at rehearsal, you'll do well,” I said, and Dame Emily gave him an encouraging smile.

We heard the murmur of the audience quieten and knew that the auditorium lights had dimmed. Hannah, who was standing in the wings opposite us nodded.

“Here goes,” said Harry as the curtain rose and he strode out onto the stage, bowed very low and began to speak:

“Two families both alike in dignity,
In fair Verona where we lay our scene...”

We were off and running.

Besides the Thompsons and Rabinovichs, sitting beside Duncan Morgan and his wife in the front row of the stalls, who I could clearly see from the reflected light off the stage, I knew that Dale and Frank were in the front row of the Circle, and Reggie, unfortunately, had to sit on his own towards the back of the stalls, the only seat I was able to get for him.

I've written previously about 'Romeo and Juliet', so won't bore you with any great detail about the performance except to say that it went very well. Just one thing I'd like to mention; close to the end of the play in the final scene in the Capulet mausoleum when I had the stage to myself except for the body of Romeo lying at my feet and spoke my final lines before stabbing myself with Romeo's dagger, there was total silence in the theatre as if fifteen hundred people were holding their breath. I hardly needed to speak above a whisper, and yet I knew my voice carried to the farthest seat. Then, at the moment of my stabbing, it seemed they all let out their breaths with a sigh. It was a magical moment.

Two minor players drew a white net curtain across the stage in front of us before the other cast members appeared to conclude the play. Richard and I had to keep quite still until the last speech from the Prince:

'A glooming peace this morning with it brings;
The sun, for sorrow, will not show his head:
Go hence, to have more talk of these sad things;
Some shall be pardon'd, and some punished:
For never was a story of more woe
Than this of Juliet and her Romeo.'

The curtain came down and the applause burst out like an explosion. We quickly arranged ourselves for the curtain calls. The curtain rose and the cast appeared in order from the wings, the minor parts first and then Sir John McKenna, followed by Dame Emily Good, and finally Richard and I, appearing from opposite sides of the stage and joining hands to advance to the front of the stage. The audience was now on its feet and not just clapping but cheering as well. We bowed and curtseyed to the audience and then turning to each other, Richard bowed and I curtseyed. Then we joined hands with the other major cast members and bowed again as the audience continued to cheer. The curtain fell and rose again about six times until the stagehands, sensing that the applause was starting to wane left the curtain down, the house lights come up and the audience started to make their way out of the theatre.

We had already been told that the Duke and Duchess would be coming down from the royal box to the stage for a 'meet and greet'. I had to hurry down to my dressing room to change out of my blood-stained gown into something more seemly to greet our guests. The dresser was waiting for me and I quickly changed and arrived back onstage just in time.

The royal couple came on stage right and started to make their way along the lined-up cast. When the Duke reached Richard who was standing to my right, he congratulated him on a fine performance and Richard, bless him, said that it helped to have such a talented co-star.

Then it was my turn. Hannah introduced me and I took his offered hand and made a small curtsey, saying “Your Grace.”

“A wonderful performance Miss Stow, most affecting. I hope to have the pleasure of seeing you perform again soon,” he said.

“Thank you, sir,” was my response and then he passed on to Dame Emily on my right, whom he had obviously met many times before.

Then it was my turn with the Duchess and another handshake and curtsey.

“That was a wonderful performance, my dear. I confess I was close to tears at the end.”

“Thank you, Your Grace,” I replied and thought that was it, but her husband was still chatting with Dame Emily, and now she had a question for me.

" How do you remember all those lines?” she said.

“I've been blessed with a good memory, ma'am,” I replied.

“Well, you certainly make excellent use of it. I've seen 'Romeo and Juliet' many times, but this performance will live long in my memory.”

“Thank you ma'am,” I said, and now Dame Emily was free, so the Duchess moved on.

I should mention that there was a photographer taking pictures of each cast member as they met the Duke and Duchess, so in due course I obtained two pictures to add to my scrapbooks, still being dutifully kept by Emma. I confess I worried sometimes that she might not enjoy this task as it could remind her of the career that she had put on hold to raise a family, but she assured me that she enjoyed doing it. I counted myself very lucky to have such a wonderful sister.

The night was not yet over. Duncan Morgan was holding a small reception for the Thompsons and Rabinovichs in one of the rehearsal rooms behind the stage. He had invited Richard, Dame Emily and Sir John along to meet them, and also Reggie as a courtesy to me. It was something of a tradition for me to have supper with Frank and Dale after a first night, so with some trepidation I asked if they might be invited too. I was relieved that Duncan said they would be most welcome. It wasn't that he was a difficult man to get on with, but it was his party and I wasn't sure if he would mind two extra guests.

In fact, Frank and Dale fitted in very well. Frank, in particular, had a long conversation with Dame Emily and Sir John and told me later that they were such nice people and not in the least - well I hesitate to use the common vulgar expression, so let's just say, not in love with themselves but quite humble about their talent.

Everyone was most complimentary about all our performances. One of the difficult things about acting in a play where everybody in the audience knows what is coming is making them feel emotional as the action unfolds, and truly the final scenes of the play are filled with tragedy. It seemed we had achieved what we set out to do because Dame Emily, followed by the Thompsons and Rabinovichs, embraced Richard and me telling us that it was the best performance of 'Romeo and Juliet' that they had ever seen, and coming from Dame Emily especially, that was some compliment.

Miriam later said to me: “I cried at the end, I couldn't help it. I know it's silly, but It was so sad and I suppose I related to 'Juliet' because she was about my age.”

I smiled at her: "It's not silly at all. Shakespeare was such a great playwright that what he wrote resonates with people nearly four hundred years later."

The room had a piano in the corner, and when Duncan saw Miriam clutching her violin case, he naturally asked if as a special favour, she and Itzak would play something for us. They played a movement of a Beethoven sonata for violin and piano to general acclaim and while I am not an expert, I thought their playing was even better than when I last heard them in America. Miriam later confided to me that they had been playing the violin and piano version of 'The Lark Ascending'. I would love to have heard it but it was too long for an impromptu performance, so they promised to send me a recording as a consolation prize.

It was late when Dale, Frank, Reggie and I returned to the flat and we slept in the next morning before Reggie and I drove back to York. It had been lovely to sleep with him for a week, even if it only happened because of our little drama. I was able to stay the night and make sure that he was settled in with some home cooking to sustain him, and then I took the early Monday morning train back to Stratford.

To be continued.

Many thanks once again to Louise Ann and Julia Phillips for spotting my 'typos', thus allowing me to correct them before publishing.