being now the attraction. There was no pit, the circle and boxes being raised but little above the level of the stalls. The decorations were pink, white, and gold, the seats being covered with pale, rose-coloured plush, with curtains and hangings to match, while the electric lights, shining through pink globes, gave quite a warm glow to the theatre. The dome was decorated with allegorical figures representing Momus, the God of laughter, and Apollo, the God of music, while all round the walls were exquisitely-painted medallions of scenes from celebrated operas and burlesques. The proscenium was a broad frame of dullish gold, the curtain of roseate plush, and on either side of the stage were life-size statues of Offenbach and Planché in white marble. Altogether, a charming theatre, more like a cosy drawing-room than a place of public entertainment.
At the entrance was a high flight of white marble stairs, leading to a wide corridor, the walls of which were hidden by enormous mirrors, and at intervals stood white marble statues of the Greek divinities, holding aloft electric lights. On the one side was the smoking-room,--a luxurious lounge,--and on the other a refreshment bar, all glass and glitter, which was crowded between the acts by the thirsty patrons of the play.
Ezra and Keith arrived about nine o'clock, just as the first act of "Prince Carnival" was over, and finding the salon tolerably full, Lazarus sat down near one of the small, marble-topped tables, and lighting his cigarette, proceeded to point out to Keith all the notabilities present.
The first to whom he called Stewart's attention was a group of three. One, a tall, portly-looking man, with a red, clean-shaven face and black hair, was irreproachably attired in evening dress, and chatted to a fair-haired youth with a supercilious smile, and a short, bald-headed old gentleman.
"You see those three?" said Ezra, indicating the group. "The dark man of the ponderous Samuel Johnson type is Ted Mortimer, the lessee of the theatre; the idiot with the eyeglass is Lord Santon, who has come out from London to see us barbarians, and the apoplectic party with the bald head is no less a personage than Mr. Columbus Wilks, the great globe-trotter, who is going to write a book about Australia and New Zealand."
"That will take him some time," observed Keith, with a smile.
"Not at all," said Lazarus coolly. "He will run through the whole of Australasia in a few weeks, be the guest of the governors of the different colonies, and then give his impressions of our government, politics, trade, amusements, and scenery in a series of brilliant articles, whose truth and accuracy will be quite in accordance with the time which he has taken to collect his materials."
"But he cannot judge of things so rapidly."
"Of course not; but he will view everything through the rose-coloured spectacles of champagne and adulation, so his book will depict our land as a kind of nineteenth-century Utopia."
"And Lord Santon?"
"An hereditary legislator, who is being fêted for his title, and will go back to his ancestral halls with the firm conviction that we are a kind-hearted race of--savages."
"You are severe," said Keith, in an amused tone; "you ought to give a lecture, entitled 'Men I have noticed;' it would certainly draw."
"Yes, all the women, not the men; they don't care for hearing remarks about themselves; but there is the bell for the rising of the curtain, so we had better go to our seats."
They left the now empty salon, and went into the dress circle, which holds the same rank in the colonies as the stalls do in the London theatres. Though the house was crowded, they succeeded in getting excellent seats, being, in fact, those always reserved for the critics of The Penny Whistle. The orchestra played a lively waltz, to which the gods in the gallery kept time, and then the curtain drew up on a charming scene, representing a square in Rome.
"Prince Carnival" was one of those frivolous French operas with a slightly naughty plot, witty dialogue, brilliant music, and plenty of opportunity for gay dresses and picturesque scenery. The principals and chorus consisted mostly of girls, with just a sprinkling of men, so that their deeper voices might balance the shrillness of those of the women. Of the plot, the least said the better, as it was merely a string of intrigues, connected by piquant couplets and sparkling choruses, with occasional ballets intervening.
As far as Keith could gather, it had something to do with the adventures of the quack Cagliostra in Rome, who was the comic man of the play, and figured in various disguises, the most successful being that of a prominent politician. Cagliostra tries to gain the affections of a young girl beloved by a mountebank called Prince Carnival, who thwarts him all through the play. The second act was the carnival at Rome, and a crowd of masquers were singing a riotous chorus and pelting one another with flowers. Suddenly, during a lull in this fantastic medley, a high, clear voice was heard executing a brilliant shake, and immediately afterwards Caprice bounded gaily on to the stage, singing a melodious waltz song, to which the masquers moved in measured time.
She was dressed in a harlequin costume, a mask on her face, a fool's baton in her hand, and innumerable silver bells hanging from her cap and dress, which jingled incessantly as she danced. But what attracted Keith's attention were the diamonds she wore--several stars and a necklace. She seemed one splendid blaze of jewels, and his eyes ached watching their flash and glitter during the rapid gyrations of her restless figure.
"Are those paste jewels?" he asked Ezra, in a whisper.
"Paste!" echoed that young man, with a soft, satirical laugh. "Caprice wear paste jewels! Ask the men she's ruined where all their thousands went---where all their lands, horses, shares, salaries, disappeared to! Paste! Bah! my dear fellow, you don't know the number of ruined homes and broken hearts those diamonds represent."
The act proceeded; the dialogue scintillating with wit, and the choruses becoming more riotous. Intrigue followed after intrigue, and situation after situation, in all of which Caprice was the central figure, until the climax was reached, in a wild bizarre chorus, in which she danced a vigorous cancan with Cagliostra, and finished by bounding on his shoulders to form the tableau as the curtain fell, amid the enthusiastic applause of the audience.
Ezra and Stewart went out into the smoking-room to light their cigarettes, and heard on all sides eulogies of Caprice.
"She'd make her fortune on the London stage," said Santon to Mortimer. "Got such a lot of the devil in her--eh?--by Jove! Why the deuce don't she show in town?"
"Aha!" replied Mortimer shrewdly, "I'm not going to let her go if I can help it. Don't tempt away my only ewe lamb, when you've got so many flocks of your own."
"She doesn't look much like a lamb," said Columbus Wilks dryly.
"Then she doesn't belie her looks," retorted Mortimer coolly. "My dear sir, she's got the temper of a fiend, but she's such a favourite, that I put up with her tantrums for the sake of the cash."
While this conversation was going on, Ezra and his friend were smoking quietly in a corner of the room chatting about the opera, when the Jew suddenly drew Keith's attention to a tall man talking to a friend in a confidential manner. He had a thin, sharp-looking face, keen blue eyes, and fair hair and beard.
"That gentleman," said Lazarus, "could probably tell you something about those diamonds, he is an American called Hiram Jackson Fenton, manager of the 'Never-say-die Life Insurance Company.' Rumour--which is true in this case, contrary to its usual custom--says he is Caprice's latest fancy."
"He must have a lot of money to satisfy her whims," said Keith, looking at the American.
"Money!" Ezra shrugged his shoulders. "He hasn't
