“Why yes,” said Glisselrand, and her voice held all the charm and delight that only an actor can know when remembered after twenty years. “What play was it that we did?”
“The Master Poet,” said the woman, whom Feltheryn now took to be Gilla, Lalo’s wife. “It was so personal, at that time, for your situation was much like my own. When I came away I felt as if my whole outlook on life had changed. People looked so different! I felt so differently!”
Feltheryn smiled to himself. Yes, the plays worked their magic in strange and subtle ways. And that play was a comedy of love, a comedy of love between the generations. But even then he had chosen to play the older man, the lovable shoemaker who could have the young girl, but who chose wisely to let her love the younger man, the man of her own generation.
“I am so pleased that you remember my performance,” said Glisselrand, and Feltheryn knew that it was true. He tried to hark back in his mind to that distant day, to remember some trace that would lead him down the path to a sensual recall of time and place, but it was hopeless. He had done The Master Poet so many times that one performance blended into another. The sunlight falling on flowers that his mental search prompted could have been in any of a hundred small towns. The play was too universal to attach itself to time and place. Only the first time he had done it was clear in his memory, and then he had not played the older man, but Dainis, the apprentice who danced and fought . , .
The King recalled him to the page and Glisselrand and Lalo and Gilla faded into the paint of the periactois like soft music played behind the potted palms in the Emperor’s palace. His hand shot out into the air, retreated, his lips moved, and anyone watching might have thought him in the grip of some seizure as he moved in slight indications of the broad gestures he would use upon the stage.
It was much later when he came to the realization that he was eating his supper, not his breakfast, and that he had been absorbed for the whole of the day. He carefully set the script aside, finished the boiled turnip with butter that was the last of the food on his plate, and washed it down with the watered wine that Glisselrand had provided. He was not up to the full strength stuff anymore. Then he stood and stretched his very tall frame, forcing air back into the stagnant blood. It was,, he considered, time to visit the Vulgar Unicorn.
Snegelringe and Rounsnouf were already there, drinking at a table in the company of a handsome young man with shoulder-length glossy black hair, a man dressed far too fine for the likes of this low dive, Feltheryn observed as he entered unobtrusively and looked over the place.
And yet, low though the dive was, it was not without merit. He thought of the many taverns he had entered over the years and the general lack of lustre they displayed, and he decided that perhaps Rounsnouf was right, the place was a treasure house. There was a certain dark color that crackled with hidden decisions, a subdued excitement that spoke of desperation. He spied out the barkeep and headed across the room, then dodged deftly as a scrawny, heavy-lidded man who feigned sleep at one of the tables tried to trip him without seeming to.
“It would seem that Hakiem does not like you,” the big man behind the bar said.
Feltheryn had assumed his dodge deft enough that nobody would notice the interchange, but that was clearly not the case. The eyes of thieves, he reminded himself, were trained in much the same techniques as those of actors, to see and learn what was not always apparent.
“Now why should that be?” he asked, drawing out a small coin and putting in down.
“He views you as competition, King of Players,” said the barkeep. “He is a storyteller in the streets. What will you drink?”
“Half water, half wine,” said Feltheryn. “That is foolish of him, for he will be able to tell a thousand tales to each play I perform. And the stories we offer are different.”
“Half water?” the barkeep asked, and his look was of the greatest contempt.
Feltheryn drew himself up tall, taller than the barkeep though not so broad or strong: taller than anyone in the room, though probably thinner than anyone as well.
“I am an old man, in case you have not noticed,” he said with dignity. “My body does not move as quickly as it once did, nor do my guts digest as well. I will pay you as if the whole cup were wine.”
That settled the matter and the barkeep gave him what he wanted.
“I will pay for something else as well,” he said after he had taken a drink. “Something within your proper duties but which might be distasteful without the gold.”
“And what is that?” asked the barkeep suspiciously.
“By now you know Rounsnouf, my comedian,” Feltheryn said, gesturing toward the table where his actors were so engrossed that they had not noted his entry. “I fear that he knows this place better now than he ought, at least for the welfare of my plays. I will pay you a fit sum if on certain nights, when we are to perform, you will forbid him entry until the play is done.”
“And what’s to stop him drinking elsewhere?”
“It is not the drink he values in this place, it’s the people. I do not think he will find such a ripe assortment elsewhere in Sanctuary, and if he knows that he can come here but for play nights, I do not think he will feel abused.”
The barkeep named a price, Feltheryn dickered it down (though it was within reason) and the bargain was struck.
“But you must tell him what you’ve done,” the barkeep concluded.
“Just so,” said Feltheryn, finishing his drink and gesturing for another.
His cup refilled, he made his way across the room, avoiding the table of Hakiem, and joined the party. Rounsnouf and Snegelringe introduced him to their new friend, Hort. then they all swapped stories and poems for a while. Feltheryn did not tell Rounsnouf what he had done until the next morning, when the little comedian took it in stride.
“Would that the gods,” he said in acceptance, “were so steady of will as a director!”
The final piece of planning involved extra bodies, for The Power of Kings was a spectacle play and the effect of spectacle was achieved largely through filling the stage with elegantly clothed people. Feltheryn had taught many a young actor the importance of a walk-on role by citing the case of the handmaiden in The Murder of Queen Ranceta, a part which gave the young woman playing it but a moment on stage but without which the play could not exist. (It was the handmaiden who delivered the tray with the fatal flagon of poisoned wine, and without the poisoning there was no play!) Now the question was where to hire attractive young women to don the robes of court ladies, and where to hire young men to wear the garb of court gentlemen.
Feltheryn asked Lalo, who certainly should be able to ferret out beauty if anyone could, and Lalo asked his wife Gilla, for he was not confident in the enterprise. Gilla suggested that Feltheryn talk to Myrtis, the proprietrix of the Aphrodisia House, with the admonition that the women who worked there were above average in looks for their trade; and a vote of confidence in their honesty to their employer. Feltheryn did as Gilla bid and was delighted to find that Myrtis could not only supply him with lovely ladies but knew where to hire young men just as pretty and reliable to wear the beautiful clothes he promised.
It was not long before the theater neared completion, before the sets were painted and dried, before Glisselrand had brought in seamstresses to help her finish the arduous task of building the last of the costumes.
Actual rehearsals got under way, the piecemeal chunks of the drama were glued together into scenes, then acts, then the ladies and gentlemen of the evening were called in (by day, so that they could continue to work nights until the opening) and the grand sweep of the drama was stitched in its final glorious pattern.
Feltheryn ceased to sleep much for even after so many years an opening night excited him. He ran lines in his mind constantly, missed, re-ran them. He worried over the success of his new theater, he worried over the nuance of each line in the play, he worried over things that a week before would have flowed by him like mist in the night. He took to dressing in a shabby cloak and wandering the streets, hunched over so that his height would not mark him, and listening to the crowds.