s promised, Mouse took Alice to the theatre to see a play called The Truth About Dinah, which was at the New Crucible theatre. Mouse took great care that Alice was dressed appropriately for the performance. Her long hair was brushed back and kept back by a ribbon. She lent Alice a dress which came to just an inch above the top of her inside leg, and scrubbed her vagina so it sparkled and smelt nice. She carefully extracted a small hair she found growing there. She put little white ankle socks and nicely polished black shoes on her feet. Mouse took especial care, with Alice’s assistance, to shave off any hair on her body, particularly between her legs. Alice spent a fairly uninspiring time tweaking out the hairs that were caught in Mouse’s prised open buttocks.

Most of the audience at the New Crucible were women and most of those had short bobs like Mouse and proudly showed off their shaven vulvas. Theatre, whatever it might have meant to Alice, was a sexual experience according to Mouse. The centre piece of a good play was a well‑performed fuck scene. There might be several fuck scenes in a play, but only the best actors were truly able to arouse an audience. Mouse had seen plays where a fuck scene in a sub‑plot was better performed than the main one but that was rare.

Modern drama (in which Mouse didn’t include the avant‑garde rubbish Dodie advocated) was always bound by certain agreed standards according to whether it was comedy or tragedy. In a comedy, there would be a series of fuck scenes in which the final scene involved the climaxing of most of the cast. This orgy scene would not be the principal fuck scene. This would happen earlier to allow the stars the opportunity to perk up for the last act. In a tragedy, there were fewer fuck scenes and most of the cast were not involved (except as passive spectators), but each fuck scene required more from the actors to express the complex emotions involved.

Unlike, Mouse sniffed disparagingly, the avant‑garde, proper theatre was bound by certain quite sensible limits. No buggery in any circumstance. Where male homosexual sex was required, one of the couple would need to be of the other sex dressed to appear as the same sex, so that it would only appear to be homosexual. In those cases, for instance, a woman might play, say, Edward III, and wear a dildo around her waist to exhibit her supposed role. Fucking, even from behind, had to be into the vagina. The Theatre Inspectorate was very strict on that.

The Truth About Dinah was a tragedy concerning Dinah, played by the leading actress, Prudence Smith, who was hiding the dark secret of her love for another woman, Laurel, who was played by Pauline York, an actress of lesser significance. Her husband, Edward, was a disapproving religious man, played by Lionel Johnson, the leading actor.

There were five acts. In the first act, Dinah and Laurel made love in the company of some friends. The friends tried to persuade the couple to leave each other and indulge in the more conventional sex they were having. The scene ended with Laurel agreeing to have rather noisy sex with one of the men.

The second act featured no sex at all, except that it seemed necessary for Edward and Dinah to wear no clothes despite the coming and going of the servants. The third act featured very athletic sex between Dinah and Edward in which Dinah confessed her love to Laurel during an apparently unfeigned orgasm. The act ended with Edward storming out of the auditorium. Some of the girls in the aisle reached out to touch his still moist prick as he passed by and smear it on their vulvas.

The fourth act featured a conversation between Dinah and Laurel, which, although unclothed, contained no sex. The act ended with Edward discovering them and killing Laurel in his anger. The final act showed Edward in jail about to be hanged for his offence. Dinah visits him and they cuddle, and she claims that her love for Laurel could never match that for a real man. The play ended with Dinah sucking off Edward just as the hangman is about to enter the prison cell.

“Phew! Powerful stuff!” gasped Mouse after the play. “That was quite a strong performance from Prudence Smith, wasn’t it? How she could do it three times in an evening, I don’t know. And there’s a matinee on Wednesday as well!”

Mouse and Alice went into the bar after the performance, but Alice could only have fruit juice to drink because of her age. Mouse enthused about the play to Alice and several of her friends.

“That was quite an orgasm in the third act,” commented one. “I’ve not seen one like that for ages! It takes real skill to remember your lines when you’re in that much ecstasy.”

“Surely, it was just acting,” suggested one of the men in the group. “You can’t have orgasms like that to order.”

“That’s what you think!” laughed another friend, who was nonetheless being quite affectionate with him. “I’ve had better than that.”

“I got some of his sperm,” announced one of the girls, small and timid with small round glasses. “When he went by that is. I put it all the way right up me. You never know: I might have his baby!”

“I think it’s chemistry,” opined Mouse. “When you get Prudence Smith and Lionel Johnson together you expect it to work don’t you! Every play I’ve seen either of them in has always been a success on that front.”

“Bit weak that Pauline York though,” commented one of the men. “It’s not as if she had much to do really.”

Mouse made no comment. Nor did any of the other girls.