THE next evening TOMMY was dressed in an unusual style of elegance:
every article of his attire was of the most exquisite cut; every species
of ornament that fashion permitted to decorate his person was his; not a
stud was omitted, nor was one drop, less than necessary, of
india-rubber-boot-polish forgotten that could tend to render his toilet
perfect. And, indeed, neither MR. BARLOW nor HARRY were far behind him
in appearance on this memorable occasion, which was nothing less than
that of their first visit to the ROYAL GRECIAN THEATRE, in the City
Road.
Here, from their stalls (which were remarkably inexpensive, being,
indeed, only one shilling and sixpence each) they surveyed the wonderful
sight which presented itself to them, of a house densely packed from the
floor to the ceiling.
The Pantomime was the only piece played, and was entitled _Zig-Zag, the
Crooked_. When MR. GEORGE CONQUEST, who represented _Zig-Zag_ himself,
first appeared, as if hewn out of the rock, inanimate as the Sphinx, a
thrill of astonishment ran through the audience, which gradually showed
itself in vehement applause when _Zig-Zag's_ fearful eyes began to move,
as at the command of the Young Prince, the monster became endued with
life and descended from the rock.
_Tommy._ I declare this is the most extraordinary thing I ever saw.
_Harry._ Indeed, you are right, and I could not have conceived anyone
being at once so hideous and so diverting.
Presently there was a brilliant scene, in which there were some
admirable selections from the works of various composers, principally
French, executed in a manner so creditable to the performers, as to call
forth from MR. BARLOW the remark that he had heard nothing better of its
kind in any Theatre this year. When MR. CONQUEST and his Son leaped
several times from the stage to the top scenes ("which" MR. BARLOW
informed his pupils "are termed flies"), and tumbled through trap-doors,
coming up again so quickly, and in so great a variety of places all over
the "boards," that the audience was in a state of constant excitement as
to what next might be going to happen; and when finally _Zig-Zag_ took
such a header, as HARRY had seen the big boys at school do, when they
were going to dive for chalk eggs, from the flies right through the
stage, and was lost to all eyes, then the enthusiastic admiration of MR.
BARLOW and his young friends knew no bounds, and they evinced their
pleasure, as did the rest of the company, in such rounds of applause as
brought on MR. CONQUEST and his Son, without their wigs and false noses,
to bow their acknowledgments.
* * * * *
The following night they went to the GAIETY to witness the performance
of MR. TOOLE in _Dearer than Life_, which MR. BARLOW had seen before,
and in _Thespis_, the Christmas novelty at this theatre.
_Tommy._ If you please, Sir, what sort of piece is this?
_Mr. Barlow._ Indeed, my dear TOMMY, I cannot exactly tell. And it is
nearly impossible for an ordinarily well-instructed person to comprehend
the precise meaning of any one subject on which those who should know
best are apparently disagreed, and who, in consequence, signally fail in
rendering their own meaning intelligible in the public.
_Harry._ That is true, Sir, and I perceive that you have noticed how, at
various times, this same piece has been announced as a "Musical
Extravaganza," an "Operatic Burlesque," a "Grotesque Drama, illustrated
with music by MR. SULLIVAN," a "Comic Opera," and lately an English
Opera Bouffe. As perhaps next week it may be styled a _Tragicomicopera_,
or some other title, I would like, Sir, to join TOMMY in his question as
to what you suppose this piece really to be?
_Mr. Barlow._ Why, then, for my part, I suppose it is intended for a
specimen of English _Opera bouffe_.
_Harry._ And what, Sir, is _Opera bouffe_?
_Mr. Barlow._ It is a French burlesque--a vehicle for extravagances in
costume, in acting, and in singing. It is in one, two, three, or even
five Acts, and differs from the English burlesque in that it is written
in prose, and depends mainly for its success upon the original music
written for it by some composer, instead of on selections from various
popular sources. In this piece, for example, the dialogue is prosy--I
mean in prose--and the music has been written to suit it. I think we
may, therefore, suppose this piece to be an English _Opera bouffe_.
_Tommy_ (_during the First Act_). I do not understand what characters
these worthy people represent who are trying their best to divert us.
MR. BARLOW, who had been giving the play his closest attention, seemed
to be unable to enlighten his pupil, and requested him to listen to what
was going on, and occasionally refer to the programme, by which means he
would probably arrive at some definite conclusion.
_Harry._ Truly, Sir, this piece reminds me of what you told me about
NEWTON'S _Laws of Motion_, and I look forward to being very happy and
lively to-morrow morning.
_Mr. Barlow._ I am glad to hear it, HARRY. But how do you connect such a
result with the _Laws of Motion_?
_Harry._ Because, Sir, you told me that "Forces acting and reacting are
always equal and contrary to each other." So, Sir, after this night is
over, we may fairly expect a most exhilarating reaction.
TOMMY was so much struck by this fresh instance of HARRY'S capacity for
adapting his learning to whatever circumstances might present
themselves, that he determined to learn the science of mechanics on the
very first opportunity.
The audience continued to listen to the piece with a serenity which
nothing could disturb, except the occasional appearance of MR. TOOLE,
who gave utterance to such quaint drolleries, of his own introduction,
as sent the people into short spasms of laughter, in which MASTER TOMMY
most heartily joined, while MR. BARLOW applauded as loudly as the rest
of the company. But HARRY, whose temper was not quite so pliable, could
not conceal the weariness that was gradually creeping over him. He
gaped, he yawned, he stretched, he even pinched himself in order to keep
his attention alive, but all in vain. He managed to rouse himself twice;
once when MR. TOOLE was singing an additional verse to his song (where,
indeed, the accompaniment, consisting-of railway noises, would not let
him sleep), and once when MADEMOISELLE CLARY was exercising her skill in
a rather pretty melody. But at length the narcotic influence of the
dialogue, conspiring with the opiate charms of the music, he could
resist no longer, but insensibly fell back upon his stall, fast asleep.
This was soon remarked by his neighbours, who straightway conceived an
unfavourable opinion of HARRY'S breeding, while he, in the meantime,
enjoyed the most placid repose, undisturbed by either the envious
remarks of some among the audience, or by the nudgings administered to
his elbow by his friend TOMMY; and, indeed, his slumber was not entirely
dissipated until the performance was finished.
_Harry_ (_on their return to their Lodgings_). Your remarks, TOMMY,
to-night remind me of the story of _Polemo_ and the _Continuous
Highlander_.
MR. BARLOW here made some excuse for retiring to his room; and as HARRY
was on the point of commencing the story, TOMMY asked him to await his
return, as he was only going to fetch his slippers, in order to sit and
listen more comfortably to his friend's narrative.
HARRY consented to wait for him, but, at the end of two hours, as TOMMY
did not return, he retired to his own room, and soon fell asleep.
* * * * *