The Cinderella Murders

by David Cargill

  ‘I don’t like to see you like this, Laura,’ said Giles, giving her a hug. ‘I think we should go to the auditorium and watch how they’re doing. That might take our minds off things and we can still keep a watchful eye on everything.’

  Once they were seated in the front row of the auditorium they were instantly aware that only two people were on stage. One was Walter and the other was the Brigadier. They were going through the action required when the Brigadier was to make his entrance and they followed that with how he was to react when Cindy shot Cyril. Giles was wondering where the others had got to as he wished to keep a constant eye on everyone and he was about to leave his seat and look round the theatre when Joyce, the Guild of Player actress joined him to witness the rehearsal.

  ‘Am I right?’ she asked, ‘that Walter is not only one of the producers but is actually the author of this play as well?’ Her clear carrying voice echoed in the theatre.

  ‘Yes, that’s correct.’ said Giles. ‘As an actor yourself I know that’s rather unusual.’

  ‘Very rare indeed,’ said Joyce. ‘That’s because some producers are intent on getting rid of the odd comma and can become quite troublesome especially when they decide to make cuts in the playwrights precious words. Mark will be unlikely to do that I’m sure and Walter would have kittens if any such changes were made. That probably means there will be no changes to the play because the authors are also the ones controlling the play.’ There was a huge grin on Joyce’s face as she concluded. ‘There’s an old adage in the theatre that the best authors are dead authors.’

  That was the first time Giles had ever heard that expression and he sat up with a jolt when the Guild of Players’ actor delivered those words.

  When Giles sat up as if hit by a thunderbolt he noticed a similar reaction had affected those on stage. Walter and the Brigadier had gone rigid as some of the lights on stage started flickering and they both looked as if they’d be glad to be out of there. Walter turned to face Giles. ‘Friendly ghosts I believe you said Mister Magician. I rather think you were a long way from the truth.’

  At that moment there was a scream of revulsion from the stairs. It was the Fairy Godmother holding out her right hand as if wanting to be rid of it. ‘I was down in the basement just now,’ she said. ‘I was looking around the wardrobe department to see if there was a dress suitable for my role as Fairy Godmother when a rash came out on my hand. It was very red and painful and I couldn’t get out of there fast enough. It’s beginning to disappear now but it was horrid and now I’m starting to get a sore throat. I’m frightened and I don’t know what of. You said the ghosts were friendly Professor Dawson. I think you might be forced to change your mind.’

  ‘What on earth were you looking at dresses for?’ said Walter. ‘you must know that we are not allowed to use any of the costumes belonging to the Guild of Players and anyway we only use costumes for the dress rehearsal and we’ll not be doing that in this theatre. Come to think of it if the old theatre adage, a bad dress rehearsal heralds a good first night, then at the rate we’re going if we ever have a first night it’s bound to be a smash hit.’

  ‘I was perfectly aware that I couldn’t use one of the dresses from this theatre’s wardrobe,’ snapped the Fairy Godmother, ‘but I wanted to see what was available so that I’d have a good idea of what would suit if we eventually get as far as a dress rehearsal. I’m beginning to think we might never get to that stage and I certainly regret going down there. It was very cold and much too dark for comfort. I was terrified.’ She began to sob.

  Giles looked at Joyce. ‘I heard what they said about you, Professor Dawson,’ Joyce remarked, ‘and your description of our theatre’s ghosts as being friendly meets with the approval of most of us. We generally like to treat them as friendly for by doing so they goad us on to better performances and we’re eternally grateful for that. But having just heard what members of this visiting cast are saying it’s unfortunate that some members of our profession cannot accept that all theatres have ghosts and that most of those ghosts are friendly. The Theatre Royal of Dumfries is undoubtedly a leader in that domain because of its long and vibrant history and in my opinion it will remain so as long as the Guild of Players carries on as it’s doing with the support of our wonderful public.’ At that Joyce left the auditorium with her head held high.

  There was an impish smile on Giles face as he’d listened to what the Guild actor had to say but something was bugging him. His mind couldn’t escape the two statements he’d recently heard. The first was when Laura had said she was scared to death and the other was when Joyce said the best authors are dead authors. Was this, he thought, a portent of things to come?

  He tried to dismiss this from his mind but the recent experience of Mark’s when he was in the props room and thought he’d seen Cyril with his arm drenched in blood and now Walter’s recoil on stage when the lights started flickering made it difficult to dismiss the gruesome possibilities about death from fright of any susceptible person.

  A sudden burst of energy from Walter interrupted Giles’ train of thought. ‘I want all the cast on stage now,’ Walter bawled. ‘Mark and I are going up to the balcony… where the hell is he by the way?’ He waited as the rest of the cast gathered on stage and Mark finally appeared looking ruffled. ‘Right, let’s get started.’ He glared at Mark as he continued, ‘I want to hear everyone deliver their lines in such a way that an audience in the balcony can hear and understand every word,’ Walter emphasised. ‘Once we’re satisfied we can start having a Run Through unless our magician has any additional illusions he wishes to add to our performance.’ Giles made no response. Walter smirked as he glanced at his co-playwright. ‘However I don’t imagine that Mark will be too anxious to have more illusions giving him nightmarish moments.’

  There was no comment from Mark as he left the stage and started to make his way to the stairs leading to the balcony. His normally gigantic strides were reduced to a shuffle and as Walter swaggered after him, his posture gave the profound impression that he was in total charge of the scenario.

  Watching the two playwrights leaving the stage Giles waited for some reaction from them once they were upstairs in the balcony.

  He didn’t have long to wait. Walter suddenly seemed to be very much on edge and kept looking behind as if something was following him. He was also rubbing one of his hands anxiously and for once appeared to be lost for words. As nothing was forthcoming from him it was left to Mark to make the announcement.

  ‘I want each of you,’ Mark called to the cast on stage, ‘to take up the positions we decided when we did the blocking before rehearsals started. Then each of you in turn, starting, with Grizelda, must speak their first lines and we’ll let you know if we can hear you well enough. If we can’t you’ll know all about it and we’ll ask you to do it again and again until we’re perfectly satisfied before the next actor starts to speak.’

  Mark turned to Walter who was still rubbing one of his hands. ‘What’s got into you now?’ he asked quietly. ‘You look panic-stricken and jittery and I’m seriously beginning to wonder how much more of this we can all take.’

  ‘I don’t know about you, Mark but I was following you up the stairs to the balcony and I heard two heavy footsteps behind me and a cold hand tried to grab my hand as if trying to stop me going any further. My legs turned to jelly and they didn’t seem able to support my body. I couldn’t turn my head until I got to the top and when I did turn there was nobody there. What’s happening to us, Mark? I’m getting as bad as you. Is that bloody curse of yours starting to affect the entire team?’

  There was a decided change in Mark as he pulled himself together and put an arm around Walter’s shoulder. ‘I think we should both take Giles’ advice when he said I should try to make sure I was never alone in the theatre. That way we might have a real chance of preventing any such thought of this curse doing any harm. Let’s start now by giving our cast their opportunity to shine as actors when they project their
voices to where we are in the balcony.’

  ‘You may well be right,’ said Walter, beginning to thaw a little. He took a deep breath and looked down towards the stage. ‘You can start whenever you’re ready,’ he said, his voice tightening.

  The two playwrights, now acting in their roles as directors, sat down to listen to the actors as they prepared to say their opening lines. They both looked at each other and nodded as Grizelda, who would open the play, delivered her first lines snapping at Cindy for not finishing her work when the two boys were about to return from the tennis court. The directors gave Grizelda the thumbs up sign and a well-done clap showing satisfaction for a good start.

  As far as Giles was concerned it was interesting to note the immediate change in the two playwrights once they conducted their work with each actor. They were apparently in good form and somehow conveyed their new enthusiasm to the actors on stage. Giles had a gut feeling that the advice given by him to Mark had rubbed off on both playwrights and he was in a mood to give himself a well-deserved pat on the back.

  He sat back in his seat to watch the rest of the cast perform and when the scene came to an end Giles turned all his attention to Mark and Walter. Notwithstanding the fact that the play’s authors now appeared to be on good terms with each other a niggling doubt persisted in his mind. He couldn’t get away from the knowledge that the sudden improvement in the demeanour of the two writers was possibly too good to be true. And when something was too good to be true Giles always believed it probably was – too good to be true.

  He looked at Freddie and Laura. ‘Did either of you notice the change in Mark and Walter?’ he asked.

  ‘I’m afraid I didn’t,’ said Laura, standing up and stretching her arms and legs. ‘I was watching the stage the whole time.’

  ‘Me neither,’ said Freddie. ‘Were we supposed to notice a change or are you just testing us for observation?’

  ‘No, I wasn’t testing you. In fact I don’t blame you for watching the actors.

  They were very well worth watching but there was an interesting development in the behaviour of our two playwrights and I’m beginning to wonder if they were also playing a part.’

  ‘How do you mean?’ Freddie asked. ‘What kind of a change took place?’

  ‘I’m not quite sure how to explain,’ said Giles. ‘One moment both of them were upset by strange happenings in the theatre and suddenly they were both in good spirits and eager to get on with business as usual. I don’t know what they said to each other, as I was unable to hear their conversation, but whatever was said seemed to do the trick.’

  ‘And you think that’s too good to be true?’ said Laura. ‘After all, Giles, wasn’t it you who advised Mark not to make mountains out of molehills? Perhaps Mark was able to convince Walter to do the same. If that was so that must be a feather in your cap.’ She gave Giles a reassuring smile.

  ‘I know what you’re doing, Laura. You’re trying your best to present me with an accolade for achieving something for which I may not be responsible. Thanks for that but I still can’t put out of my mind what Joyce said about the old theatrical adage. The best authors are dead authors.’

  Chapter 18

  WHO HAD THE OPPORTUNITY?

  When Mark and Walter returned to the stage they were vociferous with their acclamation for the way the cast had met the challenge of projecting their voices while delivering their lines. Mark, in particular, was buoyant and for someone who’d recently been under the weather with apparent hallucinations he seemed to have had a new lease of life. He gathered the cast around him. ‘Walter and I are so pleased with how things are moving that we had a brief conversation upstairs in the balcony and we’ve come to a decision. This decision came as a direct result of Joyce telling us about the old theatrical adage that the best authors were dead authors. That adage is based on the fact that authors of plays take offence at directors making changes to their work and directors who wish to make those changes are tied and unable to do what they think might improve a production. But that problem disappears if the author of the play is no longer alive.’ Mark stopped and brought his co-playwright over beside him. ‘We would really like to be classed as two of the best authors,’ he said, ‘and we can assure you that, despite some unfortunate impressions you may have had of us, we are still in the land of the living.’

  There was mild laughter from some of the actors as Mark threw out his chest and Walter did a kind of peacock strut. ‘We have decided, as we are directors as well as authors, that we can literally tear up that adage and make a few changes to The Cinderella Murders. We can be the exception that proves the rule. That is, of course, if our magician Giles is in full agreement.’ Mark looked at Giles for some hint of approval and the magician’s smile was all that was necessary for Mark to continue. ‘We’ll consult with Giles and I’m certain he’ll add an additional illusion that we can rehearse before we’re asked to leave this old theatre.’

  The applause that greeted everything Mark had said showed how much the cast had come to terms with the progress that had been made. It was now going to be up to everyone to pull their weight and make the rehearsal time a great success.

  ‘I suggest you all take a short break while we have a word with Giles,’ said Mark.

  The group trooped back to the Green Room and the two playwrights left the stage to join Giles, Laura and Freddie in the auditorium. It was Walter who got the conversation under way. ‘You all heard what Mark had to say and we’ve come up with an idea,’ said Walter, looking rather pleased with himself. ‘With Cyril soon back in harness and able to rehearse with the whole team we thought it might be a good idea if there was an illusion using the two boys. We were thinking of an illusion originally suggested by you Giles when you first met the Kelly twins and were totally flabbergasted because you couldn’t tell them apart. I believe you said, if I remember correctly, something like in one piece of casting you’ve given me the perfect double act I can use for one of the illusions.’

  ‘You have an excellent memory, Walter. I do believe I said that and in many magical illusions which were performed on a stage, doubles were used to good effect. Purely for your information one of the most notable performers was the illusionist The Great Lafayette who tragically died on the 9th of May 1911 as he finished his show in an Edinburgh theatre which went on fire when a lamp, suspended from the ceiling, burst into flames. There was much controversy at his funeral when many thought the dead body was not Lafayette but one of the doubles he used in his act. That will not happen here and I’m sure you will be very pleased indeed that you decided to make a change in the play and, by doing so, turn the old adage on its head.’

  ‘I take it then that you’re in favour of creating another illusion using the twins as a double act.’

  ‘You can count on me, Walter. There are several ways that can surprise an audience. First of all we must make sure the trap door at the back of the stage is in working order.’

  ‘You might be surprised how many theatres are dispensing with trapdoors,’ said Laura. ‘In my work training magicians’ assistants I’ve had to make sure which theatres had trap doors that still functioned? They’re getting less and less and we wouldn’t be flavour of the month if anything went drastically wrong and someone was decapitated.’

  ‘No, that wouldn’t do,’ said Mark. ‘Decapitation would make it impossible, even for a magician like Giles, to turn the old theatrical adage on its head.’

  ‘We can do without the corny attempt at jokes, Mark,’ said Walter, disparagingly. ‘This is serious stuff and with Giles’ help we must get it right.’

  ‘I apologise, Walter,’ said Mark, with mock apology. ‘I’ll be on my best behaviour from now on and refrain from trying to make funny one-liners. If Giles will give you some idea of potential illusions, using the identical twins as doubles, I’ll go and check with the Guild about the working of the stage trap door. We can then get together and write an addition to this play of ours that brings in an illusion wh
ich will have an audience on the edge of their seats.’

  ‘That’s better. Now we’re getting somewhere,’ Walter said. ‘It’s taken us some time to overcome the trials and tribulations we’ve encountered but I’m sure we can now turn things around and before we leave this delightful old theatre we can have a run-through of this murder mystery and be ready to play before an audience.’

  Mark left the group while Walter and Giles got down to business. They climbed the steps on to the stage again and went over to the back to have a look at the trap door. ‘If we find that this is still in working order,’ Giles said, as he stood on the contraption to check out its dimensions, ‘you can have the twins dressed alike. One of them can stand on the door and when it opens the boy will fall through and land on a mattress and his brother can suddenly appear elsewhere. Either on another part of the stage through one of the doors or the French windows or even…?’ Giles paused and a grin lit up his face, ‘or the other twin can walk through the French windows without them being open.’

  ‘That sounds impressive. Two illusions that would be out of this world.’

  ‘You can even have the second twin immediately appear at the back of the auditorium or, better still, upstairs in the balcony. In order to get away with it you’d have to have the twins so different in appearance during the other scenes that a double was not readily expected. That might not be easy but it shouldn’t be too difficult.’

  The speedy return of Mark was a welcome sight for both Giles and Walter. ‘It still works,’ Mark confirmed with a self-satisfied grin, ‘but it requires careful handling.’

  ‘Splendid,’ Walter said, his face beaming. ‘We can now go ahead and Giles has come up with some fantastic ideas. All we have to do now is go over the script and decide where the new illusion can be introduced.