paragraph: "We hear that Mr. Harvey and Mr. Lambert have been
employed for some time in painting the scenes for the New Theatre
in Covent-garden, and that Signior Amiconi, who painted the Lord
Tankerville's excellent stair-case in St. James's square, is to shew
his art in the cieling of that Theatre; and, in order thereto, hath
prepared a design in which Apollo is represented, in an assembly of the
Muses, dignifying Shakspeare with the Laurel. And as the several hands
employed require some farther time for completing their undertaking, we
are informed the Theatre in Lincoln's-inn-fields will be opened in a
few days, it being now determined not to act in that of Covent-garden
till the decorations are quite finished."
The present magnificent arched entrance from the Piazza's with columns
and enrichments of the Ionic order was erected in the above year. The
newspapers mention the Theatre as completely finished in November, and
that it was to be opened on the 27th of that month, when the following
lines made their appearance.
"Thespis, the first of the dramatic race,
Stroll'd in a cart, for gain, from place to place:
His actors rude, his profits came but slow;
The poet he, and master of the show;
To raise attention, he employ'd his art
To build another, and more costly cart:
New Asses he procur'd to drag the load,
And gain'd the shouts of boys upon the road.
Awhile the gay machine spectators drew;
The people throng'd, because the sight was new;
Thither they hurry'd once, and went no more,
For all his actors they had seen before;
And what it was they wish'd no more to see:
The application _Lun_ is left to thee."
There is some difference in our manner of resenting affronts offered to
the publick or individuals, by those on the stage at present, from the
mode adopted by Sir Robert Walpole in March 1733, who was present at
the pantomimic entertainment, called "Love runs all dangers," performed
at the Theatre in the Haymarket; when one of the Comedians presumed
to hint at the Minister's intended Excise Act. At the conclusion of
the performance his Lordship went behind the scenes, and demanded
of the prompter whether the offensive words were part of the play:
upon receiving an assurance they were not, he gave the actor a severe
beating.
It has been mentioned in the third volume of "Londinium Redivivum,"
that the Princess Amelia rendered the New Tunbridge Wells a place of
fashionable resort by drinking the water there for the restoration of
her health; a wag made the following poetical queries in the year 1733:
"Whence comes it that the splendid great,
To titles born and awful state,
Thus condescend, thus check their will,
And shape to Islington their way,
To mix with those of vulgar clay?
Astronomers, your glasses raise,
Survey this meteor's dazzling blaze,
And say portends it good or ill?
Soon as Aurora gilds the skies,
With brighter charms the ladies rise,
To dart forth beams that save or kill:
No homage at the toilette paid,
Their thousand beauties unsurvey'd,
Sweet negligence assistance lends,
And all the artless graces blends
That form the tempting dishabille.
Behold the walks (a checquer'd shade)
In all the pride of green array'd;
How bright the Sun! the air how still!
In wild confusion there we view,
Red ribbands group'd with aprons blue,
Curtsies, scrapes, nods, winks, smiles, and frowns,
Lords, milk-maids, dutchesses, and clowns,
All in their various dishabille!"
The pleasant gardens alluded to possessed, and still possess, greater
attraction than any others in the vicinity of London; it is therefore
by no means wonderful that _once in an age_ they became the scene of
attraction; but that noblemen, and men and women of fashion should,
by any of the strange mutations of caprice, _ever_ enter the booths
of Bartholomew Fair, is to me astonishing. That they did is beyond a
doubt; and even Cibber, Griffiths, Bullock, and Hallam, found it worth
their while to expend large sums in erecting magnificent booths for
their reception. Those prepared in August 1733 for the performance of
Tamerlane, the Miser, the Ridotto al fresco, &c. had gilt boxes and
other rich decorations, and were lighted by candles placed in glass
lustres. A considerable number of gentlemen, tradesmen, and others,
went in procession from the Bedford-arms to honour the commencement of
the entertainments.
Some absurd persons were at the expence in October the same year of
procuring a Holland smock, a cap, clocked stockings and laced shoes,
which they offered as prizes to any four women who would run for them
at three o'clock in the afternoon in Pall-Mall. The race attracted an
amazing number of persons, who filled the streets, the window's, and
balconies. The _sport_ attendant on this curious method of _killing
time_ induced Mr. Rawlings, high Constable of Westminster, resident
in Pall-Mall, to propose a laced hat as a prize to be run for by five
men, which appears to have produced much mirth to the projector; but
the mob, ever upon the watch to gratify their propensity for riot and
mischief, committed so many excesses, that the sedate inhabitants of
the neighbourhood found it necessary to apply to the Magistrates for
protection, who issued precepts to prevent future races, directed to
the very man most active in promoting them.
Senesino, the celebrated Italian performer, is said to have hired
the Theatre in Lincoln's-inn-fields for the winter of 1733-4 as an
Opera-house.
It is one of the singularities attendant on the present system of
Theatrical amusements, that certain actors performing under a patent
are gentlemen and ladies of merit, respectability, and fashion;
but, leaving the magic circle, and acting for any other person
than a patentee, they instantly become _rogues_ and _vagabonds_.
It was the same in 1733, when Messrs. Rich, Highmore, and others,
patentees of Drury-lane and Covent-garden Theatres, issued a summons
against a player of each of the companies employed by Giffard of
Goodman's-fields, and Mills of the Haymarket. A hearing of this
momentous affair commenced in November before Sir Thomas Clarges
and other Justices at the vestry-room of the parish of St. George
Hanover-square, in order to decide whether the Act of the 12th of Queen
Anne constituted persons acting without the authority of a patent
_vagrants_, or _rogues_ and _vagabonds_. After much dispute between the
counsel of both parties, Sir Thomas declared with great impartiality
that the summons ought to have been worded _rogues_ and _vagabonds_, in
strict conformity with the words of the Statute, instead of _vagrants_;
that it was therefore nugatory; and as the persons implicated were
reputable residents, he declined issuing another. By this decision
the two Theatres were in some measure sanctioned by authority, though
the performers certainly came within the meaning of the Law, which is
too harsh and monopolizing, to the great injury of genuine merit thus
denied the means of emulation; but the matter did not end as Sir Thomas
Clarges wished, as will appear from the following letter addressed to
"Mr. John Mills, and the rest of the persons acting at the Theatre
in the Haymarket, lately belonging to the Theatres at Drury-lane and
Covent-garden:"
"We have been daily in hopes, that, before this, the
mediation of friends would have put an end to the differences
that have for some time been between us; and though we are
well advised of the unlawfulness as well as unreasonableness
of your acting, yet we are extremely unwilling to take
such methods as the Law prescribes, without first assuring
you, that, if you think fit to return to your respective
companies, we shall be ready on our parts to do whatever can
be thought reasonable for us: but if you still persevere in
your separation, which is greatly prejudicial to us, we shall
be necessitated (though contrary to our inclinations) to
proceed in such a manner as the Law directs, for supporting
the Royal patents under which we act. We are in hopes of
an amicable answer from you, directed to the Theatre in
Drury-lane; and are your humble servants,
"MARY WILKS,
JOHN HIGHMORE,
JOHN ELLYS,
JOHN RICH."
The above letter was conveyed to the Theatre in the Haymarket, but none
of the actors were there; it was then sent to Mr. Mills, who returned
it unopened; upon which the patentees directed it to Theophilus Cibber,
who sent them this answer:
"I have received a letter from you, which speaks of several
persons and different companies; but, as no particular names
are mentioned, and the letter is directed to me alone, I can
only answer for myself. I am well advised that what I am
about is legal, and I know it is reasonable; and therefore I
do not think of changing my present condition for servitude.
"Your humble servant,
THEOPHILUS CIBBER."
Soon after the parties had a trial in the Court of King's Bench on the
following grounds: the Managers of the Haymarket Theatre took a lease
of two Trustees appointed by the 36 sharers of Drury-lane Theatre,
who, wishing that the grant of the Haymarket Theatre should be valid
both in Law and Equity, consulted the sharers on the subject, when
27 agreed to the execution of the lease; but the Patentees, thinking
otherwise, suffered an action of ejectment to be brought against them,
which was decided in November in favour of the plaintiffs, though
several unwarrantable methods were adopted to obtain a different
verdict: one of those was the arrest of Mr. Harper, who was committed
to Bridewell as a vagabond, in hopes to withdraw the attention of the
plaintiffs Counsel from the cause at Westminster, and to enrage the
publick, before whom he was to have appeared the same night in the
character of Sir John Falstaff: but they totally failed in each of
their ungenerous attempts, by the Company's permitting the imprisonment
of poor Harper, and the house forgiving his non-appearance. Harper's
case was afterwards argued before Lord Chief Justice Yorke by twelve
Counsellors, six for the plaintiffs, and the same number for the
defendants. The Judge admitted the player to bail upon his own
recognizance; and ordered a feigned issue, to try the validity of the
commitment on the last day of the term.
Charles Fleetwood, Esq. of Bromley-hall, Staffordshire, who was said
to be worth 8000_l. per annum_, purchased five of the six shares
of the patentees of Drury-lane Theatre in January 1734 for 3500_l._;
the seceding actors were determined in consequence to return to their
stations at that playhouse.
Plays were not entirely confined to the regular Theatres at this
period; for the Benchers of the Society of the Inner Temple gave a
splendid entertainment, February 2, to the Lord Chancellor, the Master
of the Rolls, Judges, Serjeants, and Counsellors at Law, when the
Comedy of Love for Love was acted by the Company from the Haymarket
on a temporary stage, fronting of which a gallery was erected for 100
ladies, who, with the Prince of Wales, the Duke of Cumberland, and many
noblemen, witnessed the performance: the actors received 50_l._ for
their exertions.
A baron of beef, weighing 175lb. and conveyed to the table by the
exertions of four men, formed part of the _solid_ entertainment
presented to these defenders of the laws of Great Britain.
On the 15th of March 1734, the Players of the Revels to the King,
assisted by Sheriffs-officers, went in a body to Drury-lane Theatre,
which was delivered into their possession by Mr. Fleetwood as a matter
of form.
Ranelagh-house, Chelsea, the residence of the nobleman of that title,
was sold in 1733 to an eminent builder named Timbrell for 3200_l._,
who advertised it for sale in the following year, as a freehold, with
garden, kitchen-garden, and offices, and a smaller house and garden
with fruit-trees, coach-houses, &c. &c. These, I apprehend, were the
first vicissitudes of Ranelagh, preparatory to its conversion into a
place of amusement.
Farinelli engaged to perform fifty nights during the season of 1734-5
for a salary of 1500 guineas and a benefit.
The King gave his annual 1000_l._ to the Managers of the Opera-house on
this occasion, and added 500_l._ as a subscription to Mr. Handel, who
had Operas at Covent-garden Theatre, in consequence of a dispute with
the latter, which caused an expenditure of 12,000_l._ at the Haymarket
and 9000_l._ to Handel.
Farinelli's benefit at the close of this season surpassed every other
previously received. The Theatre was so contrived as to accommodate
2000 spectators, whose admission money, added to the following sums
given by the Nobility, amounted to more than 2000_l._: the Prince of
Wales, 200 guineas; the Spanish Ambassador, 100_l._; the Imperial,
50_l._; the Duke of Leeds, the Countess of Portmore, Lord Burlington,
and the Duke of Richmond, 50_l._ each; Colonel Paget, 30_l._; and Lady
Rich, 20_l._ &c. &c. The pit was filled at four o'clock; and as the
Stage was crowded with beauty and fashion, no scenes were used during
the performance: gilt leather hangings were substituted, which usually
adorned that part of the Theatre at Ridottos. Many of the songs in
the Opera were new; that which preceded the chorus was composed by
Farinelli, and so vehemently applauded, that he sung it a second time
at the request of the audience, though the chorus was over, and the
musicians had retired from the orchestra.
The Prince of Wales soon after presented this favourite singer with a
richly wrought gold snuff-box set with rubies and diamonds, containing
a pair of diamond knee-buckles, and a purse of 100 guineas.
A great deal was written for and against Theatrical amusements in 1735,
when the Legislature intended to prevent an increase of Theatres, yet
but little information can be obtained from those essays; indeed the
matter of fact may almost be said to be confined to the statements in
the following extract from the Universal Spectator, No. 340: "What
will ensue from _new_ play-houses being erected may be seen by that
at Goodman's-fields: the street where it is built used formerly to
be inhabited by silk-throwsters, ribband-weavers, and others whose
trades employed the industrious poor; immediately on setting up this
Playhouse, the rents of the houses were raised, as the landlords could
then let them to more _profitable_ tenants; and now there is a bunch
of grapes hanging almost at every door; besides an adjacent Bagnio or
two; an undoubted proof that innocence and morality are not the certain
consequences of a Playhouse. I could urge this much farther; but, as
the regulation of the number of Theatres is now before the Parliament,
_they_ only are to determine whether the continuance of this Theatre,
or the increase of others, are consistent with the public good. Since
the above was written, I have received information that a great number
of apprentices and _gentlemen_, who play for their diversion, have
formed a new company at York-buildings, which shews the necessity for
the number of players and playhouses to be regulated, or else the whole
nation may degenerate into a set of Stage-players."
A shocking accident occurred during the representation of Dr.
Faustus at Covent-garden Theatre in October 1736. Four servants, the
_representatives_ of Lun, Nivelon, Salway, and Mrs. Moreau, in the
characters of harlequin, the miller, his wife, and man, had entered
a car which was to be supposed to convey them an aërial journey; but
unfortunately the wires broke when the machine had elevated the people
to the greatest height intended, whence they were precipitated on the
stage. Harlequin had his head bruised and wrist strained, the miller's
arm was broken, his man had his scull fractured, and died a few days
after, and the poor woman had a thigh broken and knee-pan shattered.
The Opera of Atalanta, composed by Handel, was acted at Covent-garden
Theatre in May 1736 in honour of the marriage of the Prince of Wales:
the scenery on this occasion was adapted to the circumstances of the
day, and represented an avenue to the Temple of Hymen intermixed with
statues of Deities, beyond which a triumphal arch supported the arms of
the happy pair; directly above, Fame, seated on a cloud, was supposed
to sound the names of Fredericus and Augusta exhibited in transparent
characters. Through the arch appeared the façade of a Temple,
consisting of four columns and a pediment, on which two Cupids were
represented embracing, and supporting the coronet and feathers of the
Principality of Wales: the Temple of Hymen closed the brilliant scene.
The proprietor of Vauxhall-gardens found it necessary to publish the
following statement in 1736:
"As the master of the Spring-gardens at Vauxhall has always
been ambitious of obliging the polite and worthy part of the
Town, by doing every thing in his power that may contribute
to their ease and pleasure: he for that reason was induced
to give out tickets, but in no other view than to keep
away such as are not fit to intermix with those persons of
quality, ladies, gentlemen, and others, who should honour
him with their company. This method he has already tried:
and the publick having been so indulgent as to approve of
his constant endeavours to serve them, it is with the utmost
regret he finds himself obliged to make a change with respect
to the tickets; and that for the following reasons.
"First, with regard to the conveniency of the company--his
entertainments being made (as he presumes) so very
reasonable, such numbers might probably be induced to flock
to it, from this large and populous City (and especially
in hot and sultry weather), that it would be impossible to
accommodate a great part of them. The consequence of this
would be, that as every person had paid a shilling for his
ticket, he would expect an equivalent for it; but, as there
would be no opportunity of doing this in the great hurry, it
might cause such a disturbance as would for ever ruin his
entertainment.
"Secondly, with respect to his own security--because
counterfeit tickets may be taken by the servants (who are
the first receivers) in a great hurry of business, as has
already been found by experience.
"Because of the ill use which his servants (who are very
numerous) make of the tickets, by admitting as many persons
as they please for nothing, and that in the following manner:
"A person takes a ticket at the door, and pays a shilling for
it; he then goes to a servant with whom he is acquainted,
who returns the shilling to him, and takes his ticket, for
which the master must allow the servant a shilling when he
comes to account with him. In this case, it is manifest,
the person is admitted for nothing. In the other case, the
servant may make a private advantage of the tickets, and that
as follows: a person sells his ticket to the servant (suppose
for ten pence), here the servant would gain two-pence, which
is all the person pays for being admitted; and the master
gets nothing, because he must allow the whole shilling to the
servant as above.
"As it is obvious from these several considerations, that
the company may be vastly incommoded, and the master in
danger of being ruined; because servants may be induced to
encourage great numbers of the inferior sort to come to the
gardens, since this would be so much to their advantage:
for these reasons he humbly presumes, that the publick will
be fully convinced of the necessity he is under of taking a
shilling at the gate for the future, without giving a ticket
for it; and his servants have strict orders to solicit no
person to call for any thing, upon pain of being immediately
discharged."
Some wags _amused_ the publick with a most solemn exhibition in June
1736, which originated from a call of Serjeants at Law. Those merry
gentlemen, well acquainted with classic story, dressed a huge _Owl_ in
a coif and band, and placed him on a broom staff over a door opposite
Lancaster-court. Minerva's favourite bird was afterwards observed to
behave with great gravity, and particularly during the time his learned
brethren were passing in procession under him; one flap of his band was
inscribed _Ecce!_ the other _Fratrem_.
The recent amusements afforded by riding asses as ponies, and racing
on them, although strong efforts of modern sagacity, were anticipated
by our forefathers. An Ass-race attracted vast crowds of people to
May-fair in 1736, where there was doubtlessly much good betting.
Fleetwood, the proprietor of Drury-lane Theatre, offered a reward
of fifty guineas for the discovery of the author or authors of an
incendiary letter sent to him in 1737:
"SIR,
"We are willing to admonish you before we attempt our design;
and provide you will use us civil, and admit us into your
gallery, which is our property according to formalities; and
if you think proper to come to a composition this way, you'll
hear no further; and if not, our intention is to combine in a
body _incognito_, and reduce the playhouse to the ground; we
are
"INDEMNIFIED."
Fog's Weekly Journal contains a well-written and whimsical explanation
of the motives which produced the above extraordinary letter--the
production, doubtless, of a Committee of aggrieved footmen, remarkable
then, and certainly at present, for _propriety of behaviour_ and
_modesty_ of demeanour.
March 12, 1737: "The footmen and other livery servants attending the
nobility and gentry frequenting the Theatre Royal in Drury-lane, having
(on account of their vociferations during the acts, as well as the
intervals) been expelled the uppermost gallery of the house, in which
they and their _ancestors_ had _sat_ and _voted_, in all affairs that
came upon the _Stage_, time immemorial; thus, conceiving themselves to
have an indefeasible hereditary right to the said gallery, and this
expulsion to be a high infringement on their liberties, and to the end
that posterity might see they were not wanting to vindicate the honour
of their cloth, and maintain the whole body of the _livery_ in the
full and free enjoyment of all their antient rights and privileges; on
Saturday night last a great number of them, provided with staves and
_truncheons_, and well-fortified with _three threads_ and _twopenny_,
assembled at the doors of the said Theatre, when their Royal Highnesses
the Prince and Princess of Wales, others of the Royal Family, and many
of the Nobility, were in the house; and having made a practicable
breach, entered at the same, and carried the stage-door by mere
dint of _oak_, bearing down all the _box-keepers, candle-snuffers,
supernumeraries, and pippin-women_, that stood in their way, in which
assault 25 or 26 persons were said to be desperately wounded. Justice
De Veil, _luckily chancing_ to be present in the house (as he was once
before when a disturbance of the like kind happened), immediately
interposed his Magisterial authority, commanding the proclamation
against riots to be read; but so great was the confusion, they might as
well have read _Cæsar's Commentaries_. At length the disorder boding
very bad consequences, the Justice, supported by the foot-guards,
prudently seized some of the principal rioters, and ordered them to be
reposited in Newgate, till their claims can be inquired into in a more
regular and judicial way, and the whole matter set in a true light.