was represented, entitled Fanfan and Colas, the characters by the
Margravine, young Keppel Craven, Mons. and Medame Texier, and
Count d'Alet, _Lord High Chamberlain of the Household_. The third
_petite piece_ was a very humorous dialogue called Le Poulet,
between Mrs. Hobart, as an English servant maid, and Mons. Le
Texier, as a French Valet. Both were inquisitive after news: the
one told all the _chit chat_ of the town in her English dialect:
the other told the great exploits going forward in France, in
French. Mrs. Hobart played her part to admiration, and very aptly
introduced, among other things, the story of her own public
_Fete_, last summer, at Ham, where the torrents of rain poured
down, in such abundance, as to turn all her fine creams into poor
milk and water.
"The supper, after the play, was magnificent in the extreme, and
consisted of a profusion of all the delicacies of the season.
Besides Soups, and every dainty meat, there were pine apples, new
grapes, cherries, strawberries, &c.
"After the supper, there was a Masquerade, and Ball, which was
quite unexpected to the Company. The Margravine had provided new
dresses for all the company, and the Ladies, and Gentlemen, each
dressed in separate rooms. The Duke of Clarence changed his dress
seven different times, and greatly added to the hilarity of the
entertainment. The Prince was in a domino."--(_Times, April 27,
1793._)
* * * * *
"It having been observed, in some public prints, that the Hon.
Mrs. Twisleton was the first female of fashion who had made the
stage her profession, it is but justice to notice, that Mrs.
Holman (the _ci-devant_ Mrs. Hughes) who made her debut in
Dublin, some years since, has a priority to public notice on this
account: if real rank by _birth_, education, and fortune, give a
title to distinction, if admission to the first orders of
fashionable society have pretensions, the friends of that Lady
have certainly a right to enter her claims on this
subject."--(_Times, Feb. 13, 1794._)
* * * * *
OPENING OF NEW DRURY.
"Public curiosity, which has long been on the tip-toe of
expectation, was yesterday gratified by the opening of this
superb edifice, under the immediate management of Mr. Kemble,
whose approved talents well entitle him to so flattering a mark
of distinction. Of this Theatre, language must be inadequate to
give even a faint idea of the effect it produces on the
spectator, at his _entré_: nor does the first impression in the
least diminish from a more minute examination into its structure,
and decorations: the whole forming a happy combination of the
gay, and the grand. The Stage, fitted as it was for an Oratorio,
presented a nouvelle, and pleasing, prospect. The representation
of a Gothic Cathedral, with the 'Long sounding Isle,' and
'Storied windows richly dight
Casting a dim religious light,'
was admirably adapted to suit with the solemnity appertaining to
sacred selections.
"From the opening of the doors, to the first crash of the band,
most able in all its movements, the satisfaction and delight of
the audience was expressed by repeated, and increasing,
plaudits--encouraged not a little by the care, and attention,
evinced by the Proprietors, for the convenience of the public, in
the approaches to the House--in every respect answering to the
magnificence, and accommodation, within. Independent of the
attraction, long, very long, to be expected from the novelty, as
well as beauty, of the New Drury, some credit ought to be given
to that which must ever have its weight with the people at large,
as well as amateurs--a numerous, and well appointed, set of vocal
performers. The names of Harrison, Storace, Kelly, Crouch, and
Dignum, are too proverbial for excellence in their several lines,
to need our eulogium. Miss Leake, whose unaffected correctness of
style, and melody of tone, must shortly place her deservedly high
in her profession, may also be deemed almost as powerful an
acquisition as Miss Parke, at the other House. Mr. Meredith, from
Liverpool, possesses a fine deep volume of voice, which he
exerted to great advantage. This Gentleman, we recollect some
years since at Ranelagh, _and_, if we are not very much mistaken,
at the Little Theatre, as the Prodigal Son of Dr. Arnold's
charming Oratorio.
"Giornovici's Concerto would have gone off much better, had the
subject not been so tedious. This is a fault we have too often
cause to find with Concerto Performers, who frequently give us
too much of a good thing. His mode of introduction was
particularly awkward--some other might be contrived than pitching
him upon a plank, brought in at the hazard of discomfiting the
head dresses, or breaking the noses of the ladies in the
Orchestra.
"The sound was rather too redundant, in general, and the language
of the Gods, now and then, too plainly heard in the pit; but, as
it arises merely from the freshness of the building, this
inconvenience will gradually be amended.
"The Prince of Wales was with Mrs. Fitzherbert, and Mr. Sheridan,
in the box appropriated to his Royal Highness. Lord Thurlow sat,
apparently well pleased, in the box beneath. Mr. and Mrs. Kemble,
Mrs. Siddons, and Sir Francis Bourgeois, saw that all was well,
in one of the orchestra boxes.
"From the frequent _encores_, the Selection was not over till a
late hour. The usual cry of 'take care of your pockets' on
quitting the Theatre, was superfluous: for _Townsend_ attended to
keep a 'wary eye;' so the pickpockets, of course, found it
impracticable to make any 'palpable hits.'"--(_Times, March 13,
1794._)
* * * * *
"Miss Farren has left London for Dublin where she is to perform
12 nights. The terms of her engagement, are £500, and a clear
benefit. It is not true that she takes _Derby_ in her
route."--(_Times, June 26, 1794._)
* * * * *
"The high demands made by some Actresses on the Management of
Theatres, are so exorbitant, that we trust they will not be
complied with. Mrs. Jordan, and Storace, have demanded, the
first, £30, and the latter, £20, a night. Much as we admire the
abilities of each on the stage, yet we know, from experience,
that the higher the salaries of some performers are, the more
they are prone to disrespect the public, and to give themselves
insufferable airs."--(_Times, Oct. 4, 1794._)
* * * * *
_Storace_ has come down to the terms of her last engagement, and
they are adequate to her abilities. The ci-devant Princess of
Petersham still holds out: but it is thought that _want_ of
_ammunition_ will occasion her soon to capitulate. When the
theatre was opened in Goodman's fields a first rate actress
thought herself amply paid with _forty shillings_ per week: but,
now, a first rate actress has the conscience to demand _forty
pounds_ Per night."--(_Times, Oct. 9, 1794._)
* * * * *
"Mrs. Jordan has at last _condescended_ to _descend_ to her
former situation in the Theatre, at her former salary."--(_Times,
Oct. 18, 1794._)
"The popular Dramatist, in his rage for hunting down the follies
of the day, we hope will not forget to be _in_ at the _death_ of
our masculine women of fashion. Their hunting, shooting, driving,
cricketing, faroing, and skating, present a monstrous chaos of
absurdity, not only making day, and night, hideous, but the sex
itself equivocal. Lady men, or men ladies, 'you'll say 'tis
Persian, but let it be changed.'"--(_Times, Oct. 18, 1794._)
* * * * *
"Much has been said upon the Bath Fracas, but the circumstance
has never yet been explained. It is briefly this: The Hon. Mrs.
Twisleton was at the Ball-room, and stood up to dance: she
stickled a little for _precedence_ as an _Honorable_: the Master
of the Ceremonies began to object to her dancing at all, as a
_Public Performer_. Her partner instanced a Performer, M.
Yanievitz, who was in the constant habit of appearing there. The
Master of the Ceremonies went up to this amiable, and
distinguished, foreigner, and intimated that his appearance there
was thought too frequent, by the Subscribers. Mr. Yanievitz,
demanded who had given the Master of Ceremonies this intimation:
a satisfaction which was refused. Next morning Mr. Yanievitz
wrote a proper letter to the M. C. expressive of his sentiments
upon this occasion.
"A meeting of subscribers was called, and they resolved, that, in
future, no Public Performer, of any description, should be
permitted to appear in any of the Public rooms."--(_Times, March
4, 1795._)
* * * * *
"Annual tickets, and orders are accompanied with a very great
inconvenience: the side boxes are filled, at present, with
butlers, and valets-de-chambre. It is not that these persons
conduct themselves amiss, but they deter gentlemen from entering,
whose appearance might prove distressing to them."--(_Times,
Sept. 26, 1795._)
* * * * *
"On an information being likely to be made against many of the
performers in both Theatres, on the Act against _profane cursing,
and swearing_--it became a question, as the Act is a
discriminating one, whether they swore as _gentlemen_: when it
was decided that they should be treated according to the
Character they personified."--(_Times, Dec. 17, 1795._)
* * * * *
"The Theatres were shut on Saturday evening, to commemorate, with
the greater solemnity, the _Martyrdom_ of King
Charles."--(_Times, Feb. 1, 1796._)
* * * * *
Drury Lane Theatre has not experienced a riot so wild, and
unappeasable, as that of Tuesday evening, since the _Blackamoor
Washed White_, of famous memory. The Entertainments advertised
for the night's amusements were _three_. The _Smugglers_, having
nothing contraband on board, was not only suffered to pass, but
was hailed with three cheers:--The _Virgin Unmasked_ had her
admirers--but the _Deserter_ was mauled most dreadfully--for
Young Welsh had permitted a new _Skirmish_ to make his _debut_,
as _Suett_ phrased it: and, being a miserable wretch, when the
audience expressed a disapprobation, the Performers, to shorten
the ridicule, shortened the scenes, which on such occasions, is
usual, and prudent--but, the curtain dropping at ten minutes past
ten, created a violent burst of indignation. Kelly first
attempted to enquire the wishes of _John Bull_, and expressed
himself, in the name of the Performers, ignorant of how he was
disobliged. All striving to be heard, none, of course, could be
so, and he retired. Uproar still increased, and, after near half
an hour of this din, Suett made his appearance, and apologised
for the badness of the stage struck hero, but he was soon given
to understand, that that was not the cause of the _Row_, but that
the audience expected to have the "Deserter" played _wholly_ over
again. Mr. S., after "looking as queer as a quartern of soap
after a week's wash," expressed his concern that many of the
Performers were gone, and the stage lights out, but this was the
cause of fresh howlings, and as somebody cried out, 'God save
the King,' he promised to send as many of the Orchestra, as could
be found. In five minutes this popular hymn was received with
acclamation. The curtain drew up, and all the Performers in the
Theatre sung it. The curtain again dropt amid violent tumults
which continued, and increased. Again Mr. Suett appeared, and
declared 'how much hurt the Proprietors were at any part of the
Performance being omitted: that it was without their concurrence,
or even knowledge, and that such a circumstance should never
happen again.' This rather mollified the audience, and many
dispersed at a quarter past 11. Almost the whole of the lights in
the house had been long extinguished: and some of the benches
were torn up."--(_Times, May 13, 1796._)
* * * * *
"On Thursday last a ludicrous _fracas_ took place in one of the
boxes of the first circle, at Drury Lane Theatre. A gentleman,
finding himself much incommoded by the heat, had recourse to his
smelling-bottle. One of the fighting lobby loungers, who stood
close to him, took offence at the scent, and desired him to put
it up. The demand not being obeyed, an altercation ensued, which
ended with the customary _etiquette_ of _Boabdil's_ presenting
his card, and desiring his antagonist's, in return. The card was
accepted, but the only notice taken of it, was a formal offer of
the smelling-bottle. This retort completely disconcerted the
would-be Duellist, who found himself so unexpectedly taken by the
_nose_, and the affair concluded with a general laugh at the
impertinence of the offender."--(_Times, Oct. 7, 1797._)
* * * * *
"The indecent behaviour of the Box-lobby loungers, becomes, every
day, more disorderly, and offensive. Two of this contemptible
class, who frequent the Theatre, merely to interrupt the
performance, and disturb the audience, quarrelled, on Tuesday
night, at Drury-Lane house, and, regardless of every kind of
decorum, stripped in the lobby, and decided their dispute _à la
Mendoza_. We trust that the timely interference of peace officers
will prevent, for the future, a conduct so degrading to society,
and so reproachful to public manners."--(_Times, Oct. 18, 1798._)
[Illustration: Mr. Quick as Scrub.]
[Illustration: Mr. Ryder as Falstaff.]
[Illustration: Kemble, as Hamlet.]
[Illustration: Kemble, as Lear.]
[Illustration: Mrs. Bellamy, taken at the Age of 30.]
[Illustration: Mrs. Abington as Lappet.]
[Illustration: Mrs. Siddons as Andromache.]
[Illustration: Mrs. Jordan as Viola.]
Cant phrases, and catch words, have been in use on the stage for many
years, Paul Bedford's sonorous "I believe you my Bo-o-o-o-y," and
Lionel Brough's "That's the sort of man I am," being illustrations of
the fact. Something like these, tickles the fancy of the audience,
and, in very little time, the phrase is all over the town, and in
everybody's mouth.
[Illustration: Mrs. Billington, as Rosetta.]
[Illustration: Mrs. Martyr, as Euphrosyne.]
"Knight's cant phrase of 'That accounts for it,' is pleasantly
made use of in the new Farce at Covent Garden. Bond St. Bobbies
have, all, their different cant phrases, indeed, they must say
something, and have no other talents for conversation, so 'that
accounts for it.'"--(_Times, Dec. 5, 1798._)
* * * * *
"Cant Phrases.
"Our Dramatic Authors have lately amused themselves, and the
Public, with cant phrases, instead of character, 'That's your
fort'--'Keep moving'--&c. Young Dibdin, in his _Jew and Doctor_,
seems to have hit upon the happiest cant, imaginable; 'That
accounts for it,' which seems applicable in almost all cases.
"There is no opposition to Government, in the House of
Commons--for a change of Ministry would ruin the country--_that
accounts for it_.
"A very great Personage pays no regard to _Lovers' Vows_: he has
been disgusted with a _German_ translation--_that accounts for
it_.
"Buonaparte wishes to return to Paris, though he should go
thither as naked as the back of his hand; he prefers
_soup-maigre_ to water melons--_that accounts for it_.
"Women complain of the want of Gallantry in men, though the
modern dress shows more than enough to excite passion, but--_that
accounts for it_.
"This cant phrase would comprehend all the science of Logic, if
properly used, and appropriately designed. It might be amplified,
in the present instance, to any length of space, but
exemplification breaks off because _ne quid nimis_--_that
accounts for it_."--(_Times, Dec. 14, 1798._)
* * * * *
"The mania of private acting, rages with more fury than ever.
There are, at present, no less than six Private Theatres, in the
Cities of Westminster, and London. This is a kind of amusement
which, on the ground of _morality_, should be 'more honoured in
the breach than the observance,' and calls for the interference
of the Magistracy."--(_Times, Dec. 26, 1798._)
* * * * *
"During the representation of the play of _Macbeth_, at a
Provincial Theatre, some nights since, an incident occurred,
which totally disconcerted all the gravity of the Tragic Muse. In
the Banquet Scene, Banquo's murderer was, by some untoward
accident, missing, and the business of the drama was threatened
with suspension, when in the exigency of the moment, an ignorant
candle-snuffer was pushed forward to tell the horrible tale:--on
seeing him, _Macbeth_, who had been motionless with confusion,
and embarrassment, burst from his state of torpor, and exclaimed,
'There's blood upon thy face!' 'Is there by G--,' cried the
astonished clown, and clapping his hands to his cheek, with a
mixture of anger, and alarm, continued, 'Then that domn'd blunt
razor has cutten me agen.'"--(_Times, Jan. 7, 1799._)
A notice of the Stage, of this time, would be incomplete, if Ireland's
impudent forgery of "Vortigern and Rowena," were not mentioned. It was
supposed to be an undiscovered play of Shakespeare's, and, with many
other Shakespearean forgeries, was fabricated by W. H. Ireland, who is
classed as follows:--
"Four forgers born in one prolific age,
Much critical acumen did engage:
The first[6] was soon, by doughty Douglas, scar'd,
Tho' Johnson would have screen'd him, had he dar'd.
The next had all the cunning of a Scot;[7]
The third, invention, genius,--may, what not?[8]
Fraud, now exhausted, only could dispense
To her fourth son, their threefold impudence."
[Footnote 6: Wm. Lauder who tried to make Milton out a
plagiarist,--but his quotations from various Latin authors
were proved to be false.]
[Footnote 7: James Macpherson, for his Ossian.]
[Footnote 8: Chatterton.]
Sheridan believed in the play, and engaged with Samuel Ireland, the
father of the forger, to pay down £300, and half the profits of the
first 60 nights. It was produced at Drury Lane Theatre, on 2 Ap.
1796, Kemble, playing Vortigern. He was an unbeliever in the
authenticity of the MS., and, certainly, did not attempt to uphold it
by his acting. In fact he burst the bubble, altogether, in the fifth
Act, by emphasising, with much meaning, the words, "And when this
solemn mockery is o'er," that the audience caught at it, and, amidst a
chorus of yells, and hisses, the play was utterly condemned. W. H.
Ireland soon afterwards confessed all his forgeries.
[Illustration: Miss Brunton, as Juliet.]
[Illustration: Miss Field, as Ariel.]
OPERA AND BALLET.
If there were good Actors, in those days, there were also good
singers, traditions of whom have lasted until our time. Of course,
they were fewer than the Actors, because there was but one Opera--and
the operas, then in vogue, required but a very limited number of
artists.
Still, the names of several of the _prime donne_ are yet remembered,
and the names of Mara, Storace, and Crouch will always live in the
annals of song.
_Elizabeth Mara_, whose maiden name was Schmelling, was born at Cassel
in 1750. She commenced her musical education by playing on the violin,
but, subsequently, finding she had a good voice, she devoted herself
to its cultivation, and so far succeeded, as even to earn unqualified
approbation, and applause, from Frederick the Great--who was, as a
rule, absolutely indifferent to Music. She first came to England, in
1784, and chiefly resided here till 1802; when she retired to Moscow,
where she had property, which, however, was destroyed at the French
Invasion, and destruction of the city, in 1812, and she was reduced to
poverty. She then went to reside at Revel, where her old friends
kindly helped to support her. She came once more to London, in 1819,
and gave a Concert--but her voice was gone, and this was her last
effort. She went back to Revel, where she died, in 1833, aged 84.
[Illustration: At the Opera.]
[Illustration: At Church.]
[Illustration: The Celebrated Mademoiselle G--m--rd, or Grimhard from
Paris.]
_Anne, Selina Storacé_, was born in England, and was sister of the
celebrated Composer. She was an excellent actress, a beautiful singer,
and was universally popular. She died in 1814.
Of _Mrs. Crouch_, née Phillips, I have already written, slightly, as
an Actress. She was born in 1763, and went early on the stage, making
her début, at Drury Lane, in the play of "The Lord of the Manor," in
1780, so that she was but 17. In 1784, she went to Ireland, where her
admirers were numerous, and some most passionate. One young man, whose
affection she did not return, declared he would shoot both her, and
himself--and went to the theatre, ostensibly to carry out his threat,
but he was ejected from the building, and, ultimately, left the
country.
But there was, about this time, a very romantic episode in her life.
She was loved by a young man, heir to a title, and fortune, and she
returned his love. Naturally, under the circumstances, his family had
higher matrimonial aims for him, so the young people had no other
course open to them, than a clandestine Marriage. They were even
before the Altar, of a Roman Catholic Chapel, but the priest refused
to marry them, on hearing the name of the bridegroom, unless he had
his father's consent. No priest could be found to marry them, for the
lover was under age, so the love lorn couple eloped, hoping, at some
seaside port to find a ship for Scotland. They were followed by both
irate fathers, Mr. Phillips having informed the other. The lovers were
separated, but history is silent as to whether they ever met again.
After she got over this disappointment, which took some time, she
married Lieutenant Crouch of the Navy,--good looking, but dissipated,
and spendthrift.--Of course the marriage was not a happy one, and they
parted:
Her voice was exquisitely sweet, and she was a most graceful actress.
She kept her hold on the public, and was on the stage until a short
time before her death, in 1805.
The names of Incledon, and Braham, have only to be mentioned, to
recall their vocal triumphs.
_Benjamin Charles Incledon_, was the son of a surgeon--and was born at
St. Keveran, in Cornwall, in 1764. He made his first appearance, in
London, in 1790--when he played in "The poor Soldier." He, at once,
became a public favourite, and so continued until his retirement from
the stage, which was some time before his death, in 1826. His acting
was clumsy, and ungraceful, but his sweet voice rendered him
unequalled in ballad singing, which was his especial forte.
_John Braham_, (or more correctly _Abraham_,) was born of Jewish
parents, in London, A.D. 1774. Early left an orphan, he was brought up
by Leoni, a celebrated Italian Singer, and so well taught by him, was
he, that he came out, as a public vocalist, before he was eleven years
old, when he sang _bravura_ songs, which had been written for Madame
Mara. After singing, both in English, and Italian, Opera, he went to
Italy--and, after his return, he appeared at Covent Garden, in 1801.
He died in 1856.
_Michael Kelly_ was both composer, and singer, but he cannot take rank
with either Incledon, or Braham. He made his first appearance on the
stage of the Metropolis, at Drury Lane, in 1787. He composed elegant,
and pretty, airs, and he sang nicely, but many of his compositions are
said to have had their origin in Italian, and German, sources. This
gave rise to a _bon mot_ of Sheridan's, when he heard that Kelly had
turned wine merchant--he suggested that, over his door, should be
painted, "Michael Kelly, composer of wine, and importer of music."
Died 1826.
[Illustration: Ballet at the King's Theatre,--Pantheon,--1791.]
Far more eminent than he, as composers, were _Arnold_, _Shield_,
_Storacé_, _Linley_, and _Jackson_.
_Samuel Arnold_, Mus. Doc., was born in 1740--and had the advantage of
studying music under Nares. He was, during his lifetime, both organist
to the King, and to Westminster Abbey, wrote several Oratorios, and
published selections of sacred music--but it is as a composer for the
theatre, that we have to consider him. When only twenty-three years of
age, he was appointed composer to Covent Garden Theatre, and his
earliest operas were there produced. In 1776, he filled the same
position with regard to the Haymarket, and this versatile genius
composed Operas, and Oratorios, until his death in 1802.
_William Shield_ (born in 1754) carved his own way up to the eminence,
which he enjoyed, in his profession. Apprenticed to a boatbuilder, he
gave up that business, as soon as he was out of his time: and, being
musical, and, playing well on the violin, he soon obtained a situation
at Scarborough, as leader of Concerts there, and gained such a
reputation, that he was offered, and accepted, the position of first
Viola, at the Italian Opera House. His first theatrical work was
composing the Music, (in 1778), to "The Flitch of Bacon." He wrote the
music for many other plays--and, on the death of Sir W. Parsons, he
gained the appointment of "Master of his Majesty's Musicians in
ordinary." He died in 1829.