The boy gulped.
"And we should have to find another boy to take your place emptying the chamber pots!" added Snegelringe.
Lempchin's discomfort faded and he blushed. He did not really like Snegelringe, Feltheryn knew, but he respected the actor: in fact, he wanted to take his place some day, if he could just leam the lines and arrange an accident.
"Come," said Feltheryn, rumpling the chubby boy's hair. "I see the place Lalo recommended, across the square ahead. While I talk to the blacksmith perhaps you can persuade his wife to read your palm. They say these S'danzo women read the future well, and she may see you upon the boards yet!"
The interview with Dubro, the blacksmith, went well enough, though he apologized for his lack of expertise in fashioning crowns. The huge man was not pleased with the way Snegelringe lavished attention on his wife Illyra, but neither did he move to stop it. Feltheryn supposed the fellow would have felt foolish exhibiting jealousy over a pudgy actor with a receding hairline; and he did not feel it appropriate to disabuse the man of his illusions at just this point. Snegelringe's reputation as a ladies* man would spread through Sanctuary soon enough, causing the company problems aplenty. Let that happen later, after people were accustomed to coming to the plays. Then the troupe would be able to weather the criticism of their morals that even a town as corrupt as Sanctuary felt qualified to heap upon mere actors.
As for the wife, Hlyra: Feltheryn wondered why it was she dressed as she did, making up her face in such a way that she appeared, to the untrained eye, like a crone. Was it because of the respect accorded to old age? (He knew well that such respect was more often an illusion of the young than a reality- His own years had earned him rather a grudging tolerance than respect. People did not defer to him, they waited for him to die so that they could take his place!) Or did she have some secret distress? She was not responding to Snegelringe's attentions as a woman might usually. The professional mask of a seeress was set well in place, but to Feltheryn's equally professional assessment she seemed mildly puzzled by it all; as if she could not understand why Snegelringe was flirting with her. Was it possible she did not know that actors used makeup as skillfully as S'danzo, and for much the same purpose? Was it possible she did not realize that Snegelringe could see beneath her mask to the lovely young woman?
Feltheryn let the puzzle go, another observation of the human condition for his catalogue of character, and finished his business with Dubro.
Lempchin had not found the seeress m a soft enough mood to give him a reading of the cards for free, so the boy begged for a pastry instead, and that led to Snegelringe boxing his ears as they left the bazaar to return to the theater.
The theater itself was still under construction in the shell of a building that had burned during the plague riots. It was located between West Side Street and Processional, near enough to the palace that the prince could come at his convenience yet far enough away for the Rankan lords to retain their feelings of respectability. Molin had at first proposed housing the actors at some distance from the actual playhouse, perhaps in Westside where there was new construction: but Glisselrand had made clear, with her wannest affectations, that a woman would feel unsafe going such a great distance alone, and that providing her with a dependable escort would cost Molin much more than was reasonable. She had phrased it in such a way that there was no room, short of acute rudeness, for the priest to suggest she provide her own escort, or do without. Thus the theater included an attached residence which, though small, was better than anything they might find among the workmen's quarters at Shambles Cross.
The Architect of Vashanka had even taken a personal interest in the construction, as if the finishing of the walls on which he had so long labored was somehow not enough to occupy his creativity. He offered plans for a very lavish performing space and was not in the least offended when Feltheryn pointed out to him, with grave discretion, the need for a stage house at the top and dressing rooms below and behind the actual stage; not to mention space in the wings for the storage of properties to be brought on.
The rebuilding had gone on apace and now the structure was beginning to look much the way Ranke's theaters looked. There was a proscenium, a thing never seen outside the capital, boxes for important people who wanted to be seen as much as they wanted to see, and a royal box for those nights when the prince wished to attend a performance. The theater was, after all, a political tool of some import for those, like the late Emperor, who knew how to use it.
It was therefore not as great a surprise as it might have been when Feltheryn entered and found the Beysa Shupansea having tisane with Glisselrand in the foyer, surrounded by several ladies-in-waiting whose raiment was so splendid that it paled only before the Beysa herself.
For a moment Feltheryn was awestruck. The cloth in the Beysa's dress alone could have footed the bill for the whole of the theater. She wore such riches as Ranke never saw, and she wore them well, her breasts thrust out voluptuously and yet with dignity, her head held with a pride that was neither unnatural nor condescending. The gorgeous snake coiling about her throat like a necklace was a priceless piece of theater!
The only woman he had ever seen so queenly was Glisselrand herself, perhaps in the role of Adriana in Templesmoke: but of course he would not declare that to the Beysa. "Does not the day confound the night?" he quoted from The Archmage by way of greeting, for he had not yet learned her proper title of address. "Are not the stars but fragments of the light?"
The Beysa smiled and the membranes on her eyes nictitated. She knew flattery, instantly understood why he chose to use it at this moment, and decided to accept it graciously.
"I have come to see your theater," Shupansea said. "And perhaps to make my own small contribution to its success, if that would be appropriate and acceptable."
Feltheryn decided he liked her.
"But of course!" he said. "Has my lady shown it to you, or have you waited for my return?"
"Your lady has shown it," said the Beysa, "and we have discussed my gift. She asked only that I accept a few sweets, and this lovely hot tisane she makes, while we awaited your approval."
"If my lady approves it, then so do I," said Feltheryn. "But what is it that you so kindly offer, if I may ask?"
"The Beysa," said Glisselrand (and her voice held the full rich lustre that it always did on stage) "has offered to have the royal box flocked with velvet. Not just the rails but the whole thing, inside and out. I think that is most kind of her, don't you?"
"Not only kind, but generous," said Feltheryn. "May I assume from this that ..." (There was nothing for it, he had to use some title!)"... Your Highness plans to attend our humble offerings?"
"It will be a great treat to see such plays as those the Rankans saw," said the Beysa. "Especially after so long here in Sanctuary. In my homeland there were many spectacles provided to amuse us, and I confess to missing them. I shall be most pleased indeed to come the very night you first perform."
The irony of her using the past tense when referring to the plays performed in Ranke was not lost on Feltheryn, but he noted it only in passing. An occupied Royal Box inevitably meant a full house!
Later, that night, Feltheryn had second thoughts about presenting The Power of Kings. In addition to the King, his son, and the leading lady, the play required a second young male, the son's best friend. It was the most sympathetic part in the play, for the friend, Rorem, died by an assassin's arrow in the last act, even in the midst of swearing his love for the prince, Karel. It was one of the great and moving scenes of the play, and one of the most mystical, for it was never explained. Like the events of real life, nobody ever discovered who killed Rorem, or why.