giggled hysterically, said: “Ladies and gentlemen, I will now call upon Squire Tressidder to oblige by singing the refrain!”
You know, with the most charitable feelings towards him, there are moments when you can’t help thinking that young Bingo ought to be in some sort of a home. I suppose, poor fish, he had pictured this as the big punch of the evening. He had imagined, I take it, that the Squire would spring jovially to his feet, rip the song off his chest, and all would be gaiety and mirth. Well, what happened was simply that old Tressidder—and, mark you, I’m not blaming him—just sat where he was, swelling and turning a brighter purple every second. The lower middle classes remained in frozen silence, waiting for the roof to fall. The only section of the audience that really seemed to enjoy the idea was the Tough Eggs, who yelled with enthusiasm. It was jam for the Tough Eggs.
And then the lights went out again.
When they went up, some minutes later, they disclosed the Squire marching stiffly out at the head of his family, fed up to the eyebrows; the Burgess girl at the piano with a pale, set look; and the curate gazing at her with something in his expression that seemed to suggest that, although all this was no doubt deplorable, he had spotted the silver lining.
The show went on once more. There were great chunks of Plays-for-the-Tots dialogue, and then the girl at the piano struck up the prelude to that Orange-Girl number that’s the big hit of the Palace revue. I took it that this was to be Bingo’s smashing act one finale. The entire company was on the stage, and a clutching hand had appeared round the edge of the curtain, ready to pull at the right moment. It looked like the finale all right. It wasn’t long before I realised that it was something more. It was the finish.
I take it you know that Orange number at the Palace? It goes: