Much Ado About Murder

5

The rehearsal Burbage had called for that afternoon mustered somewhat less than half the normal full complement of the Queen’s Men. A number of their hired men who had been fortunate enough to find other employment in these trying times had already left the company, while others were still out looking for work and it was anybody’s guess as to whether or not they would return when the theatre reopened. That they would reopen was not really in question; plague seasons had seen the closing of the city’s playhouses before and would doubtless do so again. They always reopened once again when the worst of it was over. This time, however, Smythe knew, as they all did, that the question was not whether or not they would reopen, but whether or not they would be capable of mounting a production that anyone would wish to see.

They had lost nearly half the members of their company, including Alleyn. In retrospect, Smythe realized that Alleyn must have seen the writing on the wall. The time was right for him to leave not only because the opportunity was ripe, but because the company was going stale. Their beloved comedian, Dick Tarleton, was dead and Will Kemp, who had long dreamed of the chance to take his place as lead clown for the company, had fallen prey to the worst condition that could befall a comic actor… he had missed his timing.

Kemp was past it, although he would be the last one to admit it. He had never bothered much about memorizing lines, trusting instead to his ability to improvise or else caper his way out of an awkward situation with a pratfall. Now, he simply could not memorize his lines, even if he wanted. He absolutely refused to admit it, insisting that memorizing lines was not the way he worked, but the truth, as everyone could plainly see, was that his memory was going and with it, his once brilliant ability at improvisation, a talent that required quickness of thought, which was a skill that Kemp no longer had at his command. Quite aside from that, even if he could still play the Kemp of old, the audiences had outgrown him.

Gone were the days when audiences howled with laughter at simple physical highjinks on the stage, at jigs and pratfalls, clever comments broadly spoken to the crowd with broad leers and expansive gestures, song and dance routines interspersed with juggling and a cartwheel thrown in here and there. The fashion now was for much more realistic fare, involving strong characters and a cohesive story. The juggling, the tumbling, the clowning and the morris dancing could now be found on any street corner and in every marketplace. The fashions of the stage were moving on, but Will Kemp was not moving with them.

As for the other players, John Fleming was getting on in years, and while Bobby Speed was still as clever a performer as he ever was, more and more he seemed to need the fuel of drink to pull it off, and if there was one thing that all performers knew, it was that playing in one’s cups rarely produced one’s best performances and was, at best, a rather dicey proposition. Discussing it with Speed, however, seemed completely hopeless. He would either laugh it off as of no consequence, or else promise to do better next time. The trouble was, there always was a next time, and a time after that, and after that, and after that. And each time, the influence of drink became more telling.

Will was of more value to the company as a poet than an actor. He knew full well his shortcomings in that regard, and although he was reasonably competent as a player, he knew he lacked the gifts to be inspiring, and an inspired actor was the one thing that the Queen’s Men desperately needed. Dick Burbage, though young, had good potential, but he was still no Edward Alleyn, and while all of his performances were good, none was truly memorable, as Alleyn’s were. As for the rest, himself included, Smythe knew that they were merely an agglomeration of young men with little talent or experience, not one among them capable of dazzling an audience and leaving them breathless to come back for more.

To make matters even worse, the Burbage Theatre was dilapidated and much in need of repair. The thatch was old; the galleries were creaking and there were more than a few cracked and splintered boards among the seats up in the boxes. The stage was in a state of disrepair and needed rotten boards replaced and hangings mended. Even the penants drooped with all the list-lessness of an old beggar woman’s breasts. The Burbage Theatre was a tired and weary old maiden, and merely slapping on some paint would not cover up all of the wrinkles and the blemishes of age.

Nevertheless, it was still their theatre, and to all of them who remained, it was much more their home than where they ate and slept. And as their decimated company gathered for rehearsal, despite all of their ill fortune and dim prospects, there was nevertheless a strong sense of cameraderie and joi de vivre. This was where they truly came alive, a sentiment that Shakespeare had expressed to Smythe quite often.

“Aye, this is where it matters, Tuck,” he had said again, moments after he came up to greet them. As he stood beside them just inside the entrance, he looked out with them over the yard, up at the stage, then back round to the galleries. “This is where their laughing faces fill our hearts with joy or where their catcalls plunge us all into despair. This is where the smell of unwashed bodies and fresh rushes mingles with the smells of greasepaint and the vendors’ offerings to create a heady perfume that intoxicates each player’s soul. This is where we stage our plays and play the dramas of our lives, where shadow becomes substance and substance masquerades as shadow. This…” he held out his hands, palms up, as if presenting some great work, “… this is our world. And you, prodigal Ben Dickens, are welcome to it once again.”

Dickens grinned. “It feels somewhat strange to be back again after all this time,” he said. “And yet, despite that, it also feels most welcome and familiar. It has been only a few years, and yet so much seems to have happened in that time. Can it have been so long since last I trod the boards in women’s clothing, declaiming in my high and squeaky, boyish voice the lines that I had worked so hard to drill into my memory, dreaming of the day when I could at last cast off my girlish gowns and walk out like a young knight in doubtlet, cape and hose, and carrying a sword?”

“That day has come,” said Shakespeare.

“Aye,” said Smythe, with a chuckle, “and a good thing, too, for you would make a most unnatural woman now with that deep voice, those broad shoulders, and that beard.”

“Well, we could shave off the beard,” said Shakespeare, as if contemplating the idea. “The face would look comely enough with a bit of paint upon it, but there would be no hiding that breadth of arm or depth of chest. S’trewth, Tuck, he is a strapping youth, indeed, almost as big as you.”

“We could always cast him as a horse,” said Smythe.

“Soft now, keep your voice down, else Kemp may hear and wish to ride him,” Shakespeare replied, with a wink.

“Ben!” Fleming called out, as he spied him from the stage. He threw his arms out as if to hug him from up there. “Welcome! Welcome! Well met and welcome once again! Look, everyone, look! Ben has come! Ben Dickens has come back to join us!”

They all gathered round to greet him, Speed and Fleming, Burbage, Flemings, Pope and Phillips, Kemp and Bryan… all a motley looking crew, but still a happy lot, despite their tribulations. And as he saw them all together, Smythe thought of Liam Bailey’s admonitions against wasting his time amongst the players and realized that for all his good intentions, Liam Bailey simply did not understand. How could he?

They were a family, much more of a family than he had ever known. Symington Smythe had never truly been a father to him in anything save name, for all that they had shared that name. That patronymic bond was one of the reasons he now preferred to be called Tuck. That grasping woman that his father married, whom Tuck did not even care to think of as his stepmother, had never wanted to be bothered with having a child underfoot, so to appease her and free his father of a burdensome responsibility at the same time, he had been packed off to his uncle’s. And much as he would always love his uncle, Thomas Smythe was a quiet man by nature and by disposition, reserved and not given to boistrous demonstrations of his thoughts and feelings. Uncle Thomas gave him what he could, and did as well by him as he knew how, but Tuck had always felt that there was something missing. Now he knew that he had found it.

These simple players wore their hearts upon their sleeves and everything they did was boistrous and demonstrative, done not only with feeling, but frequently with an overabundance of it. Smythe found it impossible to be around them without his spirits soon being raised. They gave an honest, open boon companionship that was worth more to him than all the money he could make working as a journeyman in Liam Bailey’s shop or elsewhere.

It was something that his father had never understood, nor did Smythe hope to ever make him understand it. The world his father lived in now seemed as far removed from him as the life that he had left behind. And good riddance, too, he thought. He had walked away from it without a backward glance the day that he had started on the road to London. What did chasing dreams of wealth, social position, and respectability ever do for his father? He had managed, with diligence and perseverence-and more than a little bribery-to make himself a gentleman at last, and to give him his due, it was an achievement of no small scope for a man of his beginnings. Nevertheless, it proved not to be enough. No sooner had he hung up his newly won escutcheon than he began to covet spurs. And where had it all left him? In debt, and nearly penniless, dependent on his brother’s charity to help keep him out of prison. Surely, there was a lesson to be learned in that.

Meanwhile, Tuck had come to London without anything at all save the clothes upon his back and a friend that he had made upon his journey, and now, for all that times were difficult, he felt richer by far than he had ever been. He had a place to live, where many shivered on the streets at night. He had work that helped to feed and clothe him, where many went hungry every day. He had a trade, of sorts, that admitedly he was not much good at, but it gave him pleasure and he felt that he was learning how to be a better player every day… or at the very least, he tried his best to learn. While his father, who had accused him of being a wastrel, had wasted his own life, Tuck had built a life in which not one moment felt wasted. The thought of losing this life and these friends was more than he could bear. Somehow, despite their difficulties, he felt certain they would manage. Somehow, he knew that they would see it through.

They began rehearsing one of their old standards, The Wastrel and the Maid, a comedy about a rogue who sought to woo and bed a virtuous maiden, and it seemed only natural for Ben to play the rogue, because he was by far the most handsome among them and the most suited to the part. Burbage took the demanding part of the young maiden’s much beleagured father, once played to great acclaim by Edward Alleyn, and Kemp took the part he always played, that of the rogue’s hapless, comic henchman. George Bryan, as the youngest and the slightest of them, was assigned to play the maiden. Sadly, they had lost both their juveniles, one of whom had sickened and died at the beginning of the plague season and the other, doubtless frightened by the fate which had befallen his young companion, ran away to parts unknown. They had not yet managed to find suitable replacements, but for that matter, they had not looked very hard, either. Any juvenile apprentices that the company took on would have to be housed and fed by the players, and without being certain where their own next meals were coming from, none of them wished to take on such an additional expense.

The play was old enough that Dickens was able to remember some of it, having played the part of the maiden when he was a boy. Needless to say, he did not have any of the same lines, some of which had been changed in the intervening years in any case, but it all came to him quickly, the way a familiar task comes to one who has not practiced it in a while, but has never entirely forgotten. They all worked with prompting from Will Shakespeare, who as book holder gave them their lines if they could not remember-Kemp, of course, being the chief offender save for Dickens, who had to learn almost everything anew-and if some line or bit of business did not seem quite right, they experimented with changes on the spot.

They all knew that they had a great deal of work to do in order to be ready for their reopening, especially with the strength of their company reduced. Most of them would have to play several parts, which would involve rapid costume changes, but then that was nothing they had not done before. There would simply be more of them doing it this time, crowding the tiring room with rapid changes, necessitating careful planning as to who would stand exactly where and how in order to avoid confusion backstage. This did not concern them greatly; they had dealt with worse. Many times, while on the road, their stage had been nothing more than planks hammered together and placed across barrels and their tiring rooms nothing more than narrow curtains hung from poles. A player had to learn to improvise amidst adversity. One way or another, the show always went on.

This would be only the first of the plays they would rehearse in preparation for reopening, for staging just one play would never do. One of the things that had both surprised and dismayed Smythe after he had joined the Queen’s Men was the discovery that no company ever staged the same play two days in a row, unless a particular production became unusually popular and there was great demand for it, though that was rare. Audiences were easily jaded and they demanded variety. Generally, the selection of the plays was somewhat random, and it was not at all uncommon for a player to arrive for a performance only to discover that, at the last minute, there had been a change and a different play was being staged. Thus, one of the requirements of the actor’s trade was the ability to “con” or learn a new play very quickly, something Smythe could never do, for which reason he was always relegated to to playing nonspeaking parts or else to roles which had only one or two lines, at most. Ben Dickens, on the other hand, proved every bit up to the challenge of conning a new role quickly.

Dickens required at most a little bit of stage direction and a quick reading of the line that he was to deliver before playing the scene and doing it almost flawlessly. Shakespeare would make a small correction here, a helpful prompt there, and Dickens would seem to absorb it all like a sponge and just continue on.

“ ‘Tis like he had never even left us,” Fleming said proudly, watching from the wings with Smythe as Ben worked through a scene with Kemp and Bryan. Tuck had learned that it had been John Fleming who had housed young Dickens when he had apprenticed with the company as a juvenile and so, strictly speaking, Ben had been Fleming’s apprentice, even though all the players generally regarded the juveniles as their apprentices in common. Fleming was married, but he and his wife were childless and no longer young. They had both taken to Dickens as if he were their own. Now, he looked for all the world like a proud and beaming father as he watched his grown “son” rehearsing on the stage.

“He is very good and a quick study,” Smythe observed. “Was he this good as a juvenile?”

“Aye, he always had the gift, I thought,” Fleming replied, nodding his silver-maned head emphatically. “Methinks that he could be another Ned Alleyn if he set his mind to it.”

“Indeed?” said Smythe, with admiration. “That is high praise, coming from another player.”

Fleming nodded. “I saw it in him even when he was just a boy. He has the ability to become the role he plays, to believe it so that it no longer seems like acting, but more like being. In that respect, however, he is not at all the same as Alleyn. Ned was always Ned, at heart. He never lost sight of being Ned, because he was very fond of Ned, you see. Whenever Ned Alleyn stepped out upon the stage, ‘twas Ned Alleyn that the audience was seeing, Ned Alleyn playing a part, and often playing it brilliantly, mind you, but nevertheless, one could never quite lose sight of that.”

“What do you mean?” asked Smythe, not quite following him.

“I mean that when you see Ned Alleyn playing a part, you always remain aware that you are watching Ned Alleyn playing a part. You never quite forget that ‘tis Ned Alleyn, the great actor, you are seeing.” He purposely broke up the word ‘actor’ into two syllables, accentuating each one pointedly. “The very nature of his performance demands that you remember it.” To illustrate, Fleming took a dramatic pose, standing bolt upright with his right hand upon his chest, his chin up aristocratically, his left arm held out before him as if he were Caesar speaking to his troops. And when he spoke, his voice performed a very credible imitation of Ned Alleyn’s ringing and bombastic stage cry. “ ‘Lo!” he intoned, “ ‘tis I, the great Ned Alleyn, playing this part! Behold how brilliantly I act! Revel in the very wonder of me!”

Smythe laughed. “He would kill you if he saw that, you know.”

“Oh, I have no doubt,” Fleming replied offhandedly, in his normal voice. “He would squash me like a beetle, the great oaf. But still, it changes nothing.” He shrugged. “That is how he acts.”

“Perhaps, but if we are truly going to be honest with ourselves, John, is that not how all players act?” asked Smythe.

“Aye, most of us do, I suppose,” Fleming agreed, nonchalantly. “If, as you say, Tuck, we are truly to be honest with ourselves, then perforce we must admit that once all the trappings of our craft are stripped away, we are all nothing more than great infants in want of much attention. We live or die at the whim of the groundlings; we fatten our pride on their applause. But not Ben. Ben is something else entirely.”

“What makes him different?” Smythe asked curiously, as he watched him rehearse out on the stage.

“For Ben, ‘tis not the applause that truly matters. For him, the play’s the thing. And not really the play so much as the playing. In that, I perceive he has not changed.”

Smythe frowned. “ ‘Twould seem to me that playing matters neither more nor less to him than to any of the others. Or do my eyes see things less keenly than do yours?”

Fleming smiled. “The flaw lies not so much in your observation as in your knowledge, Tuck. I have known Ben since he was but a boy, whilst you have only met him recently. And the truth is that there is rather more to Ben than the eye can plainly see. Ben did not much like his life, and so he went off to make himself another. And now he has come back, because the life he went in search of doubtless proved a disappointment, and so once again he seeks to make himself another.”

Fondness seemed to mingle with a sort of wistful regret in John Fleming’s exression as he watched Ben Dickens on the stage. He sighed and continued while Smythe listened with great interest.

“There is a sort of magic to our Ben,” Fleming said. “For all that he is a grown man now, there is still the child within him, a fey child, a changling who possesses the ability to believe in things the way only a child can believe. I first saw it within him when he came to us as an apprentice player and I see it still. When you and I go out upon that stage, Tuck, we take the parts we are to play and play them as best as we are able, do we not?”

“Well, I fear my best is not to be compared with yours on equal footing,” Smythe said, somewhat sheepishly.

“Nevertheless,” the older man replied, gently patting him on the shoulder, “you put forth your best effort each and every time, for which you are to be commended, and you strive always to improve. But that is not the point. Tis this: when the rest of us step out upon the stage, we are but playing parts, pretending to be something we are not. Yet when Ben steps out upon the stage, what he does is rather different. He becomes something he is not. That is his gift, you see, his special magic, and perhaps, his curse, as well. He has the ability to so completely throw himself into a role that he becomes that role during the time he plays it… for howsoever long that time may be. I first saw him start to do it on the stage and I did marvel at it. I thought that he had the potential to be better than merely good; I thought he could be great. And I still think so. But when I later saw him do the same thing in his life, offstage, then I became truly concerned for him. It frightened me.”

“In what way were you frightened?” Smythe asked.

“Do you recall those two thoroughly unpleasant ruffians who came into the Toad and Badger that day when Ben returned?”

“Aye,” Smythe said, with a grimace. “Jack Darnley and Bruce McEnery were their names.”

“They are the very ones,” said Fleming, nodding emphatically. “After Ben had been with us for a few years, he met those two somehow. I do not know where precisely, perhaps here at the theatre, perhaps in town somewhere… in truth, it matters not. What matters is that he fell in with them and began to spend his free time roaming the streets with that unruly lot of theirs — ”

“The Steady Boys,” said Smythe.

“Aye, steady on the road to ruin, if you ask me. I watched him begin to change before my own two eyes, become another Ben… a Ben that I no longer knew, in many ways. And yet, in other respects, he still seemed much the same. When he was with us, he was the Ben that we had always known and loved. But then there were times when it seemed as if he were a changling, as if the faeries came whilst he had slept and stolen him away, leaving in his place some evil creature that merely had his aspect. It puzzled me at first, until at last I understood what was afoot. It always used to happen when he was returning from keeping company with those troublesome apprentices. There was something about those roaring boys that very much appealed to Ben, you see.”

“I cannot imagine what it may have been,” said Smythe.

“Nor could I,” said Fleming, with a grimace of distaste. “But methinks perhaps that what he saw in them in the beginning was something of what he wished to be himself, a sort of adventurer, a man of action and determination, a young gallant… not that they were any of those things, in truth, but I suppose that they believed they were, and spoke as if they were, and so Ben believed it, also. I attempted to dissuade him from their company, to convince him that they were a bad influence upon him and would bring him naught but trouble, yet ‘twas all to no avail, of course. When did youth ever credit the wisdom of their elders?”

“I do not recall that I ever did, myself,” said Smythe. “Well, save for my Uncle Thomas, to whom I always listened with respect. But for the most part, when I was younger, I did not find that my elders seemed to possess very much wisdom.”

“Amusing, is it not, how the older one becomes, the wiser one’s elders seem to grow?” said Fleming, with a smile. “Well, as you might imagine, the more I prevailed upon him to abandon this bad company, the more he sought it out. In the end, he drifted away from us. He found a position as apprentice to an armorer, which was just the sort of manly thing for a young gallant to be, I suppose, but then, he soon drifted away from that, as well. The rest you know. He saw how his friends paled in comparison to the genuine adventurers he met at his new master’s shop and ‘twas not long before he left them behind, as well, to make himself yet another life.”

“I do not believe they liked that very much,” said Smythe.

“Aye, that sort never would,” agreed Fleming. “When one leaves that sort of company, ‘tis often perceived as weakening the others, for they find their strength in numbers. But much more than their strength, methinks, they find their very identity in numbers. And so when someone leaves them, they feel threatened and betrayed.”

“I realize that they do, but I am not sure that I understand why they should,” said Smythe.

“Consider who they are and how they live,” said Fleming. “They are young and working class, though not yet old enough or, in most cases, skilled enough to work in their own right as journeymen or master craftsmen. Yet at the same time, they are old enough to consider themselves full grown, though again, in most cases, they have not yet acquired the wisdom of adulthood. And so they find themselves in service as apprentices, at the bidding of their masters and unable to achieve their independence until such time as their masters deem them worthy. They have no ability to determine the course of their own lives, no true feeling of worth, and no power of their own. In their masters’ shops, they labor hard and long and must do as they are told. But when they go out on their own and band together with others like themselves, why then they find within that company a strength of purpose and a sense of belonging to something that gives them worth and a feeling of respect. One becomes more than merely a lowly young apprentice; one becomes a Steady Boy, or a Bishopsgate Brawler, or a Fleet Street Clubman, or whatever other colorful appellation these gangs of apprentices choose for themselves. And this company thus becomes a band of brothers, in one sense a family, in another sense an army… not unlike your highland clans. And if you are a member of this clan, then you are someone worthy of respect, someone to be feared… for when one is young, fear and respect seem much like the same thing. If you should become the leader of such a band, why then you have importance, power, and position, all of which is yours by virtue of the men you lead. The more men, the more power; the more power, the more prestige.”

“So that if one of the men you lead chooses to leave your command, then ‘tis very like a mutiny,” said Smythe.

“Exactly so,” replied Fleming, nodding. “I could not have said it better.”

“Now I understand what transpired earlier today,” said Smythe.

Fleming looked at him. “What happened?” he asked, and briefly Smythe described their encounter with the Steady Boys while he and Dickens were on their way to the theatre.

“I just knew those two would be trouble,” Fleming said, when he had finished. “And now, regretably, you have become mixed up in it. You would do well to avoid them, if you can.”

“Did you expect me to run off and leave Ben to face them by himself?” asked Smythe.

“Of course not,” Fleming replied hastily. “I know you better than that, Tuck. But just the same, I wish you had not become involved. Ben knows what they are like, and he knows what to expect of them. And not meaning to slight your abilities in any way, Ben is also a trained soldier who has been to war. He knows well how to take care of himself.”

“Well, ‘tis not an army we are talking about, after all, John,” said Smythe, “just a few young malcontents and troublemakers.”

“Just the same, they can be dangerous,” insisted Fleming. “If you do not wish to give me credence, then go ask your blacksmith friend, Liam Bailey, whose former apprentice was killed in one of their street brawls. Do not underestimate them merely because they are young, Tuck. Aside from which, those two, Darnley and McEnery, are of an age with you, or very nearly so. Some of the others might be younger, but put enough of them together and they can be trouble enough, believe me. They might forgive Ben, in consideration of the past, but they have no reason to grant you any such consideration.”

Smythe nodded. “I shall keep that in mind, John. But ‘tis not in my nature to run away from trouble.”

“Just see that you do not run toward it,” Fleming said, “ ‘Allo, what have we here?” he added, looking out past the stage into the yard. “ ‘Twould seem that Master James has brought us visitors.”

The rehearsal stopped as the players came down off the stage into the yard to greet James Burbage, Richard’s father and the owner of the Burbage Theatre, who had arrived with a party among whom were Henry Darcie, one of the investors, his daughter, Elizabeth, Ben’s friend, Corwin, and another gende-man, dark and foreign looking, richly dressed in silks, who came in company with a beautiful young woman whose pale skin was a striking contrast to her jet black hair. Even before they were introduced, Smythe had already guessed that this was Master Leonardo, the wealthy Genoan merchant trader, and his lovely daughter, Hera, who had so captivated Corwin.

There was yet another gentleman who came along with them, a man Smythe did not know. He was large, heavy, and robust-looking, with a florid face and a thick, bushy gray beard. Shoulder-length gray hair came down from beneath a soft, dove-gray velvet cap, which matched the three-quarter length cloak and short, soft gray leather boots that set off his burgundy hose and quilted black doublet shot through with silver thread. They must have come in carriages, thought Smythe, for otherwise those new, expensive clothes would have been filthy from the mud outside.

The red-faced gentleman turned out to be Master William Peters, the goldsmith to whom Corwin had been apprenticed and in whose shop he now worked as a journeyman, well on his way to establishing a successful reputation as a craftsman in his own right. James Burbage made the introductions, pointing out the individual players to his guests. Henry Darcie and Elizabeth, of course, already knew them all, but this was apparently the first time that Master Leonardo and his daughter had ever seen the Burbage Theatre. Master Peters had attended several of their productions in the past, but he was apparently not a regular. He came, primarily, to act as an intermediary for Master Leonardo with James Burbage and Henry Darcie. And doubtless he also came for Corwin’s sake, for it was clear from the way his eyes never left Hera for an instant that the young journeyman was very much in love.

“Well met, good players, well met all!” said Master Peters in a jovial tone, after Burbage had completed the introductions. “I beg you, do not allow our merry company to interfere with your busy preparations. We have merely come to visit and observe. My friend, Master Leonardo, late of Genoa and newly arrived upon these shores, is in the mind of considering new ventures here in London and, in that regard, was curious to learn something about the business of a company of players. Thus, upon learning of his interest, I could think of nothing better than to introduce him to my old friend, Henry Darcie, whom I knew to be an investor in your theatre. Therefore, ‘tis my great pleasure to introduce Master Leonardo, and his fair young daughter, Hera, and the rest here, I believe you all already know.”

“Indeed, we do, good Master Peters,” the younger Burbage said, speaking for them all, “and you are all most welcome to the Theatre. Sad to say, we cannot regale you with a play, for as you doubtless know, by order of the council, the playhouses of the city are all closed ‘til further notice and we are thus enjoined from performing for you.”

“Indeed,” said Master Leonardo, speaking excellent English, albeit with a pronounced Italian accent, “I was aware of the decree, though ‘tis a pity, for I had hoped to learn something of your work and, at the same time, perhaps provide some amusement for my daughter, who has never seen an English company perform.”

“Well, good Master Leonardo,” Shakespeare said, “we cannot disobey the council’s edicts, as you know. But while the council did close down the playhouses to prohibit our performing, fearing that the plague could breed among the crowds, they did not prohibit our explaining to a prospective investor in our theatre how a play is staged. And so, as we were in rehearsal for one of our productions when you arrived, you might find it both diverting and enlightening if we were to explain to you how such a production is prepared for a performance.”

“Methinks a Papist could not have split a hair more finely,” Kemp said wryly, and then grunted as Speed gave him an elbow in the ribs.

“The man’s a Roman, you bloody great buffoon,” he said, under his breath.

“Please, come this way,” said Smythe, beckoning to them. “We shall set up some benches on the stage for you so that you may see how our company prepares for the performance of a play.”

The guests climbed up upon the stage and took their seats at the side while the company resumed rehearsing. James Burbage explained the process to them as the Queen’s Men went through the play, stopping at intervals to correct or change a line, or else to adjust their movements on the stage and fine tune their entrances and exits.

While Master Peters played the part of genial host, asking questions or else calling out encouragement to the players, Master Leonardo watched with interest, and with a critical, discerning eye it seemed, as James Burbage explained what they were doing and Henry Darcie offered the occasional supplementary remark. Watching from the wings, Smythe could see that Hera was thoroughly enjoying it all, watching with bright eyes and laughing at their antics, for despite the fact that it was only a rehearsal, the players, being players, could not resist joking around and clowning for their audience. Elizabeth, who might have greeted Smythe more warmly were it not for the presence of her father, sat next to Hera and they spoke often to each other and laughed together like good friends. The two of them made a very comely sight. Smythe noticed that just as Hera scarcely took her eyes off what was happening before her on the stage, so Corwin scarcely took his eyes off her. But then he also noticed that just as Corwin scarcely took his eyes off Hera, so Elizabeth scarcely took her eyes off Ben.

A number of times during the rehearsal, Smythe sought to catch her gaze, but all to no avail. It was as if he wasn’t even there. When she was not speaking to her new friend, Hera, Elizabeth kept staring straight at Ben, and with what seemed to him more than a little interest.

“ ‘Twould seem you have yourself some competition,” Kemp said slyly, as he sidled up to Smythe backstage.

“Stuff it, Kemp,” Smythe replied in a surly tone, irritated both at Kemp’s remark and at the fact that Elizabeth ’s interest was obvious enough for him to have noticed.

“Oh, my, my,” said Kemp, with a soft, delighted chuckle. “We are prickly today! But then, ‘twould seem a simple enough thing to understand. After all, he is quite handsome, our young Ben, a veritable Greek god, the very personification of Mars! Aye, he would be Mars himself, since he has been to war and thus has the glamor of a warrior.”

“Mars was a Roman god, you ignorant poltroon,” replied Smythe, irritably. “The Greek god of war was Ares, which you might have known if you troubled to read a book once in a while. But then ‘twould be unreasonable to expect a man to read a book when he can scarcely even read his lines.”

Kemp’s nostrils flared and his eyes shot Smythe a look of pure venom, but his voice remained mellifluously smooth as he replied, “A touch, by God! And from a hired man, no less. One would not have thought you capable of so telling a riposte. Bravo, Smythe. Well done. Well done, indeed.”

Smythe sighed, regretting his words. “Forgive me, Kemp,” he said. “ ‘Twas rude and intemperate of me to make such a remark.”

“Oh, now, do not dilute the vinegar with oil,” Kemp said, with a grimace. “ ‘Tis most unseemly. If you are going to be a proper bitch, my dear, then ‘tis best not to lick after you bite.”

“Kemp…” But the older man had already turned smartly on his heel and walked away.

For Smythe, it was a thoroughly miserable afternoon. Everyone else seemed to have an absolutely splendid time and when their guests departed at the end of the rehearsal, just as the shadows were beginning to lengthen in the early evening, everyone seemed quite full of good cheer, almost as if they had actually given a successful performance to a packed house. Smythe alone felt glum, in part because he had allowed Kemp to get his goat, but mostly because Elizabeth had completely ignored him throughout the entire rehearsal.

As for Ben Dickens, Smythe could not see how he could have failed to notice the way Elizabeth had watched him. In fact, he thought that Ben had made a point of flirting with her a little during the rehearsal, not that he could blame him. It was not Ben’s fault. Elizabeth Darcie was a breathtakingly beautiful young woman and Ben had absolutely no way of knowing how Smythe felt about her, a feeling he had thought, up til that point, had been reciprocated, if not in the same degree, then at least to some degree. Now, it seemed as if Elizabeth no longer felt anything for him at all. How could she? She had not even looked at him once.

Smythe watched morosely as they left, heading back toward their carriages, then he turned and set about helping to put everything away after the rehearsal. It was not until a short while later that he noticed there was still someone standing in the yard, toward the back, near the entrance. It was a man, and the man appeared to be watching him.

Shakespeare came up beside him. “Anyone you know?” he asked, casually.

Smythe frowned. And then he caught his breath. “Good God!” he said.

“What is wrong? Who is it?” Shakespeare asked.

“The last man I ever expected to see here,” said Smythe.

“Who?”

“My father,” Smythe replied.