archly.
âGossip?â
Desmond leaned forward, in confiding mode.
âTo the effect that Iâm gay. Donât you believe it. Iâm not gay at all. Just not particularly heterosexual.â
He looked round triumphantly, as if that explained everything.
âI see,â said Felicity.
âIn places like this they say that about anyone who hasnât been married,â Desmond went on. âAnd I sometimes have male friends from the profession staying with me, and some of those are .â
âBut youâre not?â
âOh dear no! Just not all that in terested, as I say.â
He grinned at them both. Charlie had the sense of having old jokes and old obfuscations tried out on him, as a newcomer. He noticed that as the man sent his grinaround the table, the questing glance went too.
âAre you waiting for someone?â Charlie asked him. Desmond nodded.
âOh, just for Chris. I want to ask his advice. Itâs rather a shock, and I donât quite know . . .â
âWhatâs rather a shock?â
Desmond settled, hunched over the table.
âWell, Iâve just had the offer of a job. A stage job. Itâs years since that happened. And the poor old stock portfolio has been down a bit these last few months, and soâwell, Iâm tempted. Itâs not as if Iâm in need, but still . . .â
âSo whatâs the problem?â
âItâs in Sheffield. Too far to drive to rehearsals and performances. Much too far for me. Even Halifax is an adventure. I shouldnât be allowed on the road. And then, itâs such a strange thing to offer me. I mean, Ibsen. Iâve hardly ever done anything really serious, let alone something soâyou know. Intellectually challengingâthatâs really what I mean. And thereâs already talk of a transfer to London.â
So there it was. The Great Norwegian, intimidating as usual, his British reputation for unrelieved doom and gloom sending shivers down Desmond Pinkhurstâs spine for fear he should spoil things by letting cheerfulness break in. Charlie, who was very much a get-up-and-do-it sort of person, played down the Ibsen side and concentrated on the joy and stimulus of working again, of performing before an audience. Desmond remained congenitally uncertain.
âI donât know, really I donât . . . There is pathos inthe character, and some humor. Itâs Old Ekdal in The Wild Duck. Itâs not often been done in recent years because thereâs a fairly large castâlots of small parts. They prefer the later plays with a tiny cast. Itâs all money these days, isnât it?â
âBut the money would come in handy, I suppose?â Charlie asked.
âOh, it would. But learning the part, and the nervesâIâm a bag of nerves, particularly with stage roles. I was always a film and television man.â He thought. âI once had a small part in Coronation Street. One of Rita Faircloughâs boyfriends. But of course thatâs a quite different matter from Ibsen. Ibsen! The very thought makes me shiver! I really donât know . . . Oh, there he is.â
And there Chris was. He was buying himself a pint of bitter and swapping greetings with Sid the landlord, but already positioned by his right arm was a stout elderly lady, her eyes on his face, waiting for any sign of an end to the conversation, when she would wade in to get reassurance about a twinge or an ache or a tic. The expression on her face spoke of something close to adoration. And behind the two of them, now, was Desmond, who had got across the expanse of the saloon bar in a surprisingly nippy manner, glass in hand, and was now waiting his turn. Charlie looked at Felicity.
âI donât know how Chris does it,â he said. âAdvice to an old dear on cutting down on the chocolates, and to an old thespian on whether or not to take a part in