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I was asked to take "Countess Gorganzola" instead of the villain of the piece, which I had rehearsed, and I did so, turning it into a sort of Charley's Aunt part. Garouillada went with a roar from the opening chorus to the final tableau, and so persistently enthusiastic were the audience that we agreed to give the opera again four nights in succession.
It was written half in French and mock-Italian, and half in Russian, and was an excellent skit on an old-fashioned Italian opera. All the ladies fought shy of the part of "Countess Gorganzola," the heroine's grandmother. This was partly due to the boldness of some of "Gorganzola's" lines, and also to the fact that whoever played the role would have to make-up frankly as an old woman.
That evening I had just finished dressing and making-up as Countess Gorganzola, when I was told that three English people who had come on from the Embassy wished to see me. The curtain would be going up in ten minutes, so I got an obliging Russian friend who spoke English to go down and interview them. The strong Lancashire accent defeated him.
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