What Bloody Man Is That by Simon Brett Read Free Book Online Page B

Gavin looked uncertain. ‘Why? Do you think I should?’
    â€˜No. No, goodness, no, it’s terribly important in terms of the definition of Kingship.’
    â€˜Yes. Exactly,’ Gavin agreed, thinking on his feet. ‘That’s why I’m keeping it in.’
    â€˜Good. Just a lot of directors do cut that bit.’
    â€˜Not me,’ said Gavin Scholes smugly. ‘Very important, the definition of Kingship. Then of course there’s the other Doctor . . .’ he went on hesitantly, ‘. . . the Scottish Doctor, the Doctor of Physick in the Sleepwalking Scene. It’s a natural doubling with Duncan, actually. Often done. I was wondering, Warnock, whether you might possibly . . .?’
    â€˜No.’ The word was loud and unambiguous.
    â€˜But it would be a great help if –’
    â€˜No. I am Warnock Belvedere and Warnock Belvedere does not double. I was engaged to play Duncan in this production of
Macbeth
, and that is the only part I intend to play.’
    â€˜Ah.’ Gavin hesitated for a moment, as if contemplating remonstrance. But his nerve gave, and once again he turned to where he knew he would get a more accommodating response. ‘Erm, in that case, Charles, I wonder if you’d mind . . .’
    Eventually, the read-through started. Felicia Chatterton wanted to stop and discuss each line as it came up, but grudgingly conceded agreement that they’d do one straight read-through and then start talking.
    The reading demonstrated a marked contrast in styles between the two principals. Felicia, in spite of wanting to discuss interpretation so much, had already done a great deal of homework. For a start, she knew the lines. And she spoke them with enormous skill and passion, utilising the full range of her magnificent voice.
    George Birkitt, by contrast, gave an appalling reading. He appeared never to have seen or heard any of the lines before in his life and, from some of the readings he gave, certainly not to understand them. Even famous quotations were delivered with leaden incomprehension. George Birkitt’s approach to intonation seemed to be based on the simple rule that all personal pronouns should be emphasised. ‘
I
have done the deed.’ ‘How now, you secret, black, and midnight hags! What ist
you
do?’ Even ‘
She
should have died hereafter.’
    There was also a problem of volume. Not only did George stumble, he also mumbled. He was used to the intimacy of television, where, with microphones continuously poised above the actors’ heads, there was no need for projection. Obviously he was going to have to be reminded what it was like to work in the theatre.
    But the actor himself did not seem worried by his bad reading. There was no embarrassment as he fluffed and floundered through some of the most famous lines in the English language. Charles was going to be very interested to see how that particular performance grew in the course of rehearsal.
    The rest of the cast read predictably. Russ Lavery’s Fleance was way over the top, clearly the product of much detailed agonizing in front of his mirror.
    Warnock Belvedere was also over the top, but with a chilling authority. From his first line, ‘What bloody man is that?’, he dominated his scenes, and Charles the bloody man in question, looked forward with interest to sharing what was left of the stage with him.
    The reading went through jerkily, but without major interruptions, until they broke for coffee at the end of Act Three. The only long silence in the second half occurred in the Apparition Scene. The first Witch cued the first manifestation (an Apparition of an Armed Head) with the line, ‘He knows thy thought: Hear his speech, but say thou nought’, and nothing happened.
    â€˜Erm . . .’ said Gavin vaguely. ‘Oh, sorry, haven’t I cast this? I wonder, Charles, would you mind . . .?’
    As he read the lines, Charles Paris reflected