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Bois de Boulogne: Auteuil, Cafe d’Armenonville, L’Hermitage, Pavillon Dauphine,  Pre-Catalan, Clover Club, Jardin de Ma Soeur, Chateau de Madrid, Abbaye de Theleme

Thursday 21st June

The entire family has decamped to Aunt Mimi’s house in Paris and we are living in organised chaos with Mama as usual in charge of exactly what we are doing each day. Even Sir Oliver, Mimi’s new husband has acquiesced to her will for a quiet life.

Paris in June is blissful and offers racing to the turf enthusiast nearly every day. Usually there is wonderful weather and relaxing outdoor fun. We have missed the Prix de Diane at Chantilly on the 7th June and the Prix du Jockey Club at Chantilly on 14th June but we are here today for a family outing at Auteuil for the Grand Steeple. Auteuil is set deep within the Bois de Bologne on the western fringe of the city and it does feel as if we are in the country.

We loiter in the pesage or paddock, the exclusive enclosure with the viewing stands. And alternate watching the races with strolls behind the stands over the luxurious green lawns with decorative flower beds, popping into a cafe where necessary.  Here the fashion parade unfolds with beautiful women showing off all the latest couture.

“There is an air of restful refinement about the races in France, in contrast to the noisy race-tracks of England and the United States.” Says Aunt Mimi as we take an early lunch.

“Yes, there is also an absence of the “horsy” type so prevalent at Sandown Park or Epsom Downs.”
Adds Sir Oliver with a smile.

During the summer the races have become an institution with practically every American in Paris attending. Papa remind us that racing in France owes much of its prosperity to American sportsman.

“American methods of training and riding are scrupulously followed by the French. Most of the well known jockeys are Americans and most of the prominent owners are American too.” Papa says authoritatively as he waves at a very smart gentleman wandering around with a huge entourage. “Ah, he is a case in point. That is A.K. Macomber of California who married into Standard Oil and purchased the entire Vanderbilt stud including the latter’s breeding establishment at St Louis de Poissy.”

After a delightful day we drift through the Bois de Bologne along the Alle de Longchamps towards Paris. As Mama constantly remarks. “The Parisians have succeeded in turning the beautiful Bois into a  paradise of artisitic artificiality.”

Map of the Bois de Boulogne

Map of the Bois de Boulogne

Through tangles of undergrowth run driveways and equestrian paths and scattered within its leafy interior are not just several race tracks but a dozen or so restaurants and cafes that become the centre of the Parisian social scene and nightlife in the summer.This time – 5pm – is the fashionable hour for the Bois and every inch of the avenue is taken up with luxurious automobiles and elegant strollers. We stop at the small, confined but terribly Parisian Cafe d’Armenonville on the Paris side of the Bois near the Porte Maillot which is the smartest place for tea and fashionable for luncheon too. It is owned by the Mouriers, who also own the Café de Paris, Fouquet’s bar and the Pre-Catalan.Parisians love the ‘intimite’ of d’Armenonville and marvel at the agility of the waiters as they slip between the tables so discreetly.

As Mama says “Put a Parisian in a large room with plenty of space and he perversely refuses to come again… they love crowds!”

The place is awash with the rich and famous and well-to-do folk like us. There is the princess who has eleven dogs of various hues to match each gown she wears. On our left is an actress who wears a coat made from the skin of her pet baboon and there is also a famous demi-mondaine who is brunette in the daytime and blonde at night.

Millie observes “One will notice that women are wearing long diamond necklaces many with a marvelous emerald pendant as dignified protest against the too great influx of artificial jewelry that one sees far too often these days.”

When I observe how warm it is, especially dressed in my evening suit, Millie tells us an amusing story “Last year, when it was really hot there was a bit of a scandal when two men arrived with some ladies in evening dresses but they were wearing pyjamas!”

Each of the Bois venues has its special gala night where tout Paris is to be seen. It is important to be at each place on each successive night. Famous dancers or the latest cabaret favourite usually supply the entertainment. We rush back to Paris, change and freshen up for a quick cocktail before darting back into the Bois to the l’Hermitage on the far fringe of the Bois on the banks of the Seine near the Longchamps race-course and the Porte de Suresnes.

L'Ermitage Nightspot, Bois de Boulogne, Paris

L’Ermitage has a paradoxical rusticity and gives a pleasant sense of escape from the city with the Siene lapping lazily by along the edges of the terraces and the green stretches of Longchamps not far way. The gardens here are immense and create the illusion of being completely in the country.  It is quite lovely sitting outside having dinner and drinks in the gardens where the warm nights make it a delight to linger under the trees in the soft glow of admirably planned lighting.

The entertainment tonight is superb with the fabulous singing and antics of the Trix Sisters and the dancing of Charlie Stuart, Barry Bernard and Joan Pickering, who are all doubling up at the Club Daunou later in the evening.

On our return to Paris we stop off very late at the salubrious Pavillon Dauphine for champagne and a little more dancing. Situated at the bottom of Avenue de L’Imperatrice, and just inside the confines of the Bois within its own luxurious gardens, this stately building was erected on the site of a Chinese Pavilion in 1913 by the city of Paris. One gets an amazing view from here of the Avenue as it rises toward the Arc de Triomphe. Its initial purpose was to serve as a place to receive official delegations arriving by train at the Porte Dauphine station before being taken to State buidlings such as the Elysee. It is now a famous summer rendezvous for drinks, dinner and this season they have a superb cabaret headed by the wonderfully eccentric American dancer Nina Payne, straight from her performance at the Folies Bergere and the Dorel Sisters. However, I am told that for some it is too close to Paris!

Friday 22nd June

Tonight we are off again to another gala in the Bois this time at the Pre-Catalan. Cecile is joining us. As usual all the ladies are gowned beautifully with Cecile and Millie in creations by Paul Caret and Mama and Mimi in Lucile concoctions. The Pre-Catalan used to be a dairy farm and now has a charm all of its own with its gardens and flowers and lights in the trees. It is situated in the middle of the Bois in its own grounds of several acres not far from Autueil and the Lac Inferieur.

The restaurant is a handsome domed hall with an excellent dance floor and we alternate between the restaurant and the gardens until the cabaret begins with Moss and Fontana. They have been dancing in Paris for a while and once again perform their amazing repertoire with astounding dexterity.

We leave in two cars and on the way back to Paris, Millie and Henri and Cecile and I drop into the  Clover Club in the Rue Caumartin to see the dancing of Dina Harris and Ted Trevor before making our way to the Jardin de Ma Soeur or the Embassy not far at no.17 Rue Caumartin. Here there is a so-called  ‘Plantation night’ with Maurice and Leonara Hughes and Harry Pilcer. We have a delightful end to our evening and once again Leonara insists on dancing with me. She is quite lovely.

Saturday 23rd June

Tonight is a gala night at the favourite society place of the Chateau de Madrid in Neuilly on the edge of the Bois and we are all there. It is a scene is of fairylike enchantment. We take dinner and dance in a large garden under the trees with fairy lights and the beautiful architectural background of the chateau. It is like a private garden party, with the soft strains of a perfect orchestra, the glistening of hundreds of immaculate shirt fronts and the flashing of jewels in the subdued lighting.

Chateau Madrid, Paris

We observe many well known personalities including Grand Duke Boris who keeps a suite overlooking the garden, the ex-film star Pearl White and various other well known actresses plus a sprinkling of  society. However,  despite the presence of many celebrities we deduce that the audience is composed one third Ritz, one third tourist and one third business.

“Have you noticed” says Aunt Mimi “that the Bois is becoming a little passé due to the vulgarisation of the automobile making it far too aceessible. It used to be just all Ritz types here.” We all laugh.

“Well I have noticed something else” says Cecile diplomatically “that the lights in the trees and on the tables are cleverly arranged so that the light and colour over the faces of the dancers changes with every hour?”

Sunday 24th June

We are back at Auteuil for further racing and spend the evening in and around Montmartre ending up at the Blue Room of the Abbaye de Theleme and once again marvel at the dancing of Fay Harcourt and Harry Cahill and others in a new show called The Midnight Blue Cabaret. I am sure that Fay’s exquisite costumes are created by Dolly Tree.

Friday 29th June

Today is the Grand Prix at Longchamps and the Bois is swamped. It is a glorious day followed by another visit to the Hermitage de Longchamps to watch the assorted pleasures of Carl Hyson and his company that includes Peggy and Betty Harris.

Our conversation returns to observations of the Bois and its night-time inhabitants and we discuss the rather rigid set gala nights that each venue in the Bois stages in rotation.

Millie pontificates “The crowd of spenders like us are referred to as ‘Tout Paris” but we might as well be called ‘Tout Etranger’ because Americans and English form the majority, followed by South Americans and Spanish. The French lag behind the Italians, Swiss and Germans in number. Although there is a lot of spendthrifts there are not enough and so the restaurants in the Bois take it in turn to entertain them with these set gala nights.”

Aunt Mimi offers “Well, last year at the Pre-Catalan on a Friday night, the telephone boy told the head waiter that there as a call for a Monsieur Gaston Francois. ‘Who?” he asked. And then realised – ‘Ah you mean the Frenchman!”

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Ambassadeurs (Paris Sans Viole), Weber’s, Ouisiti Roof Garden, Acacias, Ciro’s, Club Daunou, American Midnight Frolics and Abbeye Theleme.

Friday 31st May

We are in Paris again with Monty and Dolly. Lorenzo is on his way back home to Italy and we have all been given special preview seats to see the Dolly Sisters debut. We settle in at Claridge’s since Aunt Mimi has a houseful of guests and meet Cécile and Gabrielle at Fouquet’s for cocktails. They both look ravishing as always. Cecile had taken Gabrielle to Paul Caret’s and they were wearing their purchases: Cecile in a sleeveless dancing gown of lemon georgette, belted with double silver ribbon strewn with rococo roses and Gabrielle in a low cut, backless taffeta gown with shoulder straps of flowers in soft glazed red and silver. They immediately start talking frocks to Dolly.

We wander down the Champs-Elysees to the Ambassadeurs Theatre, tucked just off to one side. Here in this small yet perfectly appointed theatre Oscar Dufrenne, presents the Dolly Sisters in a show entitled Paris Sans Viole or Brighter Paris, a title clearly used as a reflection of the success Brighter London was having at the London Hippodrome.

Programme for Paris Sans Voiles at the Amabassadeurs, Paris, 1923

The show, also includes the home grown talents of Edmonde Guy and Ernest Van Duren, and our friend Eddie Dolly, fresh from his London triumphs for C.B. Cochran, arranged all the dances for a troupe of 8 ‘London Boys’. The Dollies first appeared as American roses in ‘Let us make a pretty bouquet’ and then danced a rollicking mazurka in a scene depicting the Grand Prix in 1883 contrasted with the Grand Prix of 1923. Oddly they became negresses in Plantation Days, where, surrounded by growers and planting machines, they danced and sang plantation songs. By far their most important scene was Destiny, a sketch in four acts, where the Dollies dressed by Jeanne Lanvin, performed a melodramatic depiction of the life of an actress, tragically terminated by an acrobatic dance in a seedy nightclub. This apparently had been a big success in New York. The sisters alternately held the role of an artist who was reduced to the lowest ebb of misfortune by the spirit of evil in the form of a tempting man about town played by Max Berger. We are led to believe that the same woman is playing the character throughout and marvel at the quick change in costume until the couple appear together in the last act where the dying dancer sees the image of her happy girlhood being a reproduction of the first scene revealed at the back of the stage.

The Dolly Sisters in their Mazurka costumes

Monty was effusive. “Wow the Dolly Sisters were enchanting and they will have a formidable triumph on their hands I am sure.”

We take a short walk and go around the corner for dinner at Weber’s, 21 Rue Royale, regarded as a very salubrious place. It was started many years ago by an Alsatian who made a speciality of Alsatian beer and food and originally the clientele was mainly English but now it is more mixed

This is regarded as the traditional place for posh Parisians to sup after the theatre and this vast café-restaurant is crowded with actors, politicians, writers and mere theatregoers like us. We particularly like their boullabaisse which is highly recommended.

Monty then tells us about his recent interview with Edmonde Guy. “She is simply the most ravishing creature and during the run of Oh Quel Nu at the Concert Mayol earlier in the year she posed for the great Dutch painter Van Dongen. At one of his soirees she was introduced to a certain Giovanni Dal Terroni from Palermo, Sciliy. A man of means, he convinced her that he was producing a movie of Mascagni’s masterpeice called Cavalleria Rusticana which was to be staged near Palermo and he wanted her to play the part of Santuzza and pay her $1,000 per week and all expenses for her and her maid. It was a great opportunity. The only way to get out of her obligations at the Concert Mayol was to feign illness and so she vanished.”

By now we are all sitting riveted to his words.

“Arriving at Terroni’s country villa in Sciliy, he informed her that preparations for the picture were not complete and there would be a delay. She was suspicious. The next morning her maid saw Terroni beating a young servant girl and Edmonde came to the conclusion she had been lured into a trap. She decided to play Terroni at his own game in order to escape. She had lunch with him dressed seductively and he admitted his plan to abduct her because of his infatuation. Later Edmonde lured into her bedroom and managed to lock him in, while the mad did the same with the caretaker. They found the girl that Terroni had been beating who claimed he was a monster and she took them to the French consul at Palermo. Edmonde returned to Paris but the shock forced her to bed for 2 weeks. Then a package arrived from Palermo containing a diamond sunburst and a card that said “you are very clever mademoiselle.’”

After coffee we visit the Ouistiti Roof Garden at the Marigny Theatre, Champs Elysees and delight in the dancing of the wonderfully dainty Florence Walton and Leo Leitrim backed by the famous Red Devils band. I know she is familiar and Monty reminds us that she is American and the ex-wife of Maurice Mouvet.

“She only married Leo last December, and although no-one can compare to Maurice, he is a good partner for her. She always presents class and style in both her dressing and her dancing. And in my opinion she is far superior to Irene Castle in both personality and skill.”

We soon dart off to the other side of Paris to visit the Acacias, which is in essence a glorified hall in the rear of the Hotel Acacias at 7 Rue des Acacias near the Bois de Bologne. There is also a delightful garden very useful for the hot weather in the summer.

Programme for the Acacias Nightclub, Paris

Cecile tells us the history. “It was originally opened in the summer of 1921 by the legendary singer and dancer Maurice Chevalier and the comedian Saint-Grenier. Last year it was taken over by that rather obnoxious society social fixer Elsa Maxwell and the charming English couturier Captain Edward Molyneux. They re-modelled it as a Southern plantation and had Jenny Dolly and Clifton Webb as the opening act.”

“This year it has been taken over again by that wonderful American dancer Harry Pilcer.”
Says Gabrielle. “And, he has had the good fortune to get that incredible dancing team of Moss and Fontana for a 6 week season.”

“We saw them in London at Ciro’s in March.” Dolly says. “And they are magnificent.”

Monty adds. “M. Andre de Fouquieres known everywhere as the Beau Brummel of Paris society and dictator of its amusements, paid them a handsome compliment saying ‘with them it is the art of dancing seen in all its beauty’.”

Saturday 1st June

Tonight is Lorenzo’s last night and we all decide to go out with a bang and visit lots of places. First stop is Ciro’s for a spot of dinner, followed by the Club Daunou where we watch the exquisite dancing of Joan Pickering and Charlie Stewart. Dolly is entranced as are the other girls with Joan’s frock by Ninette of London in ecru lace on powder blue faille over flesh pink georgette.

“Its absence of adornment is its greatest charm which lends its wearer that coveted jeaune fille appearance.” Dolly tells us. “It is a masterpiece.”

She is so generous in her praise of others.

We move onto to the new American Midnight Frolics at 30 Rue de Grammont which is a Souer-dansant de luxe and like so many places of the same ilk, hailed as the most chic location in Paris. It is of course no better and no worse. The cabaret produced by the English-Australian Dion Titheradge has two sittings from 12.30-1am and 1.30-2am. We catch the former show. Joyce Barbour and Max Rivers (the latter we saw in Carte Blanche at the Court Theatre in April) dance nimbly and Tex McLeod is amazing replicating his act that we also saw at the Midnight Follies. There is also a West End chorus and other acts that include the singing of Winifred Roma.

“It was bright and snappy and not bad but not good.”
I say afterward. “The girls were gorgeous though…”

“The place was opened in mid-May and I thought here we go again, another attempt to imitate Ziegfeld’s Midnight Frolics. I also remember reading an odd comment somewhere that said ‘it had a real American atmosphere of intimicy so necessary to the proper expression of the artists talents’. What? The only American in the cast is Tex and the chorus is from the West End.”

Our last call is the Blue room on the first floor of L’Abbaye de Theleme. The Trix Sisters have now left and there is a new show with favourites Fay Harcourt and Harry Cahill, who dance amazingly, the American Goode Sisters, Rene Gagan, Barry Barnard and once again, the glorious singing of Dora Stroeva.

We all retire to my suite at Claridge’s and order breakfast. Lorenzo has had a great send-off before his departure for Rome.

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Revelle’s, the London Hippodrome (Brighter London), the Monico, Ciro’s and Les Gobelins.

Thursday 15th March

When I get home the first thing I do is plan a night out. Aubrey meets me for lunch and tells me to join a new dance club called Revelle’s at 30 Wardour Street. which of course I do. It is not huge but perfectly proportioned with a really nice parquet floor, music by Hugh Mayo’s Reverie Revels band and good food. Luckily, tonight is a gala night and it is packed to overflowing and we are not short of dancing partners. There is a cabaret with the dancing of Vincent Davies and the delightful Flora Le Breton (wearing a beautiful dance gown from Ninette).

“Who is she?” I ask Aubrey. “She is quite exquisite and looks like a dainty piece of Dresden China.”

“You must know of her Fynes. She started off in the chorus of Murray’s cabaret and was then snapped up by film producers. She scored a big success with the boxer Georges Carpentier in the swashbuckling film Gypsy Chavalier last year.”

“Ah. Of course. She is quite an amazing dancer!”

Tuesday 20th March

I am thrilled when I receive a letter from Lorenzo. He is arranging a trip to Paris and we may see each other soon.

Dolly has been totally engrossed with Eddie so it came as a surprise when she telephoned to invite me to see the launch of the new show at the Hippodrome which she has dressed. I meet her and Monty for a drink at the Criterion first and it is like old times which is a relief. To her credit she apologised for her neglect. Eddie is busy but meets us later in the foyer of the Hippodrome.

Programme fro Brighter London at the Hippodrome

Programme fro Brighter London at the Hippodrome

Julian Wylie’s new show Brighter London stars Annie Croft, Reginald Sharland, Lupino Lane. Elsie Prince and Billy Merson. It has no real story but comprises a series of episodes with Cupid setting out to brighten London. There were some stunning scenes. Brighter Shakespeare had Billy Merson playing Hamlet in a contemporary context and the entire company jazzing up many Shakespearian characters. Shawls illustrated a parade of girls wearing Garden, Paisley, Indian, Lancashire and Spanish shawls with a finale of the chorus in picturesque black and white costumes arranged on four shelves, who by reversing their shawls produced a large and beautiful curtain. The Jackdaw of Rheims was founded on the Ingoldsby Legends and had Ruth French dressed as a Jackdaw in a costume of black tights and four hundred black feathers which was very clever. The finale culminates at the Palais de Dance with the appearance of the celebrated American band leader Paul Whiteman and his orchestra.

A scene from Brighter London

A scene from Brighter London

“I think that was a tour de force.” Says Monty afterward. “It is jolly and colourful with never one dull moment. I have a sneaking feeling that this is going to run and run and run…”

“Well my dear” I say to Dolly. “Your costumes and gowns are gorgeous and the colour schemes brilliant. In my opinion they alone are worth visiting the theatre for.”

I decide to take them all to the Monico Restaurant to celebrate. This wonderful establishment stands in Piccadilly Circus and runs through into Shaftesbury Avenue and thus has two entrances. The original Mr Monico came from a village in the Italian provinces of Switzerland and worked for the Gatti’s before founding his restaurant in 1876 in Tichborne Street. The building evolved into the current great bee-hive of different dining rooms. It is a London institution and a temple of excellent international cuisine, but with a more traditional feel about it.

We enter the building on the Piccadilly side through a glass canopy with two gables and emerge into the café which acts as an antre room and sometimes called the Winter Garden. Part of the ceiling is solid  and the other half is glazed over. We walk into the great gilded Saloon or main al la carte restaurant, which was the original restaurant. The walls, mirrors and raised ornamentation are all of gold, there is gilded ceiling with golden pilasters and a golden balcony for the musicians. It is always full and always busy and four maitres d’hotel in frock coats and black ties and a battalion of waiters run from the kitchen to the tables. Further toward the Shaftesbury Avenue entrance is the grill room which is less gorgeous with simple buff marble pillars and walls. There are two marble staircases at each entrance leading to further banqueting rooms upstairs and there is a famous German beer cellar in the basement.

We eat a rather exquisite dinner with oysters served on plates of crushed ice, soup in earthenware bowls with toasted bread, Sole Falciola (sole with white sauce, mushrooms and tomatoes and herbs & garlic), partridge stuffed with rice, foie gras and truffles served with braised celery and soufflé potatoes in a dainty basket of potatoes mounted on toasted bread. And all washed down with lashings of Louis Roederer 1911 champagne.

After dinner we visit Ciro’s where some of the Brighter London crew are having their first night party. I dance with Anne Croft, who is married to Reginald Sharland, Ruth French and another featured dancer in the show Ettie Landau.

A little later, we watch the cabaret which is provided by the renowned dancing team of Moss and Fontana. They started off just after the war and appeared at all the dance places in London and on the continent and have become hugely popular.

Moss and Fontana

Moss and Fontana

“Marjorie is a dear” says Dolly. “She started off as an understudy to Phyllis Bedells in the Empire ballet and also served her apprenticeship with the Kosloff Company. Her ballet training has been invaluable. Off-stage she has a limitless capacity to socialise despite her cockney accent! Sadly she had a severe operation last summer and was forced to cancel her season at the Embassy club and at the Casino in Deauville. I always love watching her dance. She is so graceful and elegant. And Georges is quite simply divine!”

Marjorie, wearing a series of stunning creations from Charlotte in Paris, was tiny, fragile and delicate and as a dancer appeared as an incorporeal creature who seemed to defy gravity. They did a reprise of all their old favourites including a Bacchanalian dance, a Pierrot and Pierette number and an oriental piece. Their acrobatic work was restrained and dainty and executed without effort.

“I am told that these two are without doubt the most attractive exhibition dancing couple now performing in Europe.” Says Monty.

Dolly replies “When the Tatler described them as ‘the greatest pair of dancers since the Vernon Castles’ they were without doubt completely correct.”

“Their dancing is excellent.” Says Eddie effusively. “But, I would argue there is very little of ballroom dancing in their work. In this they differ from the Castles and Maurice. They actually have a style all of their own which will, I am sure, find many imitators. When George raised her from the floor in the ‘grand jete en l’air’ it appeared without any semblance of effort on his part. Marjorie looked as light as a feather and graceful as a bird on the wind. This has to be one of the most beautiful things to be seen in dancing today….”

What an observation I thought. Well Eddie is a choreographer so he should know these things!

Wednesday 21st March

“Hello Fynes darling.” Says an excitable voice on the telephone. It is Eva. “I have missed you. Could we have a night out?”

Eva is a strange creature. It is as if I have not been away. She is not really interested in my tales of the Riviera. She is however delighted to see me and we have a wonderful evening. It looks like Eva is back in the picture.

Thursday 29th March

I meet Monty for a modest lunch at Les Gobelins tucked away in Hedden Street, off Regent Street. Its name is derived after the style of tapestries, which together with the oak panelling on its walls, are in keeping with the Tudor style of decoration. The food here is always nicely cooked, savoury, deliciously hot and remarkable value of money.

I am slightly agitated and need to talk to Monty since Mama has introduced me to more eligible young ladies at a little soirree last night at home.

Oh don’t worry Fynes” Monty advises “Just play along. We can still have a lot of fun! And, who knows perhaps I can entertain the cast-offs!”

Changing the subject he tells me “I have just written a piece all about Toutes Les Femmes. Remember it is the show we saw at the Palace Theatre in Paris? Poor Harry Pilcer has come a cropper. There has been some agitation in puritanical circles in Paris about some of the dances in the show and the dancers and managers were charged with indecency and offensive behaviour.”

“What! Puritanical circles in Paris?” I ask aghast.

“Yes, I know it is hard to believe but apparently they do exist!”

“What dances have caused objections?”

“The oriental dance by Mlle. Zulaika and the dances in ‘L’Après-midi d’un Faune’ by Harry Pilcer and Mlle. Rahna. The latter is no doubt a risky dance, although it has been danced in Paris and elsewhere for donkey’s years. It was a shock to Pilcer that his rendering should be questioned. He wears tights, and his performance is exactly as given at the Petit Casino at Marseilles several months ago, when no objection whatever was made.”

“What silliness…”

“Well it is all a matter of interpretation. You see nudity is permitted in a theatre if it is artistic but not if it is vulgar.”

“What on earth is the difference?”

“It is argued that the difference is motion. But the management maintain that the performers were clad in transparent rubber fabric and therefore were not nude.”

“What a fiasco.”

“Well it gets worse Fynes. Rather amusingly, to judge the accusations, the magistrate asked the defendants to perform the dance before him. The entire scandal is certainly boosting attendance of the show.”

“I think there is some skulduggery going on here.” I say “What excellent publicity. Sounds like a careful engineered ploy by Varna the owner of the Palace Theatre if you ask me.”

“The case will probably turn out to be merely a storm in a teacup, and the artistes will no doubt be acquitted with the classic injunction, ‘Not guilty, but don’t do it again.'”

We both laugh.

“Oh and by the way. Just so you know your friend Jessica Brown has sailed to America to marry Lord Northesk at her home in Buffalo New York. I just thought you should know.” Monty tells me.

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