So what if we had to sleep on lumpy pallets, and the neighbors woke us up fighting. We were waking up in Paris, and could roam arm in arm for hours through streets and alleyways, peering into shops full of jewelry and plate, tapestries and statues, wealth such as I'd never seen. Even the reeking meat markets delighted me. The crash and clatter of the city, the tireless busyness of its thousands upon thousands of laborers, clerks, craftsmen, the comings and goings of an endless multitude.
By day I almost forgot the vision of the inn, and the darkness. Unless, of course, I glimpsed some uncollected corpse in a filthy alleyway, of which there were many, or I happened upon a public execution in the place de Grave.
And I was always happening upon a public execution in the place de Grave.
I'd wander out of the square shuddering, almost moaning. I could become obsessed with it if not distracted. But Nicolas was adamant.
"Lestat, no talk of the eternal, the immutable, the unknowable!" He threatened to hit me or shake me if I should start.
And when twilight came on -- the time I hated more than ever -- whether I had seen an execution or not, whether the day had been glorious or vexing, the trembling would start in me. And only one thing saved me from it: the warmth and excitement of the brightly lighted theater, and I made sure that before dusk I was safely inside.
Now, in the Paris of those times, the theaters of the boulevards weren't even legitimate houses at all. Only the Comedie-Francaise and the Theatre des Italians were government-sanctioned theaters, and to them all serious drama belonged. This included tragedy as well as comedy, the plays off Racine, Corneille, the brilliant Voltaire.
But the old Italian commedia that I loved -- Pantaloon, Harlequin, Scaramouche, and the rest -- lived on as they always had, with tightrope walkers, acrobats, jugglers, and puppeteers, in the platform spectacles at the St. Germain and the St. Laurent fairs.
And the boulevard theaters had grown out of these fairs. By my time, the last decades of the eighteenth century, they were permanent establishments along the boulevard du Temple, and though they played to the poor who couldn't afford the grand houses, they also collected a very well-to-do crowd. Plenty of the aristocracy and the rich bourgeoisie crowded into the loges to see the boulevard performances, because they were lively and full of good talent, and not so stiff as the plays of the great Racine or the great Voltaire.
We did the Italian comedy just as I'd learned it before, full of improvisation so that every night it was new and different yet always the same. And we also did singing and all kinds of nonsense, not just because the people loved it, but because we had to: we couldn't be accused of breaking the monopoly of the state theaters on straight plays.
The house itself was a rickety wooden rattrap, seating no more than three hundred, but its little stage and props were elegant, it had a luxurious blue velvet stage curtain, and its private boxes had screens. And its actors and actresses were seasoned and truly talented, or so it seemed to me.
Even if I hadn't had this newly acquired dread of the dark, this "malady of mortality," as Nicolas persisted in calling it, it couldn't have been more exciting to go through that stage door.
For five to six hours every evening, I lived and breathed in a little universe of shouting and laughing and quarreling men and women, struggling for this one and against that one, aid of us comrades in the wings even if we weren't friends. Maybe it was like being in a little boat on the ocean, all of us pulling together, unable to escape each other. It was divine.
Nicolas was slightly less enthusiastic, but then that was to be expected. And he got even more ironical when his rich student friends came around to talk to him. They thought he was a lunatic to live as he did. And for me, a nobleman shoveling actresses into their costumes and emptying slop buckets, they had not words at all.
Of course all that these young bourgeois really wanted was to be aristocrats. They bought titles, married into aristocratic families whenever they could. And it's one of the little jokes of history that they got mixed up in the Revolution, and helped to abolish the class which in fact they really wanted to join.
I didn't care if we ever saw Nicolas's friends again. The actors didn't know about my family, and in favor of the very simple Lestat de Valois, which meant nothing actually, I'd dropped my real name, de Lioncourt.
I was learning everything I could about the stage. I memorized, I mimicked. I asked endless questions. And only stopped my education long enough each night for that moment when Nicolas played his solo on the violin. He'd rise from his seat in the tiny orchestra, the spotlight
would pick him out from the others, and he would rip into a little sonata, sweet enough and just short enough to bring down the house.
And all the while I dreamed of my own moment; when the old actors, whom I studied and pestered and imitated and waited upon like a lackey, would finally say: "All right, Lestat, tonight we need you as Lelio. Now you ought to know what to do. "
It came in late August at last.
Paris was at its warmest, and the nights were almost balmy and the house was full of a restless audience canning itself with handkerchiefs and handbills. The thick white paint was melting on my face as I put it on.
I wore a pasteboard sword with Nicolas's best velvet coat, and I was trembling before I stepped on the stage thinking, 'This is like waiting to be executed or something. '
But as soon as I stepped out there, I turned and looked directly into the jam-packed hall and the strangest thing happened. The fear evaporated.
I beamed at the audience and very slowly I bowed. I stared at the lovely Flaminia as if I were seeing her for the first time. I had to win her. The romp began.
The stage belonged to me as it had years and years ago in that far-off" country town. And as we pranced madly together across the boards -- quarreling, embracing, clowning -- laughter rocked the house.
I could feel the attention as if it were an embrace. Each gesture, each line brought a roar from the audience -- it was too easy almost -- and we could have worked it for another half hour if the other actors, eager to get into the next trick as they called it, hadn't forced us finally towards the wings.
The crowd was standing up to applaud us. And it wasn't that country audience under the open sky. These were Parisians shouting for Lelio and Flaminia to come back out.
In the shadows off the wings, I reeled. I almost collapsed. I could not see anything for the moment but the vision of the audience gazing up at me over the footlights. I wanted to go right back on stage. I grabbed Flanunia and kissed her and realized that she was kissing me back passionately.
Then Renaud, the old manager, pulled her away.
"All right, Lestat," he said as if he were cross about something. "All right, you've done tolerably well, I'm going to let you go on regularly from now on. "