To Room Nineteen (62 page)

‘But I wouldn’t mind a smile,’ he said, and smiled at her to show the kind of smile.

This cast did laugh a lot. Laughter kept breaking out during the duet, which of course was being spoken, not sung. Henry asked them to cool it, and at once they sobered, the impassioned words being exchanged without emotion, producing an effect of hopeless despair. So sudden was the change that there was a sigh, the long slowly released breath that means surprise, even shock.

‘Right,’ said Henry. ‘That’s it. We’ll have to wait for the music.’

They were already a group, a family, partly because of their real interest in this piece, partly because of the infectious energies of Henry. Already they were inside the feeling of conspiracy, faint but unmistakable, the we-against-the-world born out of the vulnerability of actors in the face of criticism so often arbitrary, or lazy, or ignorant, or spiteful – against the world outside, which was
them
and not
we
, the world which they would conquer. They already believed they would conquer. It was because of
Julie Vairon’s
special atmosphere.

How easily, how recklessly we join this group or that, religious, political, theatrical, intellectual – any kind of group: that most potent of witches’ brews, charged with the possibilities for harm and for good, but most often for illusion. Sarah was not exactly a stranger to the fumy atmospheres the theatre creates, but usually she was in and out of rehearsals, doing this job and that, and she had not before written a whole play, based on journals and music she had
soaked herself in for months, then been in on the casting, then committed herself to what would be two months, more, of day-by-day involvement with rehearsals. She would not this time be flitting off to other productions, other rehearsals. She would be part
of Julie Vairon
, day and night, indefinitely.

Meanwhile minor annoyances were being absorbed into a general effervescence, which was surely pretty unusual so early in a production. Having to wait for the music was testing them all. This was not the most comfortable of rehearsal places. It was too big, and their voices echoed in it: there was no way of judging how they should be pitched and used. Even with the sun blazing down outside, the old hall was dismal, and a shaft of light striking down from a high window showed up the dust in the air, like a column of water full of algae, or like bits of mica.

‘Solid enough to climb up,’ said Henry, actually making a pantomime of climbing up, defusing possible complaints with a laugh. And they all laughed again at the unexpected effect when the column of light, moving as the earth turned, reached the actors at exactly that moment when Paul and Julie stole away from Maman’s house on a dark night, though she was not deceived, and knew they were going, while the bright column pointed at them like the finger of God.

After the read-through Sarah and Stephen were going off to lunch with Henry Bisley, for they had to know one another better, but as they stood at the exit into the outside world, Paul the handsome lieutenant, or rather Bill Collins, was there with them, though he had not been invited. They climbed the stairs together, and when they went to the little local restaurant, Bill was the fourth. In the restaurant, the rest of the cast sat at one table, but Bill was at theirs. Sarah did not take much notice of him, because of getting to know Henry. This was going to be a satisfactory director, she was thinking, and could feel Stephen thinking too. He was sharp, competent, knew the material inside out, and, as a bonus, was very funny. Anywhere near him, people laughed. Sarah was laughing, and Stephen too, though when he did, it sounded as if he was surprised at himself for doing it. Halfway
through the meal, Stephen left them. Elizabeth was preparing another recital of Tudor music, but this time with dancing, modern dancing, athletic and vigorous. Apparently it ‘worked’, though one could tell he did not much care for the combination. He said to Sarah, ‘You see, it’s my part of the bargain. She would never say anything if I was not there, but if I didn’t turn up, she’d feel let down. And rightly.’ He did not want to go. She did not want him to go. She was surprised at the strength of the pang she felt. Henry was called over to the other table: Andrew Stead wanted advice. That left her and Bill. He was eating heartily – Henry had eaten a little salad; Stephen had left most of his food. She thought that this is how a very young man ate, even a schoolboy – or a young wolf. Well, he was very young. Twenty-six, and she guessed much younger than that in himself. All those winning smiles and sympathetic glances – he kept them up although, clearly, he was famished and that was his first consideration. Behind her she heard laughter at the other table, and turned her head to listen. Bill at once saw this and said, ‘I simply have to tell you, Sarah, what it means to me, getting this part – I mean, a real part. I’m afraid I’ve had to take quite a few parts that – well, we have to eat, don’t we?’

Laughter again. Mary was telling a tale which concerned Sonia, and it ended: ‘Two knives, on his seat.’ ‘Knives?’ said Richard. ‘Surgical knives,’ said Mary. The laughter was now loud, and nervous, and Richard said, ‘You can’t expect a man to laugh at that,’ and laughed. ‘All the same…serves the little creep right.’

‘Sarah,’ said Bill, leaning forward to claim her, his beautiful eyes on her eyes. ‘I do feel so at home with you. I felt that so much, at the casting session, but now…’ She smiled at him and said, ‘But I have to go.’ He was genuinely disconcerted, rejected. Like a small boy. Sarah went past the other table, smiling generally and said to Mary, who was about to return to the theatre, ‘Ring me tonight?’

Bill was already settling himself beside Mary. Sarah paid her bill and looked back. Bill sat straight up, head slightly back. He looked like an arrogantly sulky adolescent,
touch
me not
at war with
oh yes, please.
Henry was reaching out with a pencil in his hand to mark a passage in Richard’s script. He was looking over it at her, eyes sombre.

That evening she sat thinking about brother Hal, because of her feelings about Stephen. There were no new thoughts in her head. Hal had been her mother’s favourite, she had always known and accepted that. Or at least she could not remember ever having not accepted it. He was the much wanted and loved boy, and she had taken second place from the moment he was born. Well, unfair preferences are hardly unusual in families. She had never liked Hal, let alone loved him. And now, for the first time, she was understanding how much she had missed in her life. Instead of something like a black hole – all right, then, a grey hole – there would have been all her life…what? A warmth, a sweetness. Instead of always having to brace herself when she had to meet Hal, she could have smiled, as she did when thinking of Stephen. She knew she did, for she had caught the smile on her face.

Late that night Mary rang. First she said her mother was in a bad patch, with a leg that was paralysed, perhaps temporarily. One had to expect this kind of thing with multiple sclerosis. She was going to have to pay someone to come in twice a day when she, Mary, was working so intensively. She did not say this was going to be financially difficult. Sarah did not say that extra money would be found. All their salaries were due to go up: the four had always accepted less than they could have claimed. But now, with
Julie Vairon
, there was suddenly much more money…if none of this was said, it was understood.

Then Mary told Sarah about Sonia and the knives.

From time to time, in London, some young man desiring to attract attention announces that Shakespeare had no talent. This guarantees a few weeks of indignation. (Usually it is the perpetrator who has no talent – but Bernard Shaw, who had, made this particular way of shocking the bourgeoisie permissible.) Shakespeare had been announced as having no talent quite recently, and a new ploy was needed. What better
than to say, in a country with a genius for the theatre, that theatre itself is stupid and unnecessary? A certain young man who had created for himself and his cronies a style of sneering attack on nearly everything not themselves, had become editor of a well-known periodical. A schoolfriend, Roger Stent, meeting his suddenly well-known chum, asked if there was a job for him on
New Talents.
‘Do you like theatre?’ ‘I don’t know anything about it.’ ‘Perfect,’ cried this editor. ‘Just what I want. I want someone who is not part of that old gang.’ (Newcomers to a literary scene always imagine cabals, gangs, and cliques.) Roger Stent went on his first visit to the theatre, the National, and in fact rather enjoyed himself. His review would have been favourable, but he put in some criticisms. The editor said he was disappointed. ‘Really my ideal theatre critic would be someone who loathed the theatre.’ ‘Let me have another try,’ said Roger Stent. His reviews became notorious for their vindictiveness – but this was the style of this new addition, the Young Turks, to the literary scene in the early eighties. He perfected a sneering, almost lazy contempt for everything he reviewed.

Abélard and Héloïse
had opened, and his review began, ‘This is a turgid piece about a sex-crazed nun and her life-long pursuit of a Paris savant. Not content with being the cause of his castration, she felt no shame about boring him with wittering letters about her emotions…’

The policy of The Green Bird was to rise above unpleasant or even malicious reviews, but Sonia said, ‘Why? I’m not going to let him get away with it.’ She wrote a letter to him, with a copy to the editor, beginning, ‘You ignorant and illiterate little shit, if you ever come anywhere near The Green Bird again, you’d better watch it.’

He wrote her a graceful, almost languid letter, saying that perhaps he had been mistaken and he was ready to see the piece again and he ‘trusted there would be a ticket for him at the box office’ on such and such a night. This last bit of impertinence was very much in the style of this latent incarnation of Young Turks.

She left a message that there would be a ticket for him, as
requested. When he reached his seat, he found two surgical knives lying crossed on it. They were so sharp that he cut his fingers picking them up and had to leave the theatre, bleeding profusely. Sonia supplied full details to a gossip columnist.

Sarah laughed and said she hoped this was not how Sonia was going to react to every unfavourable review.

Mary, laughing, said that Sonia had explained that bullies only understand the boot. ‘The new brutalism, that’s what she says it is. She says we lot are all living in a dream world.’

‘She said, “you lot”?’

‘Well, she did say “we” the other day.’

‘So she did. We must hope.’

At rehearsals that week she missed Stephen, but she rang him or he rang her to find out how they were going. Meanwhile she sat by Henry, or rather by his chair while he was working with the actors. If Henry did actually arrive back to sit down for a moment, he was off again after whispering a word or two, usually a joke. This was becoming their style: they jested. Yet he felt threatened. For he must: she could see herself, that watchful (that maternal) presence, making notes. And she was still at work on the lyrics, if that was the word for them, for often the actors said something, improvised, suggested changes. She was needed here: she had to reassure herself because she knew how very much she did not want to leave. Julie had her in thrall. A sweet insidious deceptiveness seemed now to be the air she breathed, and if it was a poison, she did not care.

The actors all came to sit by her, in Henry’s empty chair, or in Stephen’s, but she soon saw that Bill was there oftener than any of them. This gift of his for establishing instant intimacy – she felt she had known the young man for years. But she was not the only one being offered his charm. He seemed to be making a gift of himself to everyone. During
this first week, which was devoted to the first act, the handsome lieutenant Paul had to dominate: he was in nearly every scene. And his part was so sympathetic, for he was so innocently as well as so madly in love with Julie. From the moment he first saw Julie standing by her harp, he was in a fever, not only of love, but the intoxication of the discovery of his own tenderness. The apprentice loves of young men tend to be brutal. He was truly convinced of their happiness once they reached France, and did not know it was an idyll possible only in Martinique, in this artificial and romantic setting, with its outsize butterflies, its brilliant birds, its languorous flowers and insinuating breezes. He forgot that it had been not his but Julie’s idea to run away, taking their idyll with them. The young man simply shone with the confidence of love, its triumphs, its discoveries, and this was not only during Paul’s scenes with Molly, where the two were entirely professional, making the jokes about their passion necessary to defuse those stormy love scenes. And yet, more than once, Sarah had caught him glancing at herself while he was making love to Molly, a quick hard calculating look from a world far from the simplicities of sympathy they enjoyed when he sat chatting in a chair beside her. He wanted to know if she was affected by him. Well, she was. But so was everybody else. Sally, that handsome black lady, who always wore an air of sceptical worldly wisdom and a sweet derisive worldly smile, a woman who commanded attention even when she sat knitting in a chair offstage (not one to waste time, she knitted not only for her family but for sale to a certain very expensive shop) – Sally watched Bill Collins with exactly the same fatalistic short laugh and shrug that, as Julie’s mother, she allowed herself when first observing her daughter’s passion for Paul. She and Sarah exchanged glances of female appreciation for the young man, but they were critical too, because he was so conscious of his looks and so skilled at using them. Well, good luck to him, those looks said. The other females present were the same. Mary Ford and Molly (as Molly) caught each other’s eyes and grimaced: no, he is really altogether too much.

Harriet and David met each other at an office party neither had particularly wanted to go to, and both knew at once that this was what they had been waiting for. Someone conservative, old-fashioned, not to say obsolescent; timid, hard to please: this is what other people called them, but there was no end to the unaffectionate adjectives they earned. They defended a stubbornly held view of themselves, which was that they were ordinary and in the right of it, should not be criticized for emotional fastidiousness, abstemiousness, just because these were unfashionable qualities.

At this famous office party, about two hundred people crammed into a long, ornate, and solemn room, for three hundred and thirty-four days of the year a boardroom. Three associated firms, all to do with putting up buildings, were having their end-of-year party. It was noisy. The pounding rhythm of a small band shook walls and floor. Most people were dancing, packed close because of lack of space, couples bobbing up and down or revolving in one spot as if they were on invisible turntables. The women were dressed up, dramatic, bizarre, full of colour:
Look at me! Look at me!
Some of the men demanded as much attention. Around the walls were pressed a few non-dancers, and among these were Harriet and David, standing by themselves, holding glasses – observers. Both had reflected that the faces of the dancers, women more than men, but men, too, could just as well have been distorted in screams and grimaces of pain as in enjoyment. There was a forced hecticity to the scene…but these thoughts, like so many others, they had not expected to share with anyone else.

From across the room – if one saw her at all among so many eye-demanding people – Harriet was a pastel blur. As in an Impressionist picture, or a trick photograph, she seemed a girl merged with her surroundings. She stood near a great vase of dried grasses and leaves and her dress was something flowery. The focusing eye then saw curly dark hair, which was unfashionable…blue eyes, soft but thoughtful…lips rather too firmly closed. In fact, all her features were strong and good, and she was solidly built. A healthy young woman, but perhaps more at home in a garden?

David had been standing just where he was for an hour drinking judiciously, his serious grey-blue eyes taking their time over this person, that couple, watching how people engaged and separated, ricocheting off each other. To Harriet he did not have the look of someone solidly planted: he seemed almost to hover, balancing on the balls of his feet. A slight young man – he looked younger than he was – he had a round, candid face and soft brown hair girls longed to run their fingers through, but then that contemplative gaze of his made itself felt and they desisted. He made them feel uncomfortable. Not Harriet. She knew his look of watchful apartness mirrored her own. She judged his humorous air to be an effort. He was making similar mental comments about her: she seemed to dislike these occasions as much as he did. Both had found out who the other was. Harriet was in the sales department of a firm that designed and supplied building materials; David was an architect.

So what was it about these two that made them freaks and oddballs? It was their attitude to sex! This was the sixties! David had had one long and difficult affair with a girl he was reluctantly in love with: she was what he did
not
want in a girl. They joked about the attraction between opposites. She joked that he thought of reforming her: ‘I do believe
you
imagine you are going to put the clock back, starting with me!’ Since they had parted, unhappily enough, she had slept – so David reckoned – with everyone in Sissons Blend & Co. With the girls, too, he wouldn’t be surprised. She was here tonight, in a scarlet dress with black lace, a witty travesty of a flamenco dress. From this concoction her head startingly emerged. It was pure nineteen-twenties, for her black hair was sleeked down into a spike on her neck at the back, with two glossy black spikes over her ears, and a black lock on her forehead. She sent frantic waves and kisses to David from across the room where she circled with her partner, and he smiled matily back: no hard feelings. As for Harriet, she was a virgin. ‘A virgin
now,’
her girl friends might shriek; ‘are you crazy?’ She had not thought of herself as a virgin, if this meant a physiological condition to be defended, but rather as something like a present wrapped up in layers of deliciously pretty paper, to be given, with discretion, to the right person. Her own sisters laughed at her. The girls working in the office looked studiedly humorous when she insisted, ‘I am sorry, I don’t like all this sleeping around, it’s not for me.’ She knew she was discussed as an always interesting subject, and usually unkindly. With the same chilly contempt that good women of her grandmother’s generation might have used, saying, ‘She is quite immoral you know,’ or, ‘She’s no better than she ought to be,’ or, ‘She hasn’t got a moral to her name’; then (her mother’s generation), ‘She’s man-mad,’ or, ‘She’s a nympho’ – so did the enlightened girls of now say to each other, ‘It must be something in her childhood that’s made her like this. Poor thing.’

And indeed she had sometimes felt herself unfortunate or deficient in some way, because the men with whom she went out for a meal or to the cinema would take her refusal as much as evidence of a pathological outlook as an ungenerous one. She had gone about with a girl friend, younger than the others, for a time, but then this one had become ‘like all the others’, as Harriet despairingly defined her, defining herself as a misfit. She spent many evenings alone, and went home often at weekends to her mother. Who said, ‘Well, you’re old-fashioned, that’s all. And a lot of girls would like to be, if they got the chance.’

These two eccentrics, Harriet and David, set off from their respective corners towards each other at the same moment: this was to be important to them as the famous office party became part of their story. ‘Yes, at exactly the same time…’ They had to push past people already squeezed against walls; they held their glasses high above their heads to keep them out of the way of the dancers. And so they arrived together at last, smiling – but perhaps a trifle anxiously – and he took her hand and they squeezed their way out of this room into the next, which had the buffet and was as full of noisy people, and through that into a corridor, sparsely populated with embracing couples, and then pushed open the first door whose handle yielded to them. It was an office that had a desk and hard chairs, and, as well, a sofa. Silence…well, almost. They sighed. They set down their glasses. They sat facing each other, so they might look as much as they wished, and then began to talk. They talked as if talk were what had been denied to them both, as if they were starving for talk. And they went on sitting there, close, talking, until the noise began to lessen in the rooms across the corridor, and then they went quietly out and to his flat, which was near. There they lay on his bed holding hands and talked, and sometimes kissed, and then slept. Almost at once she moved into his flat, for she had been able to afford only a room in a big communal flat. They had already decided to marry in the spring. Why wait? They were made for each other.

Harriet was the oldest of three daughters. It was not until she left home, at eighteen, that she knew how much she owed to her childhood, for many of her friends had divorced parents, led adventitious and haphazard lives, and tended to be, as it is put, disturbed. Harriet was not disturbed, and had always known what she wanted. She had done well enough at school, and went to an arts college where she became a graphic designer, which seemed an agreeable way of spending her time until she married. The question whether to be, or not to be, a career woman had never bothered her, though she was prepared to discuss it: she did not like to appear more eccentric than she had to be. Her mother was a contented woman who had everything she could reasonably want; so it appeared to her and to her daughters. Harriet’s parents had taken it for granted that family life was the basis for a happy one.

David’s background was a quite different matter. His parents had divorced when he was seven. He joked, far too often, that he had two sets of parents: he had been one of the children with a room in two homes, and everybody considerate about psychological problems. There had been no nastiness or spite, if plenty of discomfort, even unhappiness – that is, for the children. His mother’s second husband, David’s other father, was an academic, an historian, and there was a large shabby house in Oxford. David liked this man, Frederick Burke, who was kind, if remote, like his mother, who was kind and remote. His room in this house had been his home – was, in his imagination, his real home now, though soon, with Harriet, he would create another, an extension and amplification of it. This home of his was a large bedroom at the back of the house overlooking a neglected garden; a shabby room, full of his boyhood, and rather chilly, in the English manner. His real father married one of his kind: she was a noisy, kind, competent woman, with the cynical good humour of the rich. James Lovatt was a boat builder, and when David did consent to visit, his place could easily be a bunk on a yacht, or a room (‘This is
your
room, David!’) in a villa in the South of France or the West Indies. But he preferred his old room in Oxford. He had grown up with a fierce private demand on his future: for his own children it would all be different. He knew what he wanted, and the kind of woman he needed. If Harriet had seen her future in the old way, that a man would hand her the keys of her kingdom, and there she would find everything her nature demanded, and this as her birthright, which she had – at first unknowingly, but then very determinedly – been travelling towards, refusing all muddles and dramas, then he saw his future as something he must aim for and protect. His wife must be like him in this: that she knew where happiness lay and how to keep it. He was thirty when he met Harriet, and he had been working in the dogged disciplined manner of an ambitious man: but what he was working for was a home.

Not possible to find the kind of house they wanted, for the life they wanted, in London. Anyway, they were not sure London was what they needed – no, it wasn’t, they would prefer a smallish town with an atmosphere of its own. Weekends were spent looking around towns within commuting distance of London, and they soon found a large Victorian house in an overgrown garden. Perfect! But for a young couple it was absurd, a three-storeyed house, with an attic, full of rooms, corridors, landings…Full of space for children, in fact.

But they meant to have a lot of children. Both, somewhat defiantly, because of the enormity of their demands on the future, announced they ‘would not mind’ a lot of children. ‘Even four, or five…’ ‘Or six,’ said David. ‘Or six!’ said Harriet, laughing to the point of tears from relief. They had laughed and rolled about the bed and kissed and were exuberant because this, the place where both had expected and even been prepared to accept rebuff or a compromise, had turned out to be no danger at all. But while Harriet could say to David, David to Harriet, ‘Six children at least,’ they could not say this to anyone else. Even with David’s quite decent salary, and Harriet’s, the mortgage of this house would be beyond them. But they would manage somehow. She would work for two years, commute with David daily to London, and then…

On the afternoon the house became theirs, they stood hand in hand in the little porch, birds singing all around them in the garden where boughs were still black and glistening with the chilly rain of early spring. They unlocked their front door, their hearts thudding with happiness, and stood in a very large room, facing capacious stairs. Some previous owner had seen a home as they did. Walls had been pulled down to make this a room that accommodated nearly all the ground floor. One half of it was a kitchen, marked off from the rest by no more than a low wall that would have books on it, the other half with plenty of space for settees, chairs, all the sprawl and comfort of a family room. They went gently, softly, hardly breathing, smiling and looking at each other and smiling even more because both had tears in their eyes – they went across the bare boards that soon would have rugs on them, and then slowly up the stairs where old-fashioned brass rods waited for a carpet. On the landing, they turned to marvel at the great room that would be the heart of their kingdom. They went on up. The first floor had one large bedroom – theirs; and opening off it a smallish room, which would be for each new baby. There were four other decent rooms on this floor. Up still generous but narrower stairs, and there were four more rooms whose windows, like the rooms below, showed trees, gardens, lawns – all the perspectives of pleasant suburbia. And above this floor was an enormous attic, just right for the children when they had got to the age for secret magical games.

They slowly descended the stairs, one flight, two, passing rooms, and rooms, which they were imagining full of children, relatives, guests, and came again into their bedroom. A large bed had been left in it. It had been specially made, that bed, for the couple they had bought the house from. To take it away, so said the agent, would have meant dismantling it, and anyway the owners of the bed were going to live abroad. There Harriet and David lay down side by side, and looked at their room. They were quiet, awed by what they were taking on. Shadows from a lilac tree, a wet sun behind it, seemed to be enticingly sketching on the expanses of the ceiling the years they would live in this house. They turned their heads towards the windows where the top of the lilac showed its vigorous buds, soon to burst into flower. Then they looked at each other. Tears ran down their cheeks. They made love, there, on their bed. Harriet almost cried out, ‘No, stop! What are we doing?’ For had they not decided to put off having children for two years? But she was overwhelmed by his purpose–yes, that was it, he was making love with a deliberate, concentrated intensity, looking into her eyes, that made her accept him, his taking possession of the future in her. She did not have contraceptives with her. (Both of course distrusted the Pill.) She was at the height of her fertility. But they made love, with this solemn deliberation. Once. Twice. Later, when the room was dark, they made love again.