Opening Night I: Inception LONDON, OCTOBER 13 AND 14, 1886
pening day, or opening night, rather, is spectacular. Every last detail is planned, and a massive crowd gathers outside theO gates long before sundown. When they are nally allowed to enter, they do so wide-eyed, and as they move from tent to tent, their eyes only get wider.
Every element of the circus blends together in a wonderful coalescence. Acts that have been training in separate countries on separate continents now perform in adjacent tents, each part melding seamlessly into a whole. Each costume, each gesture, each sign on each tent is more perfect than the last.
The air itself is ideal, clear and crisp and cool, permeated with scents and sounds that entice and enchant one patron after another.
At midnight, the bonre is ceremoniously lit, having spent the earlier part of the evening standing empty, appearing to be a simple sculpture of twisted iron. Twelve of the re performers quietly enter the courtyard with small platforms that they set up along the perimeter like numbers on a clock. Precisely one minute before the hour, they each ascend their respective platforms and pull from their backs shimmering black bows and arrows. At thirty seconds before midnight, they light the tips of their arrows with small dancing yellow ames. Those in the crowd who had not noticed them previously now watch in wonder. At ten seconds before the hour, they raise their bows and aim the aming arrows at the waiting well of curling iron. As the clock begins to chime near the gates, the rst archer lets his arrow y, soaring over the crowd and hitting its mark in a shower of sparks.
The bonre ignites in an eruption of yellow ame.
Then the second chime follows, the second archer sends his arrow into the yellow ames, and they become a clear sky-blue.
A third chime with a third arrow, and the ames are a warm bright pink.
Flames the color of a ripe pumpkin follow the fourth arrow.
A fth, and the ames are scarlet-red.
A sixth brings a deeper, sparkling crimson.
Seven, and the re is soaked in a color like an incandescent wine.
Eight, and the ames are shimmering violet.
Nine, and violet shifts to indigo.
A tenth chime, a tenth arrow, and the bonre turns deepest midnight blue.
On the penultimate chime, the dancing ames change from blue to black, and for that moment, it is dicult to discern the re from its cauldron.
And on the nal strike, the dark ames are replaced with a blinding white, a shower of sparks falling like snowakes around it.
Huge curls of dense white smoke swirl up into the night sky.
The reaction from the crowd is uproarious. The spectators who had been considering taking their leave decide to stay just a bit longer and comment enthusiastically about the lighting of the re.
Those who do not witness it themselves hardly believe the stories told minutes or hours later.
People roam from tent to tent, wandering down paths that loop over each other, never seeming to end. Some enter each tent they pass, while others are more selective, choosing tents to enter after careful consideration of signs. Some nd a particular tent so fascinating that they are unable to exit it, opting instead to stay there the duration of their visit. Patrons make suggestions to other patrons they pass on the concourses, pointing out remarkable tents they have visited already. Their advice is always taken with pleasure, though often the advisees are distracted by other tents before they locate the recommended ones.
It is dicult to usher the remaining patrons out as the dawn creeps up, and they are only consoled by assurances that they may return when the sun sets again.
All told, opening night is an undeniable success.
There is only one minor mishap of sorts, one unexpected occurrence. It passes unnoticed by any of the patrons, and many of the performers are not aware of it until after the fact.
Just before sunset, while the last-minute preparations are being made (costumes adjusted, caramel melted), the wife of the wild-cat tamer unexpectedly goes into labor. She is, when not in a delicate state, her husband’s assistant. Their act has been subtly modied for her absence, but the cats themselves seem agitated.
She is expecting twins, though they are not due for a few more weeks. People joke afterward that perhaps they did not want to miss opening night.
A doctor is brought to the circus before it opens to the public and escorted discreetly backstage for the delivery (an easier feat to accomplish than moving her to a hospital).
Six minutes before midnight, Winston Aidan Murray is born.
Seven minutes after midnight, his sister, Penelope Aislin Murray, follows.
When the news is relayed to Chandresh Christophe Lefèvre, he is mildly disappointed that the twins are not identical. He had thought up various roles in the circus for identical twins to perform once the children were old enough. Fraternal twins, on the other hand, lack the amount of theatricality he had expected, but he has Marco arrange the delivery of two enormous bouquets of red roses anyway.
They are tiny things, each with a rather surprising amount of bright red hair. They barely cry, staying awake and alert, with matching pairs of wide blue eyes. They are wrapped in spare bits of silk and satin, white for her and black for him.
A steady stream of circus performers comes to see them in between acts, taking turns holding them and inevitably remarking on their exquisite timing. They will t right in, everyone says, save for their hair. Someone suggests hats until they are old enough for hair dye. Someone else remarks that it would be a travesty to dye over such a color, a shocking red much brighter than their mother’s auburn.
“It is an auspicious color,” Tsukiko comments, but she refuses to elaborate on her meaning. She kisses each twin on the forehead and later makes strings of folded paper cranes to hang above their cradle.
Close to dawn, when the circus is emptying, they are taken for a walk around the tents and into the courtyard. The purpose is ostensibly to lull them to sleep, but they stay awake, watching the lights and the costumes and the stripes on the tents around them, strangely alert for being only a few hours old.
Not until the sun has risen do they nally close their eyes, side by side in the black wrought-iron cradle lined with striped blankets that already awaits them, despite their early arrival. It was delivered as a gift a few weeks earlier, though it had no card or note. The Murrays assumed it was a gift from Chandresh, though when they thanked him for it he claimed he had no idea what they were talking about.
The twins quite like it, regardless of its dubious origins.
No one recalls afterward exactly who it was that dubbed them Poppet and Widget. As with the cradle, no one takes credit for it.
But the nicknames stick, as nicknames do.
