What Bloody Man Is That Read Free

that.’
    â€˜Yes.’
    â€˜He’s got to have a couple of rehearsal days out for filming some new sit com he’s doing, but basically we’ve got him right through.’
    â€˜Oh, good,’ said Charles, permitting himself an edge of irony. Down at his level in the profession, you didn’t get days off rehearsal for doing other jobs; it was only so-called stars who could get that kind of thing written into their contracts.
    But Gavin seemed unaware of the intonation. ‘Then I was terribly lucky to get Felicia Chatterton for Lady Macbeth. Ever come across her?’
    Charles shook his head.
    â€˜No, well, you wouldn’t have done unless you’d been with the Royal Shakespeare. She went straight out of Central to Stratford and hasn’t worked anywhere else. Done some lovely stuff . . . super notices for her Perdita. And a smashing Celia. Anyway, like most of them do, she’s now venturing out into the real commercial world.’
    â€˜How old is she?’
    â€˜Late twenties.’
    â€˜Bit young to be partnered by George, isn’t she?’
    â€˜Oh, I don’t know. She’s very clever. And, anyway, I think a younger Lady Macbeth helps the sensuality in the relationship. Don’t you?’
    Charles tried another nod this time.
    â€˜The sexual dimension is so important. You know, that whole business of whether she’s had children or not . . . She has the “I have given suck . . .” speech, but then Macduff says, ‘He has no children.’ Now, are we meant to assume –?’
    â€˜Yes.’ Charles diverted the subject forcibly. ‘Who else is there?’
    â€˜What, in the company?’
    â€˜Yes. Who’s Duncan, for instance?’
    â€˜Oh.’ Gavin smiled slyly. ‘I got Warnock Belvedere for that.’
    â€˜Ah.’
    â€˜From your tone of voice, I gather you know him.’
    â€˜Only by reputation.’
    Again Gavin Scholes read something in Charles’s intonation. ‘Oh, I think that’s probably all bullshit. I mean, you know how easily someone gets a name for being difficult. One director they don’t get on with, and suddenly all these stories start circulating round the business. I’m sure he’ll be fine.’
    â€˜You haven’t worked with him?’
    â€˜No. I’ve spoken to him on the phone, and he sounds absolutely charming. Anyway, when you book someone like that, one of those larger-than-life characters, in my experience you get so much in return. You know, those older actors really know how to fill the stage. Don’t you agree?’
    Charles did agree, and said ‘Yes.’ But he didn’t say that, in his experience, actors who ‘filled the stage’ hadn’t a lot of time for the other actors who tried to share it with them.
    â€˜Oh, I’m not worried,’ Gavin went on breezily, though something in his expression belied the words. ‘With most so-called difficult actors, I think it’s all down to how the director handles them. Don’t you agree?’
    This time there was no mistaking the naked appeal in Gavin’s eyes. It confirmed Charles’s suspicion that he had been booked as much to give the director moral support as to give his Bleeding Sergeant and Drunken Porter.
    â€˜No, there’ll be no problem,’ Gavin continued protesting too much. ‘Most actors who behave badly are just insecure. If you take a firm line from the start –’
    But the director didn’t get time to articulate his full theory of how to deal with difficult actors. Behind them the swing doors into the bar clattered dramatically open and a huge fruity voice boomed out, ‘Who do you have to fuck to get a drink round here?’
    Gavin Scholes and Charles Paris looked round. But they both knew what they would see before they saw it.
    A mountainous man propped up on a silver-topped walking stick swayed near the door. He wore a