At any rate, he didn’t. His theme was the Church Organ, in aid of which these grim doings had been set afoot, and it was in a vein of pessimism that he spoke of its prospects. The Church Organ, he told us frankly was in a hell of a bad way. For years it had been going around with holes in its socks, doing the Brother-can-you-spare-a-dime stuff, and now it was about due to hand in its dinner pail. There had been a time when he had hoped that the pull-together spirit might have given it a shot in the arm, but the way it looked to him at the moment, things had gone too far and he was prepared to bet his shirt on the bally contrivance going down the drain and staying there.
He concluded by announcing sombrely that the first item on the programme would be a Violin Solo by Miss Eustacia Pulbrook, managing to convey the suggestion that, while he knew as well as we did that Eustacia was going to be about as corny as they come, he advised us to make the most of her, because after that we should have the Kegley-Bassington family at our throats.
Except for knowing that when you’ve heard one, you’ve heard them all, I’m not really an authority on violin solos, so cannot state definitely whether La Pulbrook’s was or was not a credit to the accomplices who had taught her the use of the instrument. It was loud in spots and less loud in other spots, and it had that quality which I have noticed in all violin solos, of seeming to last much longer than it actually did. When it eventually blew over, one saw what the sainted Sidney had meant about the Kegley-Bassingtons. A minion came on the stage carrying a table. On this table he placed a framed photograph, and I knew that we were for it. Show Bertram Wooster a table and a framed photograph, and you don’t have to tell him what the upshot is going to be. Muriel Kegley-Bassington stood revealed as a ‘My Hero’ from The Chocolate Soldier addict.
I thought the boys behind the back row behaved with extraordinary dignity and restraint, and their suavity gave me the first faint hope I had had that when my turn came to face the firing-squad I might be spared the excesses which I had been anticipating. I would rank ‘My Hero’ next after ‘The Yeoman’s Wedding Song’ as a standee-rouser, and when a large blonde appeared and took up the photograph and gave it a soulful look and rubbed her hands in the rosin and inflated her lungs, I was expecting big things. But these splendid fellows apparently did not war on women. Not only did they refrain from making uncouth noises with the tongue between the lips, one or two actually clapped – an imprudent move, of course, because, taken in conjunction with the applause of the two-bobbers, who applaud everything, it led to ‘Oh, who will o’er the downs with me’ as an encore.
Inflamed by this promising start, Muriel would, I think, willingly have continued, probably with ‘The Indian Love Call’, but something in our manner must have shown her that she couldn’t do that here, for she shrank back and withdrew. There was a brief stage wait, and then a small, bullet-headed boy in an Eton jacket came staggering on like Christopher Robin going hoppity-hoppity-hop, in a manner that suggested that blood relations in the background had overcome his reluctance to appear by putting a hand between his shoulder-blades and shoving. Master George Kegley-Bassington, and no other. My heart went out to the little fellow. I knew just how he was feeling.
One could picture so clearly all that must have led up to this rash act. The first fatal suggestion by his mother that it would please the vicar if George gave that recitation which he did so nicely. The agonized ‘Hoy!’ The attempted rebuttal. The family pressure. The sullen scowl. The calling in of Father to exercise his authority. The reluctant acquiescence. The dash for freedom at the eleventh hour, foiled, as we have seen, by that quick thrust between the shoulder-blades.
And here he was, out in the middle.
He gave us an unpleasant look, and said:
‘“Ben Battle.”’
I pursed the lips and shook the head. I knew this ‘Ben Battle’, for it had been in my own repertoire in my early days. One of those gruesome antiques with a pun in every other line, the last thing to which any right-minded boy would wish to lend himself, and quite unsuited to this artiste’s style. If I had had the ear of Colonel and Mrs R.P. Kegley-Bassington, I would have said to them: ‘Colonel, Mrs Kegley-Bassington, be advised by an old friend. Keep George away from comedy, and stick to good sound “Dangerous Dan McGrews”. His forte is grimness.’
Having said ‘Ben Battle’, he paused and repeated the unpleasant look. I could see what was passing through his mind. He wished to know if anybody out front wanted to make anything of this. The pause was a belligerent pause. But it was evident that it had been misinterpreted by his nearest and dearest, for two voices, both loud and carrying, spoke simultaneously from the wings. One had a parade-ground rasp, the other was that of the songstress who had so recently My-Heroed.
‘Ben Battle was a soldier bold …’
‘All right!’ said George, transferring the unpleasant look in that direction. ‘I know. Ben-Battle-was-a-soldier-bold-and-used-to-war’s-alarms, A-cannon-ball-took-off-his-legs-so-he-laid-down-his-arms,’ he added, crowding the thing into a single word. He then proceeded.
Well, really, come, come, I felt, as he did so, this is most encouraging. Can it be, I asked myself, that these rugged exteriors around me hide hearts of gold? It certainly seemed so, for despite the fact that it would have been difficult, nay impossible, to imagine anything lousier than Master George Kegley-Bassington’s performance, it was producing nothing in the nature of a demonstration from the standees. They had not warred on women, and they did not war on children. Might it not quite easily happen, I mused, that they would not war on Woosters? Tails up, Bertram, I said to myself, and it was with almost a light heart that I watched George forget the last three stanzas and shamble off, giving us that unpleasant look again over his shoulder, and in the exuberance with which I greeted the small man with the face like an anxious marmoset – Adrian Higgins, I gathered from my programme; by profession, I subsequently learned, King’s Deverill’s courteous and popular grave-digger – there was something that came very close to being carefree.
Adrian Higgins solicited our kind attention for Impressions of Woodland Songsters Which Are Familiar To You All, and while these did not go with any particular bang, the farmyard imitations which followed were cordially received, and the drawing of a cork and pouring out a bottle of beer which took him off made a solid hit, leaving the customers in excellent mood. With the conclusion of George’s recitation, they were feeling that the worst was behind them and a few clenched teeth would see them through the remainder of the Kegley-Bassington offensive. There was a general sense of relaxation, and Gussie and Catsmeat could not have had a better spot. When they came on, festooned in green beards, they got a big hand.
It was the last time they did. The act died standing up. Right from the start I saw that it was going to be a turkey, and so it proved. It was listless. It lacked fire and oomph. The very opening words struck a chill.
‘Hallo, Pat,’ said Catsmeat in a dull, toneless voice.
‘Hallo, Mike,’ said Gussie, with equal moodiness. ‘How’s your father?’
‘He’s not enjoying himself just now.’
‘What’s he doing?’
‘Seven years,’ said Catsmeat glumly, and went on in the same depressed way to speak of his brother Jim, who, having obtained employment as a swimming teacher, was now often in low water.
Well, I couldn’t see what Gussie could have on his mind, unless he was brooding on the Church Organ, but Catsmeat’s despondency was, of course, susceptible of a ready explanation. From where he stood he had an excellent view of Gertrude Winkworth in row one of the two-bob seats, and the sight of her, looking pale and proud in something which I should say at a venture was mousseline, must have been like a sword-thrust through the bosom. Just as you allow a vicar a wide latitude in the way of gloom when his private life has become cluttered up with Corkies and Gussies and Thoses, so should you, if a fair-minded man, permit a tortured lover, confronted with the girl he has lost, to sink into the depths a bit.
The whole performance gave one a sort of grey, hopeless feeling, like listening to the rain at three o’clock on a Sunday afternoon in November. Even the standees, tough, rugged men who would not have recognized the finer feelings if you had served them up on a plate with watercress round them, obviously felt the pathos of it all. They listened in dejected silence, shuffling their feet, and I didn’t blame them. There should be nothing so frightfully heartrending in one fellow asking another fellow who that lady was he saw him coming down the street with and the other fellow replying that there was no lady, that was his wife. An amusing little misunderstanding, you would say. But when Gussie and Catsmeat spoke the lines, they seemed to bring home to you all the underlying sadness of life.
At first, I couldn’t think what the thing reminded me of. Then I got it. At the time when I was engaged to Florence Craye and she was trying to jack up my soul, one of the methods she employed to this end was to take me on Sunday nights to see Russian plays; the sort of things where the old home is being sold up and people stand around saying how sad it all is. If I had to make a criticism of Catsmeat and Gussie, I should say that they got too much of the Russian spirit into their work. It was a relief to one and all when the poignant slice of life drew to a close.
‘My sister’s in the ballet,’ said Catsmeat despondently.
There was a pause here, because Gussie had fallen into a sort of trance and was standing staring silently before him as if the Church Organ had really got him down at last, and Catsmeat, realizing that only moral support, if that, was to be expected from this quarter, was obliged to carry on the conversation by himself, a thing which I always think spoils the effect on these occasions. The essence of a cross-talk act is that there should be wholesome give and take, and you never get the same snappy zip when one fellow is asking the questions and answering them himself.
‘You say your sister’s in the ballet?’ said Catsmeat with a catch in his voice. ‘Yes, begorrah, my sister’s in the ballet. What does your sister do in the ballet?’ he went on, taking a look at Gertrude Winkworth and quivering in agony. ‘She comes rushin’ in and she goes rushin’ out. What does she have to rush like that for?’ asked Catsmeat with a stifled sob. ‘Faith and begob, because it’s a Rushin’ ballet.’
And, too broken in spirit to hit Gussie with his umbrella, he took him by the elbow and directed him to the exit. They moved slowly off with bowed heads, like a couple of pallbearers who have forgotten their coffin and had to go back for it, and to the rousing strains of ‘Hallo, hallo, hallo, hallo, a-hunting we will go, pom pom’, Esmond Haddock strode masterfully onto the stage.
Esmond looked terrific. Anxious to omit no word or act which would assist him in socking the clientele on the button, he had put on full hunting costume, pink coat and everything, and the effect was sensational. He seemed to bring into that sombre hall a note of joy and hope. After all, you felt, there was still happiness in the world. Life, you told yourself, was not all men in green beards saying ‘Faith’ and ‘Begorrah’.
To the practised eye like mine it was apparent that in the interval since the conclusion of the scratch meal which had taken the place of dinner the young Squire had been having a couple, but, as I often say, why not? There is no occasion on which a man of retiring disposition with an inferiority complex and all the trimmings needs the old fluid more than when he is about to perform at a village concert, and with so much at stake it would have been madness on his part not to get moderately ginned.
It is to the series of quick ones which he had absorbed that I attribute the confident manner of his entry, but the attitude of the audience must speedily have convinced him that he could really have got by perfectly well on limejuice. Any doubt lingering in his mind as to his being the popular pet must have been dispelled instantly by the thunders of applause from all parts of the house. I noted twelve distinct standees who were whistling through their fingers, and those who were not whistling were stamping on the floor. The fellow with the hair oil on my left was doing both.
And now, of course, came the danger spot. A feeble piping at this point, like gas escaping from a pipe, or let us say a failure to remember more than an odd word or two of the subject matter, and a favourable first impression might well be undone. True, the tougher portion of the audience had been sedulously stood beers over a period of days and in return had entered into a gentleman’s agreement to be indulgent, but nevertheless it was unquestionably up to Esmond Haddock to deliver the goods.
He did so abundantly and in heaping measure. That first night over the port, when we had been having our run-through, my thoughts at the outset had been centred on the lyric and I had been too busy polishing up Aunt Charlotte’s material to give much attention to the quality of his voice. And later on, of course, I had been singing myself, which always demands complete concentration. When I was on the chair, waving my decanter, I had been aware in a vague sort of way of some kind of disturbance in progress on the table, but if Dame Daphne Winkworth on her entry had asked me my opinion of Esmond Haddock’s timbre and brio, I should have had to reply that I really hadn’t noticed them much.
He now stood forth as the possessor of a charming baritone – full of life and feeling and, above all, loud. And volume of sound is what you want at a village concert. Make the lights flicker and bring plaster down from the ceiling, and you are home. Esmond Haddock did not cater simply for those who had paid the price of admission, he took in strollers along the High Street and even those who had remained at their residences, curled up with a good book. Catsmeat, you may recall, in speaking of the yells which Dame Daphne and the Misses Deverill had uttered on learning of his betrothal to Gertrude Winkworth, had hazarded the opinion that they could have been heard at Basingstoke. I should say that Basingstoke got Esmond Haddock’s hunting song nicely.
If so, it got a genuine treat and one of some duration, for he took three encores, a couple of bows, a fourth encore, some more bows and then the chorus once over again by way of one for the road. And even then his well-wishers seemed reluctant to let him go.
This reluctance made itself manifest during the next item on the programme – Glee (Oh, come unto these yellow sands) by the Church Choir, conducted by the school-mistress – in murmurs at the back and an occasional ‘Hallo’, but it was not until Miss Poppy Kegley-Bassington was performing her rhythmic dance that it found full expression.
Unlike her sister Muriel, who had resembled a Criterion barmaid of the old school, Poppy Kegley-Bassington was long and dark and supple, with a sinuous figure suggestive of a snake with hips; one of those girls who do rhythmic dances at the drop of a hat and can be dissuaded from doing them only with a meat-axe. The music that accompanied her act was Oriental in nature, and I should be disposed to think that the thing had started out in life as a straight Vision of Salome but had been toned down and had the whistle blown on it in spots in deference to the sensibilities of the Women’s Institute. It consisted of a series of slitherings and writhings, punctuated with occasional pauses when, having got herself tied in a clove-hitch, she seemed to be waiting for someone who remembered the combination to come along and disentangle her.
It was during one of these pauses that the plug-ugly with the hair oil made an observation. Since Esmond’s departure he had been standing with a rather morose expression on his face, like an elephant that has had its bun taken from it, and you could see how deeply he was regretting that the young Squire was no longer with us. From time to time he would mutter in a peevish undertone, and I seemed to catch Esmond’s name. He now spoke, and I found that my hearing had not been at fau
lt.
‘We want Haddock,’ he said. ‘We want Haddock, we want Haddock, we want Haddock, we want HADDOCK!’
He uttered the words in a loud, clear, penetrating voice, not unlike that of a costermonger informing the public that he has blood oranges for sale, and the sentiment expressed evidently chimed in with the views of those standing near him. It was not long before perhaps twenty or more discriminating concert-goers were also chanting:
‘We want Haddock, we want Haddock, we want Haddock, we want Haddock, we want HADDOCK!’
And it just shows you how catching this sort of thing is. It wasn’t more than about five seconds later that I heard another voice intoning.
‘We want Haddock, we want Haddock, we want Haddock, we want Haddock, we want HADDOCK!’ and discovered with a mild surprise that it was mine. And as the remainder of the standees, some thirty in number, also adopted the slogan, this made us unanimous.
To sum up, then, the fellow with the hair oil, fifty other fellows, also with hair oil, and I had begun to speak simultaneously and what we said was:
‘We want Haddock, we want Haddock, we want Haddock, we want Haddock, we want HADDOCK!’
The Jeeves Omnibus - Vol 3 Page 38
