Soon after Georgie’s hall began to fill up with guests, and yet not a word was said about tableaux. It grew so full that nobody could have said for certain whether Lucia and Peppino were there or not. Olga certainly was: there was no mistaking that fact. And then Foljambe opened the drawing-room door and sounded a gong.
The lamp behaved perfectly and an hour later one Brunnhilde was being extremely kind to the other, as they sat together. “If you really want to know my view, dear Miss Bracely,” said Lucia, “it’s just that. You must be Brunnhilde for the time being. Singing, of course, as you say, helps it out: you can express so much by singing. You are so lucky there. I am bound to say I had qualms when Peppino – or was it Georgie – suggested we should do Brunnhilde-Siegfried. I said it would be so terribly difficult. Slow: it has to be slow, and to keep gestures slow when you cannot make them mere illustrations of what you are singing – well, I am sure, it is very kind of you to be so flattering about it – but it is difficult to do that.”
“And you thought them all out for yourself?” said Olga. “Marvellous!”
“Ah, if I had ever seen you do it,” said Lucia, “I am sure I should have picked up some hints! And King Cophetua! Won’t you give me a little word for our dear King Corphetua? I was so glad after the strain of Brunnhilde to have my back to the audience. Even then there is the difficulty of keeping quite still, but I am sure you know that quite as well as I do, from having played Brunnhilde yourself. Georgie was very
