Of course she'd seen it all years and years before I was born. She'd lived in Naples and London and Rome with her father. But I wanted to tell her what she had given to me, how it was to hear the choir in Notre Dame, to push into the jam-packed cafes with Nicolas, talk with his old student cronies over English coffee, what it was like to get dressed up in Nicolas's fine clothes-he made me do it-and stand below the footlights at the Comedie-Francaise gazing up in adoration at the actors on the stage.
But all I wrote in this letter was perhaps the very best of it, the address of the garret rims we called our home in the lie de la Cite, and the news:
"I have been hired in a real theater to study as an actor with a fine prospect of performing very soon."
What I didn't tell her was that we had to walk up six flights of stairs to our rooms, that men and women brawled and screamed in the alleyways beneath our windows, that we had run out of money already, thanks to my dragging us to every opera, ballet, and drama in town. And that the establishment where I worked was a shabby little boulevard theater, one step up from a platform at the fair, and my jobs were to help the players dress, sell tickets, sweep up, and throw out the troublemakers.
But I was in paradise again. And so was Nicolas though no decent orchestra in the city would hire him, and he was now playing solos with the little bunch of musicians in the theater where I worked, and when we were really pinched he did play right on the boulevard, with me beside him, holding out the hat. We were shameless!
We ran up the steps each night with our bottle of cheap wine and a loaf of fine sweet Parisian bread, which was ambrosia after what we'd eaten in the Auvergne. And in the light of our one tallow candle, the garret was the most glorious place I'd ever inhabited.
As I mentioned before, I'd seldom been in a little wooden roam except in the inn. Well, this room had plaster walls and a plaster ceiling! It was really Paris! It had polished wood flooring, and even a tiny little fireplace with a new chimney which actually made a draft.
So what if we had to sleep on lumpy pallets, and the neighbors woke us up fighting. We were waking up in Paris, and could roam arm in arm for hours through streets and alleyways, peering into shops full of jewelry and plate, tapestries and statues, wealth such as I'd never seen. Even the reeking meat markets delighted me. The crash and clatter of the city, the tireless busyness of its thousands upon thousands of laborers,
clerks, craftsmen, the comings and goings of an endless multitude.
By day I almost forgot the vision of the inn, and the darkness. Unless, of course, I glimpsed some uncollected corpse in a filthy alleyway, of which there were many, or I happened upon a public execution in the place de Grave.
And I was always happening upon a public execution in the place de Grave.
I'd wander out of the square shuddering, almost moaning. I could become obsessed with it if not distracted. But Nicolas was adamant.
"Lestat, no talk of the eternal, the immutable, the unknowable!" He threatened to hit me or shake me if I should start.
And when twilight came on-the time I hated more than ever-whether I had seen an execution or not, whether the day had been glorious or vexing, the trembling would start in me. And only one thing saved me from it: the warmth and excitement of the brightly lighted theater, and I made sure that before dusk I was safely inside.
Now, in the Paris of those times, the theaters of the boulevards weren't even legitimate houses at all. Only the Comedie-Francaise and the Theatre des Italians were government-sanctioned theaters, and to them all serious drama belonged. This included tragedy as well as comedy, the plays off Racine, Corneille, the brilliant Voltaire.
But the old Italian commedia that I loved-Pantaloon, Harlequin, Scaramouche, and the rest-lived on as they always had, with tightrope walkers, acrobats, jugglers, and puppeteers, in the platform spectacles at the St. Germain and the St. Laurent fairs.
And the boulevard theaters had grown out of these fairs. By my time, the last decades of the eighteenth century, they were permanent establishments along the boulevard du Temple, and though they played to the poor who couldn't afford the grand houses, they also collected a very well-to-do crowd. Plenty of the aristocracy and the rich bourgeoisie crowded into the loges to see the boulevard performances, because they were lively and full of good talent, and not so stiff as the plays of the great Racine or the great Voltaire.
We did the Italian comedy just as I'd learned it before, full of improvisation so that every night it was new and different yet always the same. And we also did singing and all kinds of nonsense, not just because the people loved it, but because we had to: we couldn't be accused of breaking the monopoly of the state theaters on straight plays.
The house itself was a rickety wooden rattrap, seating no more than three hundred, but its little stage and props were elegant, it had a luxurious blue velvet stage curtain, and its private boxes had screens. And its actors and actresses were seasoned and truly talented, or so it seemed to me.
Even if I hadn't had this newly acquired dread of the dark, this "malady of mortality," as Nicolas persisted in calling it, it couldn't have been more exciting to go through that stage door.
For five to six hours every evening, I lived and breathed in a little universe of shouting and laughing and quarreling men and women, struggling for this one and against that one, aid of us comrades in the wings even if we weren't friends. Maybe it was like being in a little boat on the ocean, all of us pulling together, unable to escape each other. It was divine.
Nicolas was slightly less enthusiastic, but then that was to be expected. And he got even more ironical when his rich student friends came around to talk to him. They thought he was a lunatic to live as he did. And for me, a nobleman shoveling actresses into their costumes and emptying slop buckets, they had not words at all.
Of course all that these young bourgeois really wanted was to be aristocrats. They bought titles, married into aristocratic families whenever they could. And it's one of the little jokes of history that they got mixed up in the Revolution, and helped to abolish the class which in fact they really wanted to join.
I didn't care if we ever saw Nicolas's friends again. The actors didn't know about my family, and in favor of the very simple Lestat de Valois, which meant nothing actually, I'd dropped my real name, de Lioncourt.
I was learning everything I could about the stage. I memorized, I mimicked. I asked endless questions. And only stopped my education long enough each night for that moment when Nicolas played his solo on the violin. He'd rise from his seat in the tiny orchestra, the spotlight would pick him out from the others, and he would rip into a little sonata, sweet enough and just short enough to bring down the house.
And all the while I dreamed of my own moment; when the old actors, whom I studied and pestered and imitated and waited upon like a lackey, would finally say: "All right, Lestat, tonight we need you as Lelio. Now you ought to know what to do."
It came in late August at last.
Paris was at its warmest, and the nights were almost balmy and the house was full of a restless audience canning itself with handkerchiefs and handbills. The thick white paint was melting on my face as I put it on.
I wore a pasteboard sword with Nicolas's best velvet coat, and I was trembling before I stepped on the stage thinking, 'This is like waiting to be executed or something.'
But as soon as I stepped out there, I turned and looked directly into the jam-packed hall and the strangest thing happened. The fear evaporated.
I beamed at the audience and very slowly I bowed. I stared at the lovely Flaminia as if I were seeing her for the first time. I had to win her. The romp began.
The stage belonged to me as it had years and years ago in that far-off" country town. And as we pranced madly together across the boards-quarreling, embracing, clowning-laughter rocked the house.
I could feel the attention as if it were an embrace. Each gesture, each line brought a roar from the audience-it was too easy almost-and we
could have worked it for another half hour if the other actors, eager to get into the next trick as they called it, hadn't forced us finally towards the wings.
The crowd was standing up to applaud us. And it wasn't that country audience under the open sky. These were Parisians shouting for Lelio and Flaminia to come back out.
In the shadows off the wings, I reeled. I almost collapsed. I could not see anything for the moment but the vision of the audience gazing up at me over the footlights. I wanted to go right back on stage. I grabbed Flanunia and kissed her and realized that she was kissing me back passionately.
Then Renaud, the old manager, pulled her away.
"All right, Lestat," he said as if he were cross about something. "All right, you've done tolerably well, I'm going to let you go on regularly from now on."
But before I could start jumping up and down for joy, half the troup materialized around us. And Luchina, one of the actresses, immediately spoke up.
"Oh no, you'll not let him go on regularly" she said. "He's the handsomest actor on the boulevard du Temple and you'll hire him outright for it, and pay him outright for it, and he doesn't touch another broom or mop." I was terrified. My career had just started and it was about to be over, but to my amazement Renaud agreed to all her terms.
Of course I was very flattered to be called handsome, and I understood as I had years ago that Lelio, the lover, is supposed to have considerable style. An aristocrat with any breeding whatsoever was perfect for the part.
But if I was going to make the Paris audiences really notice me, if I was going to have them talking about me at the Comedic-Francaise, I had to be more than some yellow-haired angel fallen out of a marquis's family onto the stage. I had to be a great actor, and that is exactly what I determined to be.
That night Nicolas and I celebrated with a colossal drunk. We had all the troupe up to our rooms for it, and I climbed out on the slippery rooftops and opened my arms to Paris and Nicolas played his violin in the window until we'd awakened the whole neighborhood.
The music was rapturous, yet people were snarling and screaming up the alleyways, and banging on pots and pans. We paid no attention. We were dancing and singing as we had in the witches' place. I almost fell off the window ledge.
The next day, bottle in hand, I dictated the whole story to the Italian letter writer in the stinking sunshine in les Innocents and saw that the letter went off to my mother at once. I wanted to embrace everybody I saw in the streets. I was Lelio. I was an actor.
By September I had my name on the handbills. And I sent those to my mother, too.
And we weren't doing the old commedia. We were performing a farce by a famous writer who, on account of a general playwrights' strike, couldn't get it performed at the Comedie-Francaise.
Of course we couldn't say his name, but everyone knew it was his work, and half the court was packing Renaud's House of Thesbians every night.
I wasn't the lead, but I was the young lover, a sort of Lelio again really, which was almost better than the lead, and I stole every scene in which I appeared. Nicolas had taught me the part, bawling me out constantly for not learning to read. And by the fourth performance, the playwright had written extra lines for me.
Nicki was having his own moment at the intermezzo, when his latest rendering of a frothy little Mozart sonata was keeping the house in its seats. Even his student friends were back. We were getting invitations to private balls. I went tearing off to les Innocents every few days to write to my mother, and finally I had a clipping from an English paper, The Spectator, to send her, which praised our little play and in particular the blond-haired rogue who steals the hearts of the ladies in the third and fourth acts. Of course I couldn't read this clipping. But the gentleman who'd brought it to me said it was complementary, and Nicolas swore it was too.
When the first chill nights of fall came on, I wore the fur lined red cloak on the stage. You could have seen it in the back row of the gallery even if you were almost blind. I had more skill now with the white makeup, shading it here and there to heighten the contours of my face, and though my eyes were ringed in black and my lips reddened a little, I looked both startling and human at the same time. I got love notes from the women in the crowd.
Nicolas was studying music in the mornings with an Italian maestro. Yet we had money enough for good food, wood, and coal. My mother's letters came twice a week and said her health had taken a turn for the better. She wasn't coughing as badly as last winter. She wasn't in pain. But our fathers had disowned us and would not acknowledge any mention of our names.
We were too happy to worry about that. But the dark dread, the "malady of mortality," was with me a lot when the cold weather came on.
The cold seemed worse in Paris. It wasn't clean as it had been in the mountains. The poor hovered in doorways, shivering and hungry, the crooked unpaved streets were thick with filthy slush. I saw barefoot children suffering before my very eyes, and more neglected corpses lying about then ever before. I was never so glad of the fur-lined cape as I was then. I wrapped it around Nicolas and held him close to me when we went out together, and we walked in a tight embrace through the snow and the rain.
Cold or no cold, I can't exaggerate the happiness of these days. Life was exactly what I thought it could be. And I knew I wouldn't be long in Renaud's theater. Everybody was saying so. I had visions of the big stages, of touring London and Italy and even America with a great troupe of actors. Yet there was no reason to hurry. My cup was full.
But in the month of October when Paris was already freezing, I commenced to see, quite regularly, a strange face in the audience that invariably distracted me. Sometimes it almost made me forget what I was doing, this face. And then it would be gone as if I'd imagined it. I must have seen it off and on for a fortnight before I finally mentioned it to Nicki.
I felt foolish and found it hard to put into words:
"There is someone out there watching me," I said.
"Everyone's watching you," Nicki said. "That's what you want."
He was feeling a little sad that evening, and his answer was slightly sharp.
Earlier when he was making the fire, he had said he would never amount to much with the violin. In spite of his ear and his skill, there was too much he didn't know. And I would be a great actor, he was sure. I had said this was nonsense, but it was a shadow falling over my soul. I remembered my mother telling me that it was too late for him.
He wasn't envious, he said. He was just unhappy a little, that's all.
I decided to drop the matter of the mysterious face. I tried to think of some way to encourage him. I reminded him that his playing produced profound emotions in people, that even the actors backstage stopped to listen when he played. He had an undeniable talent.
"But I want to be a great violinist," he said. "And I'm afraid it will never be. As long as we were at home, I could pretend that it was going to be."
"You can't give up on it!" I said.
"Lestat, let me be frank with you," he said. "Things are easy for you. What you set your sights on you get for yourself. I know what you're thinking about all the years you were miserable at home. But even then, what you really set your mind to, you accomplished. And we left for Paris the very day that you decided to do it."
"You don't regret coming to Paris, do you?" I asked.
"Of course not. I simply mean that you think things are possible which aren't possible! At least not for the rest of us. Like killing the wolves..."
A coldness passed over me when he said this. And for some reason I thought of that mysterious face again in the audience, the one watching. Something to do with the wolves. Something to do with the sentiments Nicki was expressing. Didn't make sense. I tried to shrug it off.
"If you'd set out to play the violin, you'd probably be playing for the Court by now," he said.
"Nicki, this kind of talk is poison," I said under my breath. "You can't do anything but try to get what you want. You knew the odds wer
e against you when you started. There isn't anything else . . . except..."
"I know." He smiled. "Except the meaninglessness. Death."
"Yes," I said. "All you can do is make your life have meaning, make it good."
"Oh, not goodness again," he said. "You and your malady of mortality, and your malady of goodness." He had been looking at the fire and he turned to me with a deliberately scornful expression. "We're a pack of actors and entertainers who can't even be buried in consecrated ground. We're outcasts."
"God, if you could only believe in it," I said, "that we do good when we make others forget their sorrow, make them forget for a little while that. . ."
"What? That they are going to die?" He smiled in a particularly vicious way. "Lestat, I thought all this would change with you when we got to Paris."
Anne Rice - Vampire Chronicles 2 - The Vampire Lestat (1985) Page 8
