Their Majesties' Servants. Annals of the English Stage (Volume 2 of 3). Doran John

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СКАЧАТЬ a precarious dependence. Thank God!" he said, "we, my Lords, have a dependence of another kind!"

      Such is the substance of his famous but unavailing remonstrance. The bill, not to protect morality, but to spare the susceptibilities of statesmen and place-men, passed; and the result was a "job." In the ensuing spring, Chetwynd was appointed, under the Chamberlain, licenser of plays, with a salary of £400 per annum; and to help him in doing little, Odell was named a deputy-licenser, with £200 yearly; – and therewith the job was consummated; and the deputy-licenser began to break the law he was appointed to see strictly observed. When the Act was passed, his most sacred majesty, who commanded unsavoury pieces occasionally to be played before him, prorogued the parliament, after lamenting the spirit of insubordination and licentiousness which pervaded the community!

      The government made use of its authority, by prohibiting plays, and the public took their revenge, by hissing those that were licensed. Among the prohibited, were Brooke's "Gustavus Vasa;" Thomson's "Edward and Eleanora;" and Fielding's "Miss Lucy in Town;"30– the first, as dangerous to public order; the second, as too freely alluding to royal family dissensions; the third (after it had been licensed) as satirising "some man of quality!" To these must be added "Arminius," by Paterson, Thomson's deputy in his post of Surveyor of the Leeward Islands. The deputy had copied out his principal's "Edward and Eleanora;" and as "Arminius" was in the same hand, it was forbidden, as being, probably, an equally objectionable piece by the same author! The prohibition applied to it was profitable; for he published his play by subscription, and gained £1000 by it, – not for the reason that it was a good, but because it was a forbidden drama.31

      Audiences amused themselves by hissing the permitted plays, sometimes with the additional luxury of personal feeling against the author, – as in the case of the Rev. Mr. Miller's "Coffee House," "Art and Nature," and "Hospital for Fools." Thomson was fortunate in saving his "Agamemnon" from the censors, for it is not unworthy of ranking with the "Iphigenia" of Racine; and its merit saved it. Mallet was still more lucky with his "Mustapha;" and the audience were too pleased to hiss a piece, the licensers of which were too dull to perceive that Sultan Solyman and his vizier, Rustan, were but stage portraits of George II. and Sir Robert Walpole. They had no such tenderness for the "Parricide" of William Shirley, – a gentleman who understood the laws of trade better than those of the drama. A French company, at the Haymarket, were of course hissed out of the country. There was no ill-will against them, personally. It was sufficient that the Licensing Act authorised them to play, and the public would not tolerate them, accordingly! If they bore with Lillo's "Marina," it was, perhaps, because it was a re-cast of "Pericles;" and if they applauded his licensed "Elmeric," the reason may have been, that the old dissenting jeweller, who set so brave an example in writing "moral" pieces, was then dead; and the "author's nights" might be of advantage to his impoverished family.

      But there were licensed dramas at which the public laughed too heartily, to have cared to hiss, or which so entranced them that they never thought of it. Thus, Dodsley's merry pieces, "Sir John Cockle," and the "Blind Beggar;" Carey and Lampe's hilarious burlesque-opera, the "Dragon of Wantley," and its sequel, "Margery;" with "Orpheus and Eurydice," one of Rich's burlesques and pantomimes – the comic operatic scenes not preceding, but alternating with those of the harlequinade – in which, by the way, the name of Grimaldi occurs as pantaloon, – rode riotously triumphant through the seasons, which were otherwise especially remarkable, by numerous revivals of Shakspeare's plays, according to the original text; and not less so by that of Milton's "Comus," in which graceful Mrs. Cibber played and sang the Lady, and sunny Kitty Clive gladdened every heart, as Euphrosyne.

      As far as new pieces are concerned, thus stood the stage till Garrick came. In further continuing to clear it for his coming, I have to record the death of Bowman, the best dressed old man at eighty-eight, and the cheeriest that could be seen. My readers, I hope, remember him, in the chapter on Betterton. Miller is also gone, – a favourite actor, in his day, whose merit in Irish characters is set down in his not having a brogue, which, at that period, was unintelligible to English ears. Miller played a wide range of characters; and he married for the very singular reason that, being unable to read the manuscript copy he had to get by heart, his wife might read it to, and beat it into, him. Bullock, too, the original Boniface and Gibby; and Harper, the original Jobson; and Ben. Griffin, quaint in Simon Pure, comic and terrific in Lovegold; with Milward, the original Lusignan; and Ben Jonson, always correct and natural, – have now departed. With them has gone Mrs. Hallam, an actress of repute, – the original Duchess of Malfy, in the revival of Webster's tragedy of horrors. By her death, the boards of old Drury were relieved from a load of fourteen stone weight! – almost as great as that of Mademoiselle Georges.

      Of those that were left, Quin was the great chief; but he received a rude shock from Macklin, when the latter, after playing Roxana, in a burlesque of the "Rival Queens," achieved his first triumph, by taking Shylock from low comedy, and playing it as a serious character.32 The managers were as nervously afraid of a riot as those of the Ambigu were, when Frederic Lemaître, making no impression as the villain, Robert Macaire, during the first act of "L'Auberge des Adrets," played it through the rest of the piece as a comic part! In either case, the greatest success ensued, but that of Macklin was most honestly earned; and he took rank forthwith as one of the noble actors of his time.

      Turning to other players, I find Mrs. Pritchard progressing from Lady Macduff to Isabella, – from Lucy to Viola and Rosalind. Walker meets a rival in the Macheath of mellifluous Beard. Woodward and Yates are rising to fame. Young Mrs. Cibber disappears for awhile, carrying with her the charms that strike the sight, and the merit that wins the soul. There is a terrible scandal in the cause of her disappearance. "Pistol," her worthless husband, has something more than pushed her into temptation, that he may make money by the offence to which he is the prompter. The public voice condemns him; a jury awards him damages, which show their contempt for his "sense of honour;" and the lady, running away from the house in which he had shut her up, while he was absent, playing that congenial character, Scrub – took for her better friend the man who had fallen in love with her through her husband's contrivance.

      As if to compensate for the loss of Mrs. Cibber's honied tones, the stage was wakened to a new delight, by the presence of Margaret Woffington. This Irish actress made her first appearance at Covent Garden, on the 6th of November, 1740, as Sylvia, in the "Recruiting Officer;" and when, a few nights later, she played Sir Harry Wildair, – the ecstatic town were ready to confess, that in the new and youthful charmer they had at once recovered both Mrs. Oldfield and Robert Wilks. And yet this enchantress, so graceful, so winning, so natural, so refined, had commenced her public career as one of the children who were suspended by a rope from the ancles of Madame Violanti, when that wonder of her day exhibited her powers in Dublin on the tight-rope.

      Loth to leave entirely, Colley Cibber now and then, at £50 a night, played a round of characters, always to crowded houses, but most so when he enacted some of his old beaux and fops. His Richard did not so well please; and one night, when playing this character, he whispered to Victor that he would give £50 to be in his easy chair again, by his fireside.

      There was a Richard at hand who was likely to drive him there, and keep all others from the stage. The season of 1741-42 opened at Drury, on September 5, with "Love for Love," and the "Mock Doctor." The additions to the company, of note, were Delane, Theophilus Cibber, and Mrs. Woffington. Quin was absent starring in Ireland. Covent Garden opened on October 8th with the "Provoked Wife." On the 19th of the latter month, while Drury was giving "As You Like It," and Covent Garden was acting the same piece, the little theatre in Ayliffe Street, Goodman's Fields, announced the "Life and Death of King Richard III.," "the part of King Richard by a gentleman who never appeared on any stage."

      At last! the hour and the man had come. Throughout this season no new piece was produced at either of the patent theatres,33 so influenced were they by the consequences of this СКАЧАТЬ