1805 to 1806.
Stage Affairs and Stage Quarrels--Mr. Graham, the Bow Street
Magistrate and Drury Lane Manager--Mr. Peake--Grimaldi is
introduced to Mr. Harris by John Kemble--Leaves Drury Lane and
engages at Covent Garden--Mortification of the authorities at
"the other house"--He joins Charles Dibdin's Company and visits
Dublin--The _wet_ Theatre--Ill success of the speculation,
and great success of his own Benefit--Observations on the
comparative strength of Whisky Punch and Rum Punch, with
interesting experiments.
The manager of Drury Lane had advertised Tobin's comedy of "The
Honey Moon" as the play for the second night of the season;[35] not
recollecting, until it was too late to alter the bills, that in
consequence of the secession of Mr. Byrne, who had been ballet-master,
and the non-engagement of any other person in his place, there was no
one to arrange the dance incidental to the piece. In this dilemma,
Grimaldi, who had been accustomed to arrange the dances at Sadler's
Wells, was sent for and, as soon as "Lodoiska" was over, the interview
took place between him and the manager to which reference was made at
the close of the last chapter.
Mr. Wroughton, after stating that he was in a very unexpected dilemma,
and that unless Grimaldi would assist him he would have to change the
piece for the ensuing night,--which it was exceedingly desirable to
avoid doing, if possible,--briefly narrated the circumstances in which
the theatre was placed, and concluded by offering him two pounds per
week in addition to his regular salary, if he would arrange the dance
in question, and assist in getting up any other little dances and
processions that might be required. This offer he readily accepted,
merely stipulating that the increased salary should be understood
to extend over the whole season, and not merely until another
ballet-master was engaged. Mr. Wroughton observed, that nothing could
be fairer, that this was what he meant, and that Grimaldi had his
instructions to engage as many male dancers as he might deem necessary.
He at once entered upon his new office immediately engaged as many
hands (or legs) as he required, arranged the dance during the night,
called a rehearsal of it at ten in the morning, got it into a perfect
state by twelve, rehearsed it again in its proper place in the comedy,
and at night had the satisfaction of hearing it encored with great
applause.
At the end of the week, he received his increased salary from Mr.
Peake, the treasurer, a gentleman well known and highly respected by
all connected with the stage or theatrical literature, who shook him by
the hand, congratulated him on this new improvement of his income, and
cordially wished him success.
Before he accepted the money, he said, "My dear sir, to prevent any
future difference, it is thoroughly understood, is it, this increase is
for the season?"
"Undoubtedly," replied Mr. Peake: "I will show you, if you like,
Mr. Graham's written order to me to that effect." This he did, and
Grimaldi of course was perfectly satisfied. Mr. Graham, who was then a
magistrate at Bow-street, was at the head of affairs at Drury Lane.
All went on well for some little time. Mr. James D'Egville was engaged
as ballet-master shortly afterwards; but this made no alteration in
the footing upon which Grimaldi was placed. There was no difference
of opinion between the ballet-master and himself, for he continued to
arrange the minor dances and processions, and his arrangements were
repeatedly very warmly commended by Mr. D'Egville.
A new grand ballet, called "Terpsichore," was produced by the latter
gentleman immediately after his joining the company in which Grimaldi
performed Pan, which he always considered a capital character, and one
of the best he ever had to play. The ballet was got up to bring forward
Madame Parisot,[36] who was engaged for the season, for one thousand
guineas. It was thoroughly rehearsed, at least fourteen times before
the night of performance; was very favourably received, and had a good
run.
He was not a little surprised, on Saturday the 26th of October, when
he went as usual to the treasury to draw his salary, to hear that
thenceforth the extra two pounds would not be paid. Mr. Peake admitted
that he was also very much surprised and annoyed at the circumstance,
again producing Mr. Graham's letter, and candidly acknowledging, that
in his opinion this uncalled-for attempt to rescind the contract,
which was none of Grimaldi's seeking, was very paltry. He immediately
waited upon Mr. Wroughton and mentioned the circumstance, at which he
too appeared greatly vexed, although it was not in his power to order
the additional sum to be paid. He then mentioned the circumstance to
his wife, dwelling upon it with great irritation; but she, observing
that it was of no consequence, for they could do very well without it,
proposed that, having nothing to do at Drury Lane that night, they
should go for an hour or two to Covent Garden.
To this proposition he made no objection; so, as he passed down
Bow-street, he called in upon Mr. T. Dibdin for an order, and the
conversation happening naturally enough to turn upon theatrical
affairs, mentioned what had just occurred at Drury Lane. Mr. Dibdin
immediately expressed himself in very strong terms upon the subject,
and counselled Grimaldi to withdraw from the theatre, and to accept an
engagement at the other house. The advice generated a long conversation
between them, which terminated in Grimaldi saying, Mr. Dibdin might,
if he pleased, mention the subject to Mr. Harris, and say, if the
Management were willing to engage him, he was willing to enter into
articles for the following season.
In the course of the evening, he received a note begging his attendance
at Covent Garden on Monday, at twelve, and keeping the appointment,
was ushered into a room in which were Mr. Harris and John Kemble. The
latter greeted him in a very friendly manner, and said,
"Well, Joe, I see you are determined to follow me."
"Yes, sir," replied Grimaldi, who had been thinking of something
polite; "you are a living magnet of attraction, Mr. Kemble."
At this Mr. Harris laughed and congratulated the tragedian on receiving
so handsome a compliment. Kemble inquired of Grimaldi whether he knew
Mr. Harris, and receiving a reply in the negative, introduced him to
that gentleman as "Joe Grimaldi," whose father he had known well, who
was a true chip of the old block, and the first low comedian in the
country.
Mr. Harris said a great many fine things in reply to these
commendations, and, rising, requested Grimaldi to follow him into an
adjoining apartment. He did so, and in less than a quarter of an hour
had signed articles for five seasons; the terms being, for the first
season, six pounds per week; for the second and third, seven pounds;
and for the fourth and fifth, eight pounds. Independent of these
emoluments, he had several privileges reserved to him, among which was
the very important one of permission to play at Sadler's Wells, as he
had theretofore done. These arrangements being concluded, he took his
leave, greatly satisfied with the improved position in which he stood,
as up to that time he had only received four pounds per week at Drury
Lane.[37]
In the evening, he had to play Pan in the ballet at Drury. When he had
dressed for the part, he entered the green-room, which was pretty full
of ladies and gentlemen, among whom was Mr. Graham, who, the moment he
saw him, inquired if a report that had reached him of Mr. Grimaldi's
going to Covent Garden for the following season were correct. Grimaldi
replied in the affirmative, adding, that he was engaged at the other
house not only for the following season, but for the four ensuing
seasons.
Mr. Graham started up in a state of considerable excitement on hearing
this, and addressed the performers present, at considerable length,
expatiating in strong language upon what he termed "Grimaldi's
ingratitude" in leaving the theatre. Grimaldi waited patiently until
he had concluded, and then, addressing himself to the same auditors,
made a counter-statement, in which he recapitulated the whole of the
circumstances as they had actually occurred. When he came to mention
Mr. Graham's letter to Mr. Peake, the treasurer, the former hastily
interrupted him by demanding what letter he referred to.
"The letter," replied Grimaldi, "in which you empowered Mr. Peake to
pay the increased salary for the whole of the season."
"If Mr. Peake showed you that letter," replied Mr. Graham, in a great
passion, "Mr. Peake is a fool for his pains."
"Mr. Peake," rejoined Grimaldi, "is a gentleman, sir, and a man of
honour, and, I am quite certain, disdains being made a party to any
such unworthy conduct as you have pursued towards me."
A rather stormy scene followed, from which Grimaldi came off
victorious; Barrymore and others taking up his cause so vigorously,
that Mr. Graham at length postponed any further discussion and walked
away. Enough having taken place, however, to enable him to foresee that
his longer stay at Drury Lane would only be productive of constant
discomfort to himself, he gave notice to Mr. Graham on the following
morning of his intention to leave the theatre on the ensuing Saturday
week. This resolve gave rise to another battle between Mr. Graham
and himself, in the course of which he was pleased to say, that he
could not play the ballet without him, and, consequently, that if
he left, he would bring an action against him for loss incurred by
its not being performed. Grimaldi, however, firmly adhered to his
original resolution: acting therein upon the advice of Mr. Hughes, who
strenuously counselled him by no means to depart from it.
Considering himself now at perfect liberty until Easter, he entered
into an engagement to perform at Astley's theatre in Dublin, which
had just been taken for a short period by Messrs. Charles and Thomas
Dibdin. These gentlemen had engaged the greater part of the Sadler's
Wells' company, including Bologna and his wife (who had been engaged
by Mr. Harris for the next season at Covent Garden on the same day as
Grimaldi himself), and they offered Grimaldi fourteen guineas a-week
for himself, and two for his wife, half a clear benefit at the end of
the season, and all his travelling expenses both by land and sea.
On the 9th of November he closed his engagement at Drury Lane,
performing Pan in the ballet of "Terpsichore." He started on the
following morning, accompanied by his wife, for Dublin, leaving his
little son, who was in very weak health, at home. They had a very
tedious journey to Holyhead, and a very stormy one from thence to
Dublin; experiencing the usual troubles from cold, sickness, fatigue,
and otherwise, by the way. Mr. and Mrs. Charles Dibdin, who had arrived
first, received them with much cordiality and kindness; and they took
lodgings at the house of a Mr. Davis, in Peter-street.
On Monday, November the 18th, the theatre opened, and their career was
for some time eminently successful as long, indeed, as the fine weather
lasted; but no sooner did the rainy weather set in, than the manager
discovered, to his horror and surprise, that the roof of the theatre,
being in a dilapidated condition, was not waterproof. At length, one
night towards the end of December, a very heavy rain coming down during
the performance, actually drove the audience out of the house. The
water descended in torrents into the pit and boxes: some people who
were greatly interested in the performances put up their umbrellas, and
others put on great coats and shawls; but at length it came down so
heavily upon the stage, that the performers themselves were obliged to
disappear. In a few minutes the stage was covered, the scenery soaked
through, the pit little better than a well, and the boxes and gallery
streaming with water.
This unforeseen occurrence threw both literally and figuratively a damp
upon the performances which there was no recovering. From that time,
with the single exception of one evening, the theatre was deserted.
Tarpaulings, and all kinds of cheap remedies, were tried, but they all
failed in producing their intended effect. They never kept the water
out, or drew the company in. As to any thorough repair of the roof, it
was wholly out of the question; for the Dibdins only held the theatre
until March, and the necessary repairs under this head alone would have
cost at the very least 200_l._
In this state of things, Mr. Charles Dibdin was compelled to write to
London for remittances wherewith to pay his company. Knowing exactly
how he was situated, Grimaldi volunteered his services in the only way
in which he could render them, and offered not to send to the treasury
for his salary, but to leave it to be paid whenever the manager
might appoint after their return to London. This offer, it is almost
unnecessary to add, was gratefully accepted.
About the middle of January, Mr. Jones, the manager of the Crow Street
Theatre, hearing how badly the Astley's people were doing, and yet
finding that, bad as their business was, it injured his, made an offer
to Mr. Dibdin to take his company off his hands at the terms upon
which he had originally engaged them, and for the remainder of the
time specified in their articles, and further, to make some pecuniary
compensation to Mr. Dibdin himself. The manager assembled the company
on the stage, after their having had the mortification of playing to an
empty house, on Tuesday, January the 28th, and communicated this offer
to them, and earnestly urged upon them the acceptance of the proposal,
as the only means by which himself and his brother could hope to
recover any portion of the losses they had already sustained. Grimaldi
at once expressed his readiness to accede to the proposition, and used
his utmost influence with the other members of the company to induce
them to do the like. He succeeded, except in the case of two of the
performers, who preferred returning at once to England.
When this was arranged to the satisfaction of all parties, Mr. Dibdin
announced his intention to close the theatre on the next Saturday,
February the 1st. Grimaldi took the opportunity of inquiring what was
to become of his half-benefit which had been agreed upon. The manager
replied, with a melancholy smile, that he might give him anything
he liked for _his_ half--twenty pounds would do, and he should have
the entire house next Saturday. Grimaldi immediately paid the twenty
pounds, and on the following morning commenced making preparations
for his benefit, having barely four days in which to announce the
performances, and sell his tickets.
He had borne an introductory letter to Captain Trench, whose unvarying
kindness to him on every possible occasion he most gratefully
acknowledged, and to this gentleman he first mentioned his intention of
taking a benefit. He also mentioned it to his landlord. Their replies
were characteristic.
"Let me have a hundred box-tickets," said Captain Trench: "keep the two
centre boxes for me. If I want any more tickets I'll send for them; but
here's the money for the hundred."
"Give me a hundred pit-tickets," said the landlord. "If I can sell
more, I will; but here is the money for them."
He had his bills printed and well circulated, but did no more business
until the Saturday morning, which made him uneasy; though the fact
simply was, that the people were waiting to see how the weather would
turn out; very well knowing that if it were a wet night, the theatre
would be the very worst place in which to encounter the rain. Fortune,
however, was propitious; the day was cloudless, fair, and beautiful;
and the result was, that after having at nine o'clock in the morning
no one place taken except the two boxes bespoken by Captain Trench, at
one o'clock in the afternoon not a single place remained unlet. At one
time, when there was no doubt of the weather remaining dry, there were
no fewer than sixteen carriages standing before his door, the owners
of which were all anxious to obtain places, and all of whom he was
reluctantly compelled to disappoint.
The receipts of the house amounted to one hundred and ninety-seven
pounds nineteen shillings, not to mention a variety of presents,
including a magnificent gold snuff-box, from Captain Trench, which was
worth, in weight alone, more than thirty pounds sterling.
This purchase of Dibdin's half of the benefit for twenty pounds was
not only a very fortunate thing for Grimaldi, but was, on the other
hand, in some degree serviceable to Dibdin also, inasmuch as it enabled
Grimaldi to oblige him with a loan of one hundred pounds, of which at
that moment, in consequence of his undeserved misfortunes, he stood
much in need. This advance, together with salary due and other matters,
left Mr. Dibdin indebted to Grimaldi in the sum of one hundred and
ninety-six pounds, the whole of which was honourably repaid a few
months afterwards.
This benefit closed the season of the "wet" Theatre in Peter Street;
and on the following Monday, Grimaldi, and the greater part of the
London company, appeared at the Crow Street Theatre, where they acted
until the 29th of March. One circumstance is sufficient to show that
the performances were unusually successful, which is, that the two
pieces in which he came out,--namely, "Harlequin Æsop," and "Coa and
Zoa, or the Rival Indians,"--were found quite attractive enough for the
whole period. He did not appear in any other part, even for a single
night, during the whole of his engagement.
On Sunday, March the 30th, they packed up, and at ten o'clock in the
evening of Monday went on board the packet, in which they had taken
their berths to Holyhead, after receiving the warmest and kindest
hospitality from every person they had encountered in Dublin. With only
one letter of introduction, Grimaldi had found himself in the course of
a few days surrounded by friends whose hospitality and cordiality, not
only of profession, but of action, were beyond all bounds: one would
invite him to dinner, and be personally affronted by his not dining
with him every day; another who wished to pay him a similar attention,
but whose dinner-hour would have interfered with the rehearsal, only
gave up his claim upon the condition that his wife and himself should
dine with him every Sunday; a third placed a jaunting-car at his
disposal, and sent it to his door at eleven o'clock every morning; and
a fourth expected him to meet a small party at supper regularly every
night. He had heard and read a great deal of Irish hospitality, but had
formed no conception of its extent and heartiness until he experienced
its effects in his own person.
He was much struck, as most Englishmen are, by the enormous consumption
of whisky-punch, and the facility with which the good folks of Dublin
swallow tumbler after tumbler of it, without any visible symptoms of
intoxication. He entertained a theory that some beverage of equal
strength, to which they were unaccustomed, would be as trying to them
as their whisky-punch was to him, (for he was always afraid of a second
tumbler of toddy,) and, with a view of putting it to the proof, gave
a little party at his lodgings on Twelfth Night, and compounded some
good strong English rum-punch, with rather more than a dash of brandy
in it. He considers that the experiment was eminently successful,
asserting that one-fourth of the quantity which the guests would have
drunk with complete impunity, had it been their ordinary beverage,
quite overset them; and states with great glee, that Mr. Davis, his
landlord, who could drink his seven tumblers of whisky-punch, and go
to bed afterwards rather dull from excessive sobriety, was carried up
stairs after one tumbler of the new composition, decidedly drunk. We
are inclined to think, however, that Mr. Davis had been taking a few
tumblers of whisky-punch in his own parlour before he went up stairs to
qualify himself for the party, and that the success of the experiment
is not sufficiently well established to justify us in impressing it on
the public mind without the addition of this trifling qualification.
FOOTNOTES:
[35] Drury Lane opened for the season on September 14, 1805, with the
"Country Girl," Peggy, Mrs. Jordan; and the farce of "The Irishman in
London." Byrne, and his son Oscar, had quitted at the close of the last
season, and were engaged at Covent Garden; and D'Egville had abandoned
his situation at the King's Theatre, to succeed Byrne as ballet-master
at Drury Lane: all this was known before the opening.
[36] The management of Drury Lane, in their desire of novelty, had
engaged M. Joubert, and Mademoiselle Parisot, from the King's Theatre
for the season. On October 24, it was underlined in the bill of the
day, that she would appear for the first time, on that stage, on
Monday, the 28th, in a new ballet, composed by M. D'Egville, entitled
"Terpsichore's Return;" it was, however, "owing to the indisposition
of a principal performer," deferred a few days--till November 1. In
this ballet, Grimaldi had a great part, that of Pan, in which he fell
in love with Terpsichore, who, after favouring his pretensions, jilted
him; this allowed Joe full latitude of display, and the applause the
ballet obtained had never been exceeded on the production of any drama
or piece in that, or any other theatre. The ballet was performed the
fifth time, on Saturday, November 9, on which night Grimaldi quitted
the theatre, and never afterwards was within its walls. "Terpsichore's
Return" was performed a sixth time, on Monday, November 25, and Pan was
personated by George D'Egville, a pantomimist, and brother to James
D'Egville, the ballet-master. George D'Egville had performed with great
_éclat_ the part of Caliban, at the Haymarket, in a similar ballet,
derived from Shakspeare's "Tempest," and as his engagement was possibly
on the _tapis_ for Drury Lane, (Pan apparently having been designed for
him,) Joe fancying that two suns could not shine in the same sphere,
broke the terms of his engagement, and left the course clear to his
successor.
[37] The transfer of Joe's services from Drury Lane to the rival
Theatre Covent Garden, is differently accounted for by Tom Dibdin, who
was a party in the affair, and whose recollection of past facts was
generally too correct to be called in question. Grimaldi's engagement
at Covent Garden is stated to have been effected prior to his going to
Peter-street, Dublin, in the pay of the two Dibdins; the contrary was
the fact. After Grimaldi's return from Dublin, he sought employment at
Covent Garden, nor is there reason to doubt Dibdin's statement in any
way. He says: "I had often pressed Mr. Harris to engage Grimaldi for my
pantomimes, but his answer was, he would not be the first to infringe
an agreement made between Drury Lane and Covent Garden, not to engage
each other's performers until a twelvemonth had elapsed since such
performers had left their situations. Grimaldi, by going in our venture
to Dublin, had now dissolved this obstacle; and I one day met him at
the stage-door of Covent Garden, waiting, as he told me, to see Mr.
Shotter, a confidential servant of Mr. Harris, who would take up his
name to the proprietor: he also told me what terms he meant to ask for
three years, which were so very modest, and so much beneath his value,
that I went immediately to Mr. Harris, and advised him to offer a pound
per week, the first year; two, the second; and three, the third, more
than the sum Mr. Grimaldi had mentioned: this was done instantaneously;
and the best clown ever seen on the stage, was retained for 'Mother
Goose:' when I say the best, I do not except his father, whose _vis
comica_ I perfectly well remember."--_Reminiscences_, 1827, Vol. I. p.
399.