NEXT day, when the success of the night had been duly chronicled in
the press,[63] I suggested to Irving that we should place on record
some account of the manner in which the Lyceum scenery, dresses,
and properties had been dealt with on the tour; to what extent the
equipment with which he had set out had been used; and, as a concluding
chapter, that we should tell the story of the production of “Much Ado”
in New York. After a consultation with Loveday, and the verification
of some necessary statistics, Irving exhausted the subject in a
very pleasant and instructive chat, the points of which are not too
technical to mislead the general reader, while they are sufficiently
technical to be of special interest to actors and managers.
“After the Philadelphia engagement,” said Irving, “I discussed the
question of scenery with Loveday, and we found that it was impossible
to carry or to use many of our largest set-pieces. Even if we could
have carried them conveniently we would not have got them into many of
the theatres. Loveday, therefore, packed a mass of it up and sent it
back to New York. What we had left was enormous in its bulk, filling
two 62-feet cars, and one huge gondola-car, which was made to carry
all the flat scenery. We took on with us, however, all the cloths for
our entire _repertoire_, and many of the small practical set-pieces.
We carried every property of the entire _repertoire_,—the bedstead
of ‘The Belle’s Stratagem,’ the altar of ‘Much Ado,’ the horse of
‘The Bells,’ down to Cattermole’s picture of Letitia Hardy, some
Chippendale furniture of the period, and other minor things, that are
characteristic or useful decoration in the furnishing of interiors
and exteriors. All our dresses were included,—principals and supers.
Loveday tells me they filled one hundred and twenty great baskets,
the properties being packed in thirty baskets, making a total of one
hundred and fifty.
“We took everything to Boston and Philadelphia. It was at the latter
city that, as I say, we decided to modify our arrangements. We sent
back to New York twenty-seven cloths, eighty flats, sixty wings,
ninety set pieces, and twelve framed cloths; so that we had to adapt
our requirements to the local situation.
“As regards such of our scenery as is painted in tone, you know that
one of the most remarkable we have is the frescoed interior of the
hall of justice in ‘The Merchant of Venice,’—a complete reproduction
of the period. I had the portraits of the Doges painted by White
and Cattermole. I think it is one of the most superb pictures ever
seen upon the stage. I understand that some people thought it worn,
mistaking the tone for dirt. Here and there, I think we found the
tapestries, which we used instead of the frescoes, more acceptable.
“Some of the scenes in ‘Hamlet,’ ‘The Bells,’ and ‘Much Ado,’ we had
specially reproduced ahead of us. Indeed, the companies following us
will find portions of the cathedral of Messina around the walls of
many an American theatre; and in every house where we have played,
travelling stage-managers, asking for a cottage scene, will find a
reminiscence of ‘The Lyons Mail’ in the inn at Lieursaint. We have left
one in each town. As they are fac-similes, they will, I should think,
bewilder some of the agents in advance.
“As to our full Lyceum scenery, and what may be called the
administration of it, we achieved our greatest triumph this week,
presenting ‘Much Ado’ as nearly like the Lyceum production as the space
at our disposal would permit. Our stage at home, including the scene
dock, which we always use, is seventy feet long, measuring from the
foot-lights; the Star-stage is fifty feet. We took possession of the
theatre on Sunday morning, March 30, the stage having been occupied
until Saturday night. A small army of men, besides our own, aided by
the heads of departments in Mr. Wallack’s employment, began work, under
Loveday’s direction, at seven o’clock A.M., and by four o’clock on
Monday morning every scene had been set, lighted, and rehearsed three
times over. At four they adjourned, and came on again to meet me at a
quarter to eleven, when we had a full rehearsal of scenery, properties,
lighting, and of the entire company. I was impressed and delighted with
the earnestness of everybody employed in the work, Wallack’s people
showing as great a desire as our own to do their best to achieve the
success we were all striving for. This is very gratifying; and it has
been our experience, wherever we have reappeared, that the employés
have thoroughly entered into our work, and shown something like pride
in being associated with us. Our experience was not as pleasant at
first. Here and there they thought our labors affected, and considered
that we gave them unnecessary trouble. In one or two instances they put
great and serious difficulties in our way. When, however, they saw the
results of our labors they became more amenable to orders; and when we
returned to Chicago, Boston, Philadelphia, and now to New York, there
was no trouble too great for them to undertake for us. I thank all
these good fellows heartily.”