“You see what we are doing,” he said. “We are building up a magic show of unique quality, and we want it to be in the best possible condition before we set out on a world tour. It is rough still—oh, very kind of you to say so, but it is rough in comparison with what we want to make it. We want the uttermost accomplishment, combined with the sort of charm and romantic flourish that usually goes with ballet—European ballet, not the athletic American stuff. You know that nowadays the theatre has almost abandoned charm; actors want to be sweaty and real, playwrights want to scratch their scabs in public. Very well; it is in the mood of the times. But there is always another mood, one precisely contrary to what seems to be the fashion. Nowadays this concealed longing is for romance and marvels. Well, that is what we think we can offer, but it is not done with the back bent and a cringing smile; it must be offered with authority. We are working very hard for authority. You remarked that we did not smile much in the performance; no jokes, really. A smile in such a show is half a cringe. Look at the magicians who appear in night clubs; they are so anxious to be loved, to have everybody think “What a funny fellow,” instead of “What a brilliant fellow, what a mysterious fellow.” That is the disease of all entertainment: love me, pet me, pat my head. That is not what we want.”

“What do you want? To be feared?”

“To be wondered at. This is not egotism. People want to marvel at something, and the whole spirit of our time is not to let them do it. They will pay to do it, if you make it good and marvellous for them. Didn’t anybody learn anything from the war? Hitler said, ‘Marvel at me, wonder at me, I can do what others can’t,’—and they fell over themselves to do it. What we offer is innocent—just an entertainment in which a hungry part of the spirit is fed. But it won’t work if we let ourselves be pawed and patronized and petted by the people who have marvelled. Hence our plan.”

“What is your plan?”

“That the show must keep its character all the time. I must not be seen off the stage except under circumstances that carry some cachet; I must never do tricks outside the theatre. When people meet me I must be always the distinguished gentleman conferring a distinction; not a nice fellow, just like the rest of the boys. The girls must have it in their contract that they do not accept invitations unless we approve, appear anywhere except in clothes we approve, get into any messes with boy friends, or seem to be anything but ladies. Not easy, you see. Faustina herself is a problem; she has not yet learned about clothes, and she eats like a lioness.”

“You’ll have to pay heavily to make people live like that.”