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

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СКАЧАТЬ what part of the house the bearers would be admitted. The first who arrived took the best places; and tardy peers, knights of the garter, their wives and ladies, were content to occupy the gallery, for once, rather than have no places at all. Such an audience was never seen there before, and has never been seen there since.

      At this time swords were still worn, and evil results followed, to others, as well as to the wearers. On the night of Saturday, September 21, 1751, as the "Way of the World" was being played at Drury, a quarrel, and then a fight with swords took place, between two gallants in the box-lobby. From some cries which arose, the audience thought the house was on fire, and fearful confusion, with fierce struggling, and terrible injury ensued. Many women attempted in their terror to drop from the gallery to the pit. This was not so frightful as it might at present seem, for in those days the front of the lower gallery came down to the roof of the lower boxes. The occupants were a recognised power in the house, often appealed to, and were of very great intelligence and respectability, in one especially favourite locality, the Old Haymarket, as long as the house lasted. Professional men, and poets, and merchants and their wives, sat there to see, hear, and enjoy, whose grand-daughters now sail into stalls, unconscious that there is a gallery in the house, and ignorant that they are of a race who once condescended to sit in it.

      In those days royalty's presence formed a great attraction at the theatre; and royalty enjoyed a "row" as heartily as the most riotous there.

      When Garrick, in 1754, found that he could not fill Drury Lane, – notwithstanding the ability of his company of actors, unless he played himself, and that his own strength was not equal to the task of playing without intermission, – he brought forward a magnificent ballet-pantomime, called the "Chinese Festival." It was composed by Noverre, – who had treated of his art, dancing, as a branch of philosophy! As many competent English dancers as could be found, were engaged; and there was a supplementary, but prominent and able body of foreign dancers. Little would have been thought of this but for the circumstance, that when the gorgeous show was set before the public, in the autumn of 1754,4 war had recently broken out between England and France. Thereupon, John Bull was aroused in a double sense, – his patriotism would not allow of his tolerating the enemy on the English stage; and his sense of religious propriety, not otherwise very remarkable at that time, was shocked at the idea of his condescending to be amused by Papists.

      His offended sense was further irritated by the circumstance, that George II., by his presence, on the first night, seemed to sanction favouritism of the enemy and the hostile church. Aggravated by that presence, which they did not at all respect, the pit heaved into a perfect storm, which raged the more as the old King sat and enjoyed, – nay, laughing at the tempest! The Brunswick dynasty was included within the aim of the hisses and execrations which prevailed. Had Garrick followed Lacy's counsel, he would have withdrawn the piece; but Davy was reluctant to lose his outlay, striving to save which, he lost hundreds more. As the "spectacle" was repeated, so was the insurrection against it; but the "quality" interfering, – as they deemed it the ton to uphold what great Brunswick approved, – a new element of bitterness was superadded. The boxes pronounced pit and galleries "vulgar;" and those powers waged war the more intensely, because of the arrogance of the boxes, whose occupants were assailed with epithets as unsavoury as any flung at the dancers. Then ensued strange scenes and encounters. Gentlemen in the boxes drew their swords, leaped down into the pit, pricked about them in behalf of "gentility," and got terribly mauled for their pains. The galleries looked on, shouting approbation, and indiscriminately pelting both parties. Not so the fair, who occupied the boxes. They, on seeing the champions of propriety and of themselves, being menaced or overpowered in the pit, pointed the offenders out to the less eager beaux who tarried in their vicinity, and who, for their very honour's sake, felt themselves compelled to out with their bodkins, drop into the surging pit, and lay about them, stoutly or faintly, according to their constitutions. The stronger arms of the plebeians carried the day; and when these had smitten their aristocratic opponents, they celebrated their victory with the accustomed Vandalism. They broke up benches, tore down hangings, smashed mirrors, crashed the harpsichords (always the first of the victims in the orchestra); and finally, charging on to the stage, cut and slashed the scenery in all directions. Some evidence of the improved civilisation of the audiences of this half of the century is afforded by the circumstance that no one suggested that the house should be set on fire. But, the pious and patriotic rioters rushed out to Mr. Garrick's house, in Southampton Street (now Eastey's hotel), and broke every window they could reach with missile, from basement to garret. The hired soldiery could not protect him; nor on their bayonets could he prop up the "Chinese Festival," wooden shoes and popery. This affair cost him a sum of money, the loss of which made his heart ache for many a day.

      On our side of the Channel, royal personages have been more amusingly rude than the inferior folk. A good instance of this presents itself to my memory, in the person of the young King of Denmark, who married the sister of George III., and who frequently visited the theatres in London, in 1768. At the play of the "Provoked Husband," it was observed that he applauded every passage in which matrimony was derided; which was commented on as an uncivil proceeding, as his wife was an English princess.

      This wayward lad offended audience and actors on another occasion, in quite a different way. In October, he commanded the edifying tragedy of "Jane Shore," during the performance of which he fell fast asleep, and remained so to the amusement of the audience and the annoyance of Mrs. Bellamy, who played Alicia. That haughty and hapless beauty was not likely to let the wearied King sleep on; and accordingly, having to pronounce the words, "O thou false lord!" she approached the royal box, and uttered them expressly in such a piercing tone, that the King awoke in sudden amazement, but with perception enough to enable him to protest that he would not be married to a woman with such a voice though she had the whole world for a dowry. Two nights later5 he went to see "Zara," Garrick being the Lusignan; and it is to his credit that he sat through that soporific sadness without winking.

      The greatest excitement prevailed among the audience when the King went to see Garrick act Ranger, in the "Suspicious Husband." The pit was so crowded and so hot, that every man (and there were few or no women there) took off his coat and sat in his shirt or waistcoat sleeves, in presence of the King. The various hues formed a queer sight; but many of the men fainted. At the thunder of the cheers which greeted his coming, Denmark looked frightened, but bowed repeatedly; and when at Garrick's appearance, the roar of applause was renewed, his majesty appropriated it to himself, and again bowed to all sides of the house, while Ranger waited to congratulate himself on "having got safe to the Temple."

      There was little indecorum in Mrs. Bellamy's act of rousing the sleepy King of Denmark with a scream, but greater, and what would now seem gross and unpardonable liberties, were taken by the actors, with their patron George III. For instance, in the "Siege of Calais," there is a scene between two carpenters who erect the scaffold for the execution of the patriots. Parsons played chief carpenter, in which character it was put down for him to say, "So, the King is coming! an the King like not my scaffold, I am no true man." George III. and family were present, one night, at the Haymarket, when this piece was played by command, and Parsons gave this unseemly turn to the set phrase. Advancing close to the royal box, he exclaimed: "An the King were here and did not admire my scaffold, I would say, D – n him! he has no taste!" At this sally the King laughed louder and longer than even the hilarious audience!

      Sir Robert Walpole was readier to take offence than King George. He could smile at the inuendoes of the "Beggar's Opera;" but when he was deeply interested in the success of his Excise Bill, and an actor sneeringly alluded to it, in his presence, the minister went behind the scenes, and asked if the words uttered were in the part. It was confessed that they were not; and thereupon Sir Robert raised his cane, and gave the offending player a sound thrashing.

      In Parsons' case, monarch and audience alike, knew that no offence was intended, in detection of which loyalty rendered the audience over acute; as in the case when Jack Bannister got into disgrace with the house. "God Save the King" was being sung, and Jack, dressed for СКАЧАТЬ