1818 to 1823.
Profit and Loss--Appearance of his Son at Covent Garden--His last
engagement at Sadler's Wells--Accommodation of the Giants
in the Dublin Pavilion--Alarming state of his health--His
engagement at the Coburg--The liberality of Mr. Harris--Rapid
decay of Grimaldi's constitution, his great sufferings, and
last performance at Covent Garden--He visits Cheltenham and
Birmingham with great success--Colonel Berkeley, Mr. Charles
Kemble, and Mr. Bunn.
By his six weeks' excursion in 1818, Grimaldi cleared 682_l._ 12_s._
but the disastrous result of the Sadler's Wells season, and the
expenditure of ready money in the purchase of his shares, swallowed up
nearly the whole of his gains in the provinces--so that notwithstanding
his great success and the enormous sums he had so recently acquired,
the autumn of 1818 found him still poor, and entirely dependent on his
salary for support. He looked forward, however, to the next season at
Sadler's Wells, in the hope that some success might repay a portion of
the money he had already lost.
The opening of Sadler's Wells[72] was attended by many difficulties
and embarrassments. Only ten days before the commencement of the
season, Mr. Charles Dibdin suddenly relinquished his post of acting
stage-manager, and was with great difficulty prevailed upon to make the
necessary arrangements for the first week. As he left the theatre at
Whitsuntide, and nobody could be found to supply his place, Grimaldi
was obliged to fill it himself, and to relinquish, though with great
unwillingness, his summer excursion, with all its advantages. He
produced a new pantomime of his own invention, called "The Fates,"
which ran the whole of the season, and drew very good houses. The
result was, that when the books were made up at the end of the
season, each of the proprietors had something to receive; which was a
very agreeable improvement on the untoward prospects with which the
preceding year had opened.
Gradually, but surely, during the whole of this year Grimaldi felt his
health sinking, and heavy and painful infirmities creeping upon him. He
learnt, when it was too late, that if at this time he had retired from
the profession, and devoted one or two years to relaxation and quiet,
his constitution would in all probability have rallied, and he would
have been enabled to resume his usual occupations, with every hope of
being long able to perform them, instead of being compelled, as he
eventually was, to quit the stage when he was little more than forty
years old.
The Christmas pantomime at Covent Garden was "Harlequin Don Quixote,"
which was not quite so successful as the pantomimes at that house
usually had been, although Grimaldi played Sancho Panza in the opening,
and afterwards Clown. Its success was so equivocal, that another
pantomime, called "Harlequin and Cinderella," was produced in April;
but it had no greater success that its predecessor, for it went off but
indifferently, and did not run long. Having a few nights to spare in
March, he accepted a theatrical invitation from Lynn in Norfolk, where
he acted four nights and received one hundred and sixty pounds.
At Sadler's Wells a new system had been acted upon. The authorities
being greatly puzzled in the choice of a stage-manager, and having
received an offer from Mr. Howard Payne to take the theatre for
one season at a certain rental, agreed to let it. Mr. Howard Payne
commenced his campaign at Easter,[73] and a most unprofitable one
it proved, for he lost a considerable sum of money, as did the
proprietors also, and Grimaldi not unnaturally began to be weary of
the speculation. As both his benefits, however, were bumpers, he left
the theatre in good spirits in the month of September,[74] to fulfil
an engagement at Dublin, little dreaming at the time, that with the
exception of his farewell night, he was destined never again to act
upon the Sadler's Wells stage.
Grimaldi's travelling companions were Ellar and his son, all three
being engaged by Mr. Harris to act at his theatre in Dublin, and
receiving permission to absent themselves from Covent Garden for that
express purpose. Since his last journey to the Irish capital in 1805,
roads and coaches had improved, and steam-packets had supplied the
place of the old sailing-boats, so that they reached their destination
in half the time which the same journey had occupied before.
The theatre in which they were to act was called the Pavilion, and
had formerly been an assembly-room. It was perfectly round, and very
ill adapted for dramatic representations; the stage room, too, was so
inconvenient, and they were so pressed for want of space, that when
"Harlequin Gulliver" was in preparation, they were at a loss where to
put the Brobdignagians. These figures were so very cumbersome and so
much in the way, that the men who sustained the parts were at last
obliged to be dressed and put away in an obscure corner before the
curtain was raised, whence they were brought forward when wanted
upon the stage, and into which they were obliged to retreat when they
had no more to do, and to remain there as quietly as they could, until
the pantomime was over, there being actually no room to get them out
of their cases. The dresses and makings-up were very cumbrous and
inconvenient; but as no other mode of proceeding presented itself, the
unfortunate giants were obliged to make the best of a bad bargain,
and to remain in a great state of perspiration and fatigue until they
could be reduced to the level of ordinary men. Grimaldi pitied the poor
fellows so much, that after the first night's performance was over, he
thought right to represent to them that no relief could be afforded,
and to ask whether they could make up their minds to endure so much
labour for the future.
[Illustration: George Cruikshank
_Grimaldi's kindness to the Giants._]
"Well, then," said the spokesman of the party, "we have talked it over
together, and we have agreed to do it every night, if your honour--long
life to you!--will only promise to do one thing for us; and that is,
just to let us have a leetle noggin of whisky after the green rag comes
down."
This moderate request was readily complied with, and the giants behaved
themselves exceedingly well, and never got drunk.
The party stayed seven weeks at Dublin. Grimaldi made a great deal
of money by the trip, and realized by his benefit alone, two hundred
pounds.
Between September, 1820, when Covent Garden re-opened, and Christmas,
when the new pantomime was brought forward, Grimaldi frequently
appeared as Kasrac in "Aladdin;" nor did his increasing infirmities
render his performance more painful or wearisome than usual. The
pantomime was called "Harlequin and Friar Bacon," and was exceedingly
successful, as it was received with great approbation, and was
repeated for fifty-two nights. This season his son was for the first
time regularly engaged at Covent Garden.[75] He played Fribble in the
opening, and afterwards the Lover, (a character which has now become
obsolete,) and bade fair to become a great public favourite.
Sadler's Wells was let at Easter, 1821, for the ensuing three seasons,
to Mr. Egerton, well known to the public as a performer at Covent
Garden. He and Grimaldi had been very good friends for many years;
but some clauses being introduced into his agreement for hiring the
theatre which Grimaldi as a proprietor so strongly disapproved that
he refused to affix his signature to the document, a coolness took
place between them which was never afterwards removed. Notwithstanding
this difference, he always continued to entertain a high respect for
Egerton, who was greatly liked by his friends and the profession
generally, and who had been at one period of his career a much better
actor than the play-goers of the present day remember him. This
gentleman was afterwards connected with Mr. Abbott in the management
of the Victoria Theatre, in which speculation they both sustained
considerable losses. Both are since dead.
On the 23rd of April, Farley produced his melodrama of "Undine; or, the
Spirit of the Waters," in which Grimaldi sustained a new character.[76]
In the autumn, Ellar, Grimaldi, and his son again repaired to Dublin,
making a stay of five weeks at the Birmingham Theatre,[77] which was
then in the hands of Mr. Bunn. Here they got up the pantomime of "Friar
Bacon," which was played to excellent houses for twenty-four nights.
Mr. Bunn behaved on this occasion, as Grimaldi states he did upon every
other in which he was concerned, with great liberality, allowing him
a salary of twenty pounds per week, and the son nine pounds per week,
independent of half a clear benefit, the profits of which were
great.[78]
At Dublin, "Friar Bacon" was played twenty-nine nights out of the
thirty-two for which Grimaldi and his party were engaged, and the
pieces were so successful, that it would have been the interest of all
parties to prolong their engagements, if the arrangements at Covent
Garden had admitted of their doing so. It was at this period that, with
an agony of mind perfectly indescribable, Grimaldi found his health
giving way by alarming degrees beneath the ravages of premature old
age. On the eighteenth night of their performance in Dublin, he became
so ill that he was obliged to throw up his part at a very short notice,
and to send immediately for medical aid. He was attended by one of the
most eminent physicians in Dublin, and under his treatment recovered
sufficiently to be enabled to resume his character in about a week. But
he felt, although he could not bear to acknowledge it even to himself,
that his restoration to health was only temporary, that his strength
was rapidly failing him, that his limbs grew weaker, and his frame
became more shaken every succeeding day, and that utter decrepitude,
with its long train of miseries and privations, was coming upon him.
His presentiments were but too fully realized, but the realization of
his worst fears came upon him with a rapidity which even he, conscious
as he was of all the symptoms, had never deemed possible.
The successful sojourn of the party at Dublin at length drew to a
close, as it was necessary that they should return to London to be in
readiness for the pantomime. On the 6th of December, 1821, they bade
farewell to Ireland, and after a most boisterous voyage landed at
Holyhead, whence they posted in haste to town, and the day after their
arrival began the rehearsals for Christmas. In his ill state of health,
Grimaldi was terribly shaken by the journey home and the sea-sickness,
and felt worse in point of general health than he had yet done.
The pantomime was "The Yellow Dwarf."[79] Although the performers began
to rehearse at an unusually late period, its success was perfect; but,
notwithstanding it ran forty-four nights, Grimaldi never thought it
a favourite with the public. He himself played the Yellow Dwarf, and
his son played a part called "Guinea Pig." "Cherry and Fair Star" was
revived at Easter, in consequence of its great success in the previous
season, and answered the purpose extremely well.
During the whole of this summer Grimaldi's health gradually but
steadily declined. Sometimes there were slight fluctuations for
the better, in which he felt so much improved as to fancy that his
strength was beginning to return; and although the next day's decay and
lassitude showed but too clearly that they were but brief intervals
of strength, he fondly regarded these red-letter days as tokens of a
real and permanent change for the better. Perhaps even now, as he had
nothing to do at Sadler's Wells, and was too unwell to accept country
engagements, if he had remained quiet during the Covent Garden recess,
lived with great regularity, and acted upon the best medical advice, he
might have retained for many years longer some portion of his health
and spirits. But Mr. Glossop, who was then the lessee of the Coburg
Theatre (now the Victoria), made him an offer which he could not
resist, and he acted there for six weeks,[80] at a considerable sum per
week and a free benefit. The engagement turned out so profitable a one
for the management, that he might have renewed it for the same space of
time, if he had not become too ill to appear upon the stage.
At this crisis of his disorder Grimaldi was advised to try the
Cheltenham waters. He went to Cheltenham in August, and being somewhat
recovered by the change of air, consented to act for Farley and Abbott,
who had taken the theatre on speculation, for twelve nights. He cleared
150_l._; and whether this sum of money, or the waters, or the change
of scene revived him is uncertain, but he felt greatly improved in
health when he returned to London for the opening of Covent Garden, to
commence what ultimately proved to be his last season at that theatre.
"Harlequin and the Ogress; or, the Sleeping Beauty," was the pantomime
of the season. The rehearsals went off very briskly, and the piece,
when it was produced, met with the success which generally attended
the production of pantomimes at that house. Nothing, indeed, could
exceed the liberality displayed by Mr. Harris in getting up this
species of entertainment; to which circumstance, in a great measure,
the almost uniform success of the pantomimes may be attributed. This
spirit was not confined to the stage and its appointments, but was
also extended in an unusual degree to the actors. Every suggestion was
readily listened to, and as readily acted upon, if it appeared at all
reasonable: every article of dress was provided at the expense of the
management; the principal actors were allowed a pint of wine each,
every night the pantomime was played, and on the evening of its first
representation they were invited to a handsome dinner at the Piazza
Coffee-house, whither they all repaired directly the rehearsal was
over. At these dinners Farley took the chair, while Brandon acted as
vice; and there is no doubt that they materially contributed to the
success of the pantomimes. There can be no better means of securing
the hearty good-will and co-operation of the parties employed in
undertakings of this or any other description than treating them in a
spirit of generosity and courtesy.
In this pantomime Grimaldi played a part with the very pantomimic
name of "Grimgribber;" and that sustained by his son was expressively
described in the bills as "Whirligig." It ran until nearly the
following Easter, when a new melodrama by Farley appeared, called "The
Vision of the Sun; or, the Orphan of Peru."
In this piece, which came out on the 23rd of March, 1823, Grimaldi
played a prominent character; but even during the earlier nights of its
very successful representation, he could scarcely struggle through his
part. His frame was weak and debilitated, his joints stiff, and his
muscles relaxed; every effort he made was followed by cramps and spasms
of the most agonizing nature. Men were obliged to be kept waiting at
the side-scenes, who caught him in their arms when he staggered from
the stage, and supported him, while others chafed his limbs,--which
was obliged to be incessantly done until he was called for the next
scene, or he could not have appeared again. Every time he came off, his
sinews were gathered up into huge knots by the cramps that followed his
exertions, which could only be reduced by violent rubbing, and even
that frequently failed to produce the desired effect. The spectators,
who were convulsed with laughter while he was on the stage, little
thought that while their applause was resounding through the house, he
was suffering the most excruciating and horrible pains. But so it was
until the twenty-fourth night of the piece, when he had no alternative,
in consequence of his intense sufferings, but to throw up the part.
On the preceding night, although every possible remedy was tried, he
could scarcely drag himself through the piece; and on this occasion it
was only with the most extreme difficulty and by dint of extraordinary
physical exertion and agony, that he could conclude the performance,
when he was carried to his dressing-room exhausted and powerless.
Here, when his bodily anguish had in some measure subsided, he began
to reflect seriously on his sad condition. And when he remembered how
long this illness had been hovering about him, how gradually it had
crept over his frame, and subdued his energies, with what obstinacy it
had baffled the skill of the most eminent medical professors, and how
utterly his powers had wasted away beneath it, he came to the painful
conviction that his professional existence was over. Enduring from
this terrible certainty a degree of anguish, to which all his bodily
sufferings were as nothing, he covered his face with his hands and wept
like a child. The next morning he sent word to the theatre that he was
disabled by illness from performing.
His son studied the part in one day, and played it that night with
considerable success. The piece was performed forty-four nights during
the season; but although he afterwards rallied a little, he never
attempted to resume the part. In spite of all his sufferings, which
were great, and a settled foreboding that his course was run, it was
some years before hope deserted him: and for a long time, from day to
day he encouraged hopes of being at some future period able to resume
the avocations in which he had spent his life.
Grimaldi repaired again, in the month of August, to Cheltenham,
recollecting that it had had some beneficial effect on his health
in the previous year. During his stay, he so far recovered as to be
enabled to play a few nights at the theatre, then under the management
of Mr. Farley. Here he encountered Mr. Bunn, who informed him that
Mr. Charles Kemble was then starring at Birmingham, and that Colonel
Berkeley having promised to play for his benefit, he had come over
to Cheltenham to ascertain what part the Colonel would wish to play.
Mr. Bunn added, that he was there as much for the purpose of seeing
Grimaldi as with any other object, as he wanted him to put a little
money into both their purses, by playing a few nights at Birmingham.
Grimaldi declined at first, but being pressed, and tempted by Mr.
Bunn's offer, consented to act for two nights only, the receipts,
whatever they might happen to be, to be divided between them.
It was Mr. Charles Kemble's benefit night when he and his son arrived
at Birmingham; and as that gentleman was a great favourite there, as
indeed he was everywhere throughout his brilliant career, Grimaldi
entertained some fears that the circumstance would prove prejudicial to
his interests. He sought a few moments' conversation with Mr. Kemble in
the course of the evening, and informed him that his son had received
an offer of eight pounds per week from the Drury Lane Management, but
that rather than he should leave Covent Garden Theatre, with which his
father had now been connected so long, and where he had experienced
so much liberality, he was ready to accept an engagement there at six
pounds per week, if agreeable to the proprietors.
"Joe," said Mr. Charles Kemble, "your offer is a very handsome one, and
I agree to it at once. Your son is now engaged with us on the terms you
have mentioned."
They shook hands and parted. Grimaldi strolled into the green-room, and
there met Colonel Berkeley, who, after a short conversation, said that
he very much wished to play Valentine to his Orson: to which Grimaldi
replied, it would give him great pleasure to afford him the opportunity
whenever he felt disposed.
"Very well," said Colonel Berkeley, "then we will consider the matter
settled. As soon as you have done here, you must come to Cheltenham for
one night. I will make all necessary arrangements with Farley: your son
shall play the Green Knight, and I will give you one hundred pounds as
a remuneration. We will try what we can do together, Joe, to amuse the
people."
Grimaldi had not intended to act again after his Birmingham engagement,
until the production of the Christmas pantomime at Covent Garden; but
seeing that Colonel Berkeley was anxious to effect the arrangement, and
feeling grateful for the liberality of his offer, he pledged himself
without hesitation to accept his terms. The play was never done,
however, by these three performers, for Grimaldi's theatrical career
was over.
The night after Mr. Charles Kemble's benefit, Grimaldi produced a
little pantomime of his own, called "Puck and the Puddings." The hit
was so complete, and the sensation he excited so great, that he felt
infinitely better than he had done for a long time, and was, indeed,
so greatly restored that he was induced to accept an engagement for
one additional night, the success of which equalled--it could not
excel--that of the two previous evenings. When the curtain fell on
the third night, Mr. Bunn presented him with 186_l._ 12_s._ as his
share of the profits, accompanied with many wishes for his speedy and
perfect restoration to health, which Grimaldi himself, judging from his
unwonted spirit and vigour, cheerfully hoped might be yet in store for
him.
These hopes were never to be realized: the enthusiastic reception he
had met with--unusually enthusiastic even for him,--had roused him
for a brief period, and called forth all his former energies only to
hasten their final prostration. With the exception of his two farewell
benefits, this was his last appearance, his final exit from the boards
he had trodden from a child, the last occasion of his calling forth
those peals of merriment and approbation which, cheerfully as they
sounded to him, had been surely ringing his death-knell for many years.
FOOTNOTES:
[72] Sadler's Wells opened on Easter Monday, April 12, 1819, with a
pantomime, the scenes selected from successful harlequinades at that
theatre, commencing with the opening from that of the "Talking Bird;"
Clown, Mr. Grimaldi, with a new song, "Hot Codlins," composed by Mr.
Whitaker; Columbine, Miss Tree, from the Theatre Royal, Drury Lane.
On April 19, the "Great Devil" was revived; Nicola, Mr. Grimaldi;
the Lady Matilda, Miss Tree: and on Whit Monday, May 31, the new
harlequinade, called "The Fates, or Harlequin's Holiday," was produced
under Grimaldi's immediate direction. He played the Clown; Bologna, as
Harlequin, made his first appearance that evening, after a ten years'
absence; Barnes, Pantaloon; the ever juvenile Widdicomb played the West
Indian; and Columbine, Miss Tree. On the same night, at Covent Garden,
"Mother Goose" was revived, with additional scenes from "Harlequin
Munchausen," "Gulliver," and "Whittington." Ellar was the Harlequin,
and Grimaldi had to play at both theatres in the two pieces. The
pantomime was played at Covent Garden on July 19th, the last night of
the season, by the express desire of the Duke and Duchess of Kent.
The pantomime of "Harlequin's Holiday" continued uninterruptedly till
August 9th, when it was announced it would be withdrawn for a short
time, to re-embellish the scenery, machinery, and dresses, and would
then be re-produced with additional scenes. On August 2, Grimaldi
sustained Friday in the burletta of the "Bold Buccaneers," which was
successfully repeated during the season. The Duke and Duchess, pleased
with Grimaldi's performance at Covent Garden, visited Sadler's Wells,
on August 27th. On September 13th, Grimaldi played Scaramouch, in "Don
Juan;" Donna Anna, Miss Tree; when the bills announced a change of
entertainments on the Monday following, September 20th, for the benefit
of Mr. Grimaldi.
[73] Sadler's Wells opened under the management of Mr. Howard Payne
on Easter Monday, April 3, 1820, with the best playing company ever
assembled within its walls. The stage business was arranged by
Grimaldi; and in the first piece, the pantomime of "Goody Two Shoes,"
Bologna played Harlequin; Grimaldi, Clown; Barnes, Pantaloon; Farmer,
with a song, Mr. Wood, the husband of Miss Paton, afterwards Lady
Lennox; Columbine, Miss Vallancey. On Whit Monday, May 22, was produced
a splendid Persian Pantomime, entitled "The Yellow Dwarf; or, Harlequin
King of the Golden Mines;" Harlequin, Mr. Bologna; Columbine, Miss
Vallancey; Pantaloon, Mr. Barnes; Grim, afterwards Clown, with a song,
"London Cheats, or there never was such Times," by Grimaldi: the Yellow
Dwarf, afterwards Yellow Harlequin, Mr. Guerint; Ubrino, his attendant
Genie, afterwards Yellow Clown, Mr. Grimaldi, Junior, his first
appearance this season. On July 3, was revived the pantomime of "Don
Juan;" Don Juan, Mr. Bologna; Scaramouch, Mr. Grimaldi, with the song
of "Tippitywitchet;" Donna Anna, Miss Vallancey. Grimaldi's benefit,
Thursday, July 27th, presented a crowded house: the entertainments
were, "Kaloc; or, the Slave Pirate;" Kaloc, by Mr. Grimaldi; "Ko and
Zoa," in which Bologna played Ko, Grimaldi, Ravin; and the "Yellow
Dwarf;" and the applause with which they were received induced a
repetition on the two following nights. "Raymond and Agnes" was revived
on August 7, when Grimaldi played Robert the Bandit.
[74] On Howard Payne's night, October 5th, after T. Dibdin's melodrama
of "Douglas," followed a harlequinade, compiled by Grimaldi from the
best scenes of the last popular pantomimes, entitled "Scraps; or, Fun
for the Gallery." Bologna, Guerint, Grimaldi, Young Grimaldi, Barnes,
and Miss Vallancey performed the parts; and the bills stated that, on
this occasion, Mr. Grimaldi would appear for the last time this season,
and introduce one of his most celebrated comic songs, and with Mr.
Bologna a grotesque dance, the Pas-de-Deux from "Mother Goose." C. M.
Westmacott, who was scene-painter and composer of the pantomimes this
season at Sadler's Wells, had also a benefit on October 11th, the bills
for which invitingly asked the reader, "Will you come for nothing?" the
prices of admission were as usual; but to every person in the boxes and
pit was presented an excellent portrait of Grimaldi, engraved after
Wageman's drawing, by Blood; and to every person in the gallery a book
of the songs of the evening.
[75] Young Joe made his first appearance at Covent Garden, as
Chittaque, a little-footed Chinese Empress, with a big body, afterwards
Clowny-chip, in the pantomime of "Harlequin and Fortunio," on December
26, 1815. Young Joe, as Adonis Fribble, in "Harlequin and Friar Bacon,"
was an admirable lover of the dandy kind; Ellar, Barnes, and Miss E.
Dennett maintained the usual ascendancy of pantomime at this theatre;
but the greatest merit characterised Grimaldi, whose Clown seemed to
carry all before it. His parody on the dagger-scene in "Macbeth," and
his duet with the oyster, elicited unequivocal plaudits. Most truly did
Theodore Hook observe--"The Covent Garden pantomime is excellent. The
strength of Grimaldi, the Garrick of Clowns, seems, like that of wine,
to increase with age; his absurdities are admirable. There is a life
and spirit about the whole arrangement of this species of entertainment
here, which is calculated not only to bewitch the little Masters and
Misses, but even to amuse the children of larger growth."
[76] Kuhleborn, the Water-King, Mr. Farley; Gyblin, the Goblin Sprite,
subject to the power of Kuhleborn, Mr. Grimaldi; Undine, Miss E.
Dennett.
[77] During this stay at Birmingham, Grimaldi had his portrait painted
by S. Raven, on a papier-maché box, circular in form and of large size.
The resemblance was so satisfactory, that he had it copied, and brought
away in all six boxes, which he presented to friends, not retaining one
for himself.
[78] In another part of the data upon which these Memoirs are founded,
Grimaldi has the following remarks concerning this gentleman, which, as
he appears to have been anxious that they should obtain publicity, the
Editor subjoins in his own words:--"A great deal has been said about,
and indeed against, Mr. Bunn, since he has become a London manager;
but I have had many opportunities of observing him and his mode of
doing business, and I feel satisfied that he has most liberal notions,
and would if it were in his power amply recompense according to their
talents any _artiste_ employed by him. I beg it may be understood that
in this remark I do not allude in any way to myself; for, putting aside
every consideration of what my talents might have been, my _name_
alone stood so high as to ensure a full house at Birmingham:--I speak
from what I know of his conduct with regard to others; and if ever his
industry meets with the success it deserves, I feel certain that the
liberality of disposition which I have spoken of will be displayed in a
commensurate degree."
[79] The pantomime at Covent Garden Theatre, on December 26, 1821,
was entitled "Harlequin and Mother Bunch; or, The Yellow Dwarf." The
characters were: The King of the Gold Mines, afterwards Harlequin, Mr.
Ellar; Guinea Pig, afterwards Harlequin's lacquey, Mr. J. S. Grimaldi;
Yellow Dwarf, afterwards Clown, Mr. Grimaldi; the Princess Allfair,
afterwards Columbine, Miss E. Dennett; and the Queen of Golconda, a
lady with a ruby nose, afterwards Pantaloon, Mr. Barnes.
Grimaldi, for the benefit of Mr. T. Dibdin, at the Surrey Theatre,
March 26, 1822, played his old part of Squire Bugle, in "Mother
Goose," Ridgway being the Harlequin. On Easter Monday, April 8th,
the melodramatic romance of "Cherry and Fair Star; or, the Children
of Cyprus," was produced at Covent Garden. Fair Star was played by
Miss Foote, now Countess of Harrington; Grimaldi enacted Topac, the
slave of the Greek Captain. This piece for splendour surpassed every
other production at that theatre; the accompaniments were of the first
description, and the looking-glass scene presented a gorgeous effect.
[80] Grimaldi's performances commenced at the Coburg, on Monday,
July 1st, 1822, in a pantomime, comprising a selection of the most
successful scenes from various harlequinades of the last fifteen years,
called "Salmagundi; or, the Clown's Dish of all Sorts!" produced
under Grimaldi's directions. The scenery painted by Stanfield and
his assistants. Harlequin, Mr. Howell; Pantaloon, Mr. Barnes, his
first appearance in that theatre; Lover, Mr. Widdicomb; Clown, Mr.
Grimaldi; Columbine, Madame Le Clercq. This lasted six nights; on
the 8th, the pantomime of "Harlequin and the Three Wishes; or, Puck
and the Black Puddings;" the pantomimists as in the former piece. On
Monday, July 15th, commenced the third week of Grimaldi's engagement,
in a new pantomime called "Disputes in China; or, Harlequin and the
Kong Merchants!" the scenery painted from views taken in China, by
Stanfield. J. S. Grimaldi made his first appearance at the Coburg
this evening. Joe and his son sustained the characters of the two
clowns incidental to the piece. In the scene of the Whampoa river, Joe
affected to astonish John China-man with his song of "Hot Codlins."
The bill of Monday, July 22, was underlined to the effect that, in
consequence of the continuous and dangerous indisposition of Mr.
Grimaldi, the pantomime was unavoidably postponed. Gilderoy, in the
melodrama of that name, was this night played by Mr. J. H. Chapman,
from the Surrey Theatre: it had been previously played by Henry Kemble,
but the irregularities and drunkenness of this man were unpardonable:
he was the instigator of young Joe's follies and misconduct; latterly
they were inseparable, and which was the worst of the two was hard to
be decided. Henry Kemble had been employed to supply Huntley's vacancy,
caused by illness; but he could scarcely be retained a fortnight, and
was dismissed.
On the 29th, Grimaldi was so far recovered that he resumed his part of
Clown in the "Disputes in China." The bills announced his re-appearance
as "positively the last six nights of his performing;" and a further
intimation, which was really a matter of fact:--"It is particularly
recommended to those families who have not witnessed the _inimitable
acting_ of Mr. Grimaldi and his son, Mr. J. S. Grimaldi, that they
should secure places as soon as possible, much disappointment having
been experienced by parties coming late and finding the boxes filled
from the overflowing of the pit." Grimaldi sang on these last six
nights his two most popular songs, "Tippitywitchet" and "Hot Codlins."
His last night was August 3, and concluded the four weeks of his
engagement.