Representative Plays by American Dramatists: 1856-1911:
Rip van Winkle
by Charles Burke
First Project Gutenberg Edition , (December 18, 2007)
[Illustration: Charles Burke]
CHARLES BURKE
CONTENTS
Preface
Announcement
RIP VAN WINKLE
Introduction
CAST OF CHARACTERS
COSTUME
RIP VAN WINKLE
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE LAST.
Transcribers’ Notes
This is the history of the evolution of a play. Many hands were concerned
in its growth, but its increase in scenic effect as well as in dialogue
was a stage one, rather than prompted by literary fervour. No
dramatization of Washington Irving’s immortal story has approached the
original in art of expression or in vividness of scene. But, if historical
record can be believed, it is the actor, rather than the dramatist, who
has vied with Irving in the vitality of characterization and in the
romantic ideality of figure and speech. Some of our best comedians found
attraction in the r�le, yet, though Charles Burke and James A. Herne are
recalled, by those who remember back so far, for the very Dutch
lifelikeness of the genial old drunkard, Joseph Jefferson overtops all
memories by his classic portrayal.
As far as literary value of the versions is concerned, it would be small
loss if none of them were available. They form a mechanical frame-work as
devoid of beauty as the skeleton scarecrow in Percy Mackaye’s play, which
was based on Hawthorne’s “Feathertop” in “Mosses from an Old Manse.” It
was only when the dry bones were clothed and breathed into by the actor’s
personality that the dramatizations lived. One can recall no plot that
moves naturally in these versions; the transformation of the story into
dialogue was mechanical, done by men to whom hack-work was the easiest
thing in the world. Comparing the Kerr play with the Burke revision of it,
when the text is strained for richness of phrase it might contain, only
one line results, and is worth remembering; it is Burke’s original
contribution,—“Are we so soon forgot when we are gone?”
The frequency with which “Rip Van Winkle” was dramatized would indicate
that, very early in the nineteenth century, managers of the theatre were
assiduous hunters after material which might be considered native.
Certainly _Rip_ takes his place with _Deuteronomy Dutiful_, _Bardwell
Slote_, _Solon Shingle_ and _Davy Crockett_ as of the soil.
Irving’s “Sketch Book” was published in 1819, and, considering his vast
interest in the stage, and the dramatic work done by him in conjunction
with John Howard Payne, it is unfortunate that he himself did not realize
the dramatic possibilities of his story. There is no available record to
show that he either approved or disapproved of the early dramatizations.
But there is ample record to show that, with the beginning of its stage
career, nine years after publication, “Rip” caught fire on the stage both
in America and in London. Mr. James K. Hackett is authority for the
statement that among his father’s papers is a letter from Irving
congratulating him upon having made so much from such scant material.
The legendary character of Irving’s sources, as traced in German
folk-lore, does not come within the scope of this introduction. The first
record of a play is Thomas Flynn’s appearance as _Rip_ in a dramatization
made by an unnamed Albanian, at the South Pearl Street Theatre, Albany,
N. Y., May 26, 1828. It was given for the benefit of the actor’s wife, and
was called “Rip Van Winkle; or, The Spirits of the Catskill Mountains.”
Notice of it may be found in the files of the Albany _Argus_. Winter, in
his Life of Joseph Jefferson, reproduces the prologue. Part of the cast
was as follows:
Derrick Van Slous—Charles B. Parsons
Knickerbocker—Moses S. Phillips
Rip Van Winkle—Thomas Flynn
Lowenna—Mrs. Flynn
Alice—Mrs. Forbes
Flynn was a great friend of the elder Booth, and Edwin bore Thomas as a
middle name.
In 1829, Charles B. Parsons was playing “Rip” in Cincinnati, Ohio, but no
authorship is mentioned in connection with it, so it must be inferred that
it was probably one of those stock products so characteristic of the early
American theatre. Ludlow, in his “Dramatic Life,” records “Rip” in
Louisville, Kentucky, November 21, 1831, and says that the Cincinnati
performance occurred three years before, making it, therefore, in the
dramatic season of 1828–29, this being Rip’s “first representation West of
the Alleghany Mountains, and, I believe, the first time on any stage.”
Ludlow proceeds to state that, while in New York, in the summer of 1828,
an old stage friend of his offered to sell him a manuscript version of
“Rip,” which, on his recommendation, he proceeded to purchase “without
reading it.” And then the manager indicates how a character part is built
to catch the interest of the audience, by the following bit of anecdote:
It passed off there [in Cincinnati] without appearing to create
any interest more than a drama on any ordinary subject, with the
exception of one speech, which was not the author’s, but
introduced without my previous knowledge by one of the actors in
the piece. This actor was a young gentleman of education, who was
performing on the stage under the name of Barry; but that was not
his real name, and he was acting the part of _Nicholas Vedder_ in
this drama. In the scene where _Rip_ returns to his native village
after the twenty years of sleep that he had passed through, and
finds the objects changed from what he remembered them,—among
other things the sign over the door of the tavern where he used to
take his drinks,—he enquires of _Vedder_, whom he had recognized,
and to whom he had made himself known, who that sign was intended
to represent, saying at the same time that the head of King George
III used to hang there. In reply to him, instead of speaking the
words of the author, Mr. Barry said, “Don’t you know who that is?
That’s George Washington.” Then _Rip_ said, “Who is George
Vashingdoner?” To which Barry replied, using the language of
General Henry (see his “Eulogy on Washington,” December 26, 1799),
“He was first in war, first in peace, and first in the hearts of
his countrymen!” This woke the Cincinnatians up.
Joseph Jefferson rejected this emendation later on, giving as his reason
that, once an audience is caught in the flare of a patriotic emotion, it
is difficult for an actor to draw them back effectively to the main
currents of his story. We have Ludlow’s statement to the effect that
Burke’s version was not unlike that produced by him as early as 1828–29,
in the middle West. Could it have had any relationship to the manuscript
by Kerr?
In Philadelphia, at the Walnut Street Theatre, on October 30, 1829,
William Chapman appeared as _Rip_, supported by Elizabeth and J. (probably
John) Jefferson. Winter suggests that the dramatization may have been
Ludlow’s, or it may have been the first draft of Kerr’s. Though it is
generally conceded that the latter play was the one used by James
H. Hackett, in a letter received by the Editor from Mr. James K. Hackett,
it is suggested that his father made his own version, a statement not
proved, but substantiated by Winter.
The piece was given by Hackett, at the Park Theatre, New York, on
August 22, 1830, and Sol Smith, in his “Theatrical Management in the West
and South,” declares, “I should despair of finding a man or woman in an
audience of five hundred, who could hear [his] utterance of five words in
the second act, ‘But she was mine vrow’ without experiencing some moisture
in the eyes.” While the _Galaxy_, in a later year, for February, 1868,
states: “His _Rip Van Winkle_ is far nearer the ordinary conception of the
good-for-nothing Dutchman than Mr. Jefferson’s, whose performance is
praised so much for its naturalness.” The statement, by Oliver Bell Bunce,
is followed by this stricture against Jefferson: “Jefferson, indeed, is a
good example of our modern art. His naturalness, his unaffected methods,
his susceptible temperament, his subtleties of humour and pathos are
appreciated and applauded, yet his want of breadth and tone sometimes
renders his performance feeble and flavourless.” On the day before its
presentment by Hackett, the New York _Evening Post_ contained the
following notice:
Park Theatre, Mr. Hackett’s Benefit. Thursday, 22d inst. First
night of Rip Van Winkle and second night of Down East.—Mr. Hackett
has the pleasure of announcing to his friends and the public that
his Benefit is fixed for Thursday next, 22d inst., when will be
produced for the first time the new drama of “Rip Van Winkle; or,
The Legend of the Kaatskill Mountains”—(founded on Washington
Irving’s celebrated tale called “Rip Van Winkle”)—with appropriate
Dutch costumes; the River and Mountain scenery painted by Mr.
Evers, all of which will be particularly described in the bills of
the day.—Principal characters—_Rip Van Winkle_, Mr. Hackett;
_Knickerbocker_, Mr. Placide; _Vedder_, Mr. Chapman; _Van Slous_,
Mr. Blakely; _Herman_, Mr. Richings; _Dame Rip Van Winkle_, Mrs.
Wheatley; _Alice_, Mrs. Hackett; _Lowenna_, Mrs. Wallack.
Durang refers to the dramatist who is reputed to have done the version for
Mr. Hackett, as “Old Mr. Kerr,” an actor, who appeared in Philadelphia
under the management of F. C. Wemyss. However much of an actor John Kerr
was, he must have gained some small reputation as a playwright. In 1818,
Duncombe issued Kerr’s “Ancient Legends or Simple and Romantic Tales,” and
at the Harvard Library, where there is a copy of this book, the catalogue
gives Kerr’s position in London at the time as Prompter of the Regency
Theatre. He must have ventured, with a relative, into independent
publishing, for there was issued, in 1826, by J. & H. Kerr, the former’s
freely translated melodramatic romance, “The Monster and Magician; or, The
Fate of Frankenstein,” taken from the French of J. T. Merle and A. N.
B�raud. He did constant translation, and it is interesting to note the
similarity between his “The Wandering Boys! or, The Castle of Olival,”
announced as an original comedy, and M. M. Noah’s play of the same name.
There is valuable material in possession of Mr. James K. Hackett for a
much needed life of his father. This may throw light on his negotiations
with Kerr; it may also detail more thoroughly than the records now show
why it was that, when he went to England in 1832, he engaged Bayle Bernard
to make a new draft of the piece, given in New York at the Park Theatre,
September 4, 1833. It may have been because he saw, when he reached
London, a version which Bernard had shaped for the Adelphi Theatre,
1831–32, when Yates, John Reeve, and J. B. Buckstone had played together.
But I am inclined to think that, whatever the outlines of the piece as
given by Hackett, it was his acting which constituted the chief creative
part of the performance. Like Jefferson, he must have been largely
responsible for the finished product.
Hackett’s success in dialect made him eager for any picturesque material
which would exploit this ability. Obviously, local character was the best
vehicle. That was his chief interest in encouraging American plays. Bayle
Bernard had done writing for him before “Rip.” In 1831, J. K. Paulding’s
“The Lion of the West” had proven so successful, as to warrant Bernard’s
transferring the popular _Col. Nimrod Wildfire_ to another play, “The
Kentuckian.” Then, in 1837, Hackett corresponded with Washington Irving
about dramatizing the “Knickerbocker History,” which plan was consummated
by Bernard as “Three Dutch Governors,” even though Irving was not
confident of results. Hackett went out of his way for such native
material. Soon after his appearance as _Rip_, the following notice
appeared in the New York _Evening Post_, for April 24, 1830:
Prize Comedy.—The Subscriber, desirous of affording some pecuniary
inducement for more frequent attempts at dramatizing the manners
and peculiarities of our own country, and the numerous subjects
and incidents connected with its history, hereby offers to the
writer of the best Comedy in 3 acts, in which a principal
character shall be an original of this country, the sum of Two
Hundred and Fifty Dollars—the decision to be made by a committee
of competent literary gentlemen, whose names shall duly be made
public. The manuscripts to be sent to the address of the
subscriber through the Post Office, before _1st September, next,_
each accompanied with a letter communicating the address to which
the author would desire his production returned, if unsuccessful,
together with his _name_ in a _sealed enclosure_, which will only
be opened in the event of his obtaining the Prize.
Jas. H. Hackett,
64 Reed Street, New York
Many such prize contests were the fashion of the day.
Mr. James K. Hackett, in reminiscence, writes: “My mother used to tell me
that Joe Jefferson played the part like a German, whereas _Rip_ was a
North River Dutchman, and in those days dialects were very marked in our
country. But my father soon became identified with the part of _Falstaff_,
and he used to say, ‘Jefferson is a younger man than I, so I’ll let him
have _Rip_. I don’t care to play against him’.”
A stage version of the Irving story was made by one John H. Hewitt, of
Baltimore, and during the season of 1833–34 was played in that city by
William Isherwood. It was after this that Charles Burke (1822–1854) turned
his attention to the play, and, as is shown in the text here reproduced,
drew heavily upon Kerr. Winter says that he depended also upon the
dramatic pieces used by Flynn and Parsons. The date of the first essayal
of the part in New York was January 7, 1850, at the New National Theatre.
But, during the previous year, he went with the play to the Philadelphia
Arch Street Theatre, where his half-brother, Joseph, appeared with him in
the r�le of _Seth_. Durang, however, disagrees with this date, giving it
under the heading of the “Summer Season of 1850 at the Arch Street
Theatre,” and the specific time as August 19. In his short career Burke
won an enviable position as an actor. “He had an eye and a face,” wrote
Joe Jefferson, “that told their meaning before he spoke, a voice that
seemed to come from the heart itself, penetrating—but melodious.” He was
slender, emaciated, sensitive,—and full of lively response to things. Like
all of the Jeffersons, he was a born comedian, and critics concede that W.
E. Burton feared his rivalry. Between Burke and his half-brother, there
was a profound attraction; they had “barn stormed” together, and through
Burke’s consideration it was that Joe was first encouraged and furthered
in Philadelphia. Contrasting Burton and Burke, Jefferson wrote in his
“Autobiography:”
Burton coloured highly, and laid on the effects with a liberal
brush, while Burke was subtle, incisive and refined. Burton’s
features were strong and heavy, and his figure was portly and
ungainly. Burke was lithe and graceful. His face was plain, but
wonderfully expressive. The versatility of this rare actor was
remarkable, his pathos being quite as striking a feature as his
comedy. … His dramatic effects sprung more from intuition than
from study; and, as was said of Barton Booth, “the blind might
have seen him in his voice, and the deaf have heard him in his
visage.”
But the height of Jefferson’s praise was reached when he said: “Charles
Burke was to acting what Mendelssohn was to music. He did not have to work
for his effects, as I do; he was not analytical, as I am. Whatever he did
came to him naturally, as grass grows or water runs; it was not talent
that informed his art, but genius.”
Such was the comedian who next undertook the r�le of _Rip_. How often
his own phrase, “Are we so soon forgot,” has been applied to the actor and
his art! The only preservative we have of this art is either in individual
expressions of opinion or else in contemporary criticism. Fortunately,
John Sleeper Clarke, another estimable comedian of the Jefferson family,
has left an impression of how Burke read that one famous line of his. He
has said:
No other actor has ever disturbed the impression that the profound
pathos of Burke’s voice, face, and gesture created; it fell upon
the senses like the culmination of all mortal despair, and the
actor’s figure, as the low, sweet tones died away, symbolized more
the ruin of the representative of the race than the sufferings of
an individual: his awful loss and loneliness seemed to clothe him
with a supernatural dignity and grandeur which commanded the
sympathy and awe of his audience.
Never, said Clarke, who often played _Seth_ to Burke’s _Rip_, was he
disappointed in the poignant reading of that line—so tender, pathetic and
simple that even the actors of his company were affected by it.
However much these various attempts at dramatization may have served their
theatrical purpose, they have all been supplanted in memory by the play as
evolved by Jefferson and Boucicault, who began work upon it in 1861. The
incident told by Jefferson of how he arrived by his decision to play
_Rip_, as his father had done before him, is picturesque. One summer day,
in 1859, he lay in the loft of an old barn, reading the “Life and Letters
of Washington Irving,” and his eye fell upon this passage:
September 30, 1858. Mr. Irving came in town, to remain a few days.
In the evening went to Laura Keene’s Theatre to see young
Jefferson as _Goldfinch_ in Holcroft’s comedy, “The Road to Ruin.”
Thought Jefferson, the father, one of the best actors he had ever
seen; and the son reminded him, in look, gesture, size, and
“make,” of the father. Had never seen the father in _Goldfinch_,
but was delighted with the son.
This incident undoubtedly whetted the interest of Joseph Jefferson, and he
set about preparing his version. He had played in his half-brother’s, and
had probably seen Hackett in Kerr’s. All that was needed, therefore, was
to evolve something which would be more ideal, more ample in opportunity
for the exercise of his particular type of genius. So he turned to the
haven at all times of theatrical need, Dion Boucicault, and talked over
with him the ideas that were fulminating in his brain. Clark Davis has
pointed out that in the Jefferson “Rip” the credits should thus be
measured:
Act I.—Burke + Jefferson + Boucicault ending.
Act II.—Jefferson.
Act III.—Burke + Jefferson + ending suggested by Shakespeare’s
“King Lear.”
But, however the credit is distributed, Jefferson alone made the play as
it lives in the memories of those who saw it. It grew by what it fed on,
by accretions of rich imagination. Often times, Jefferson was scored for
his glorification of the drunkard. He and Boucicault were continually
discussing how best to circumvent the disagreeable aspects of _Rip’s_
character. Even Winter and J. Rankin Towse are inclined to frown at the
reprobate, especially by the side of Jefferson’s interpretation of _Bob
Acres_ or of _Caleb Plummer_. There is no doubt that, in their
collaboration, Boucicault and Jefferson had many arguments about “Rip.”
Boucicault has left a record of the encounters:
“Let us return to 1865,” he wrote. “Jefferson was anxious to
appear in London. All his pieces had been played there. The
managers would not give him an appearance unless he could offer
them a new play. He had a piece called ‘Rip Van Winkle’, but when
submitted for their perusal, they rejected it. Still he was so
desirous of playing _Rip_ that I took down Washington Irving’s
story and read it over. It was hopelessly undramatic. ‘Joe’, I
said, ‘this old sot is not a pleasant figure. He lacks romance. I
dare say you made a fine sketch of the old beast, but there is no
interest in him. He may be picturesque, but he is not dramatic. I
would prefer to start him in a play as a young scamp, thoughtless,
gay, just such a curly-head, good-humoured fellow as all the
village girls would love, and the children and dogs would run
after’. Jefferson threw up his hands in despair. It was totally
opposed to his artistic preconception. But I insisted, and he
reluctantly conceded. Well, I wrote the play as he plays it now.
It was not much of a literary production, and it was with some
apology that it was handed to him. He read it, and when he met me,
I said: ‘It is a poor thing, Joe’. ‘Well’, he replied, ‘it is good
enough for me’. It was produced. Three or four weeks afterward he
called on me, and his first words were: ‘You were right about
making _Rip_ a young man. Now I could not conceive and play him in
any other shape’.”
When finished, the manuscript was read to Ben Webster, the manager of the
Haymarket Theatre, London, and to Charles Reade, the collaborator, with
Boucicault, in so many plays. Then the company heard it, after which
Jefferson proceeded to study it, literally living and breathing the part.
Many are the humourous records of the play as preserved in the Jefferson
“Autobiography” and in the three books on Jefferson by Winter Frances
Wilson and Euphemia Jefferson.
On the evening of September 4, 1865, at the London Adelphi, the play was
given. Accounts of current impressions are extant by Pascoe and Oxenford.
It was not seen in New York until September 3, 1866, when it began a run
at the Olympic, and it did not reach Boston until May 3, 1869. From the
very first, it was destined to be Jefferson’s most popular r�le. His
royalties, as time progressed, were fabulous, or rather his profits, for
actor, manager, and author were all rolled into one. He deserted a large
repertory of parts as the years passed and his strength declined. But to
the very end he never deserted _Rip_. At his death the play passed to his
son, Thomas. The Jefferson version has been published with an
interpretative introduction by him.
When it was first given, the play was scored for the apparent padding of
the piece in order to keep Jefferson longer on the stage. The supernatural
elements could not hoodwink the critics, but, as Jefferson added humanity
to the part, and created a poetic, lovable character, the play was greatly
strengthened. In fact Jefferson was the play. His was a classic
embodiment, preserved in its essential details in contemporary criticism
and vivid pictures.
[Illustration:
THEATRE
-------
FOR THE BENEFIT
OF
Mrs. SHARPE
AND HER LAST APPEARANCE, prior to her departure for
the South--on which occasion
Mr. Hackett
Has kindly consented to perform.
--------------------------------
On Wednesday Evening, Oct. 18
Will be produced, 1st time in America, the Tragedy in 5 acts, of
THE BRIDAL
_As altered from a Tragedy of Beaumont & Fletcher, by_ WILLIAM
MACREADY _and_ SHERIDAN KNOWLES, _and now performing
in London with great applause._
Areanus, (King of Rhodes) Mr. Richings
Melantius Fredericks
Amintor Mason
Lysippus (brother to the King) Wells
Diphibus, (brother of Melantius & Evadne) Nexsom
Cleon, Garland
Caltranex, (Kinsman o to Aspasia,) Wheatley
Archas (Keeper of the Prison) Bedford
Strato, Isherwood
Diagoras, Johnson
Assassin King
Dion Gallott
Nobles, Guards, &c
EVADNE (Wife of Amintor ) MRS. SHARPE
Aspasia (formerly betrothed to Amintor) Mrs. Richardson
Antiphole, Pritchard
Olympias Conway
Dula Durie
Cleanthe Miss Bedford
Ladies, &c. &c.
--------------------------------------------------------
--IN ACT 2--
A GREEK PAS DE DEUX,
WILL BE DANCED
By MR. & MRS. CHECKENI.
--------------------------------------------------------
After which, the Drama of
_Rip Van Winkle!_
_Or--A Legend of the Catskill Mountains._]
[Illustration:
Characters in Act First--or 1763.
_RIP VAN WINKLE, a North River Dutchman_ _Mr. HACKETT_
Derrick Van Tassel, the Burgomaster Mr. Clarke
Nichols Vedder, a Farmer, Isherwood
Brom Van Brunt, a Schoolmaster, Fisher
Rory Van Clump, Landlord of George 3d Tavern, Wells
Henderick Hudson, Capt. of the Spirit Crew of the Dutch
discovery ship ’Half Moon’ Hayden
Richard Juet, his Mate,
Dirk Quackenboss,
Dutchmen, Spirit Crew, &c.
Dame Van Winkle, Rip’s Scolding Wife, Mrs. Wheatley
Alice, Rip’s Sister, Chippindale
Between the first and Second Acts a period of Twenty Years
is supposed to elapse.
RIP VAN WINKLE, the Sleeper, now a Stranger
in his Native Village, MR. HACKETT
Herman Van Tassel, Son of the late Burgomaster
Contracted to Gertrude, Mr. Wheatley
Abram Higginbottomm, late Brom Van Brunt Fisher
Bradford, in love with Gertrude Richings
Perseverance Peashell, Landlord of Washington Hotel Povey
Hiram } Yankee Wits King
Ebeneezer, } Wells
Young Rip Van Winkle, Bancker
District Judge Nexsom
Gertrude Van Winkle, contracted to Herman Miss E. Turnbull
Dame Van Winkle, formerly Alice Van Winkle Chippindale
---------------------------------------------
*A Double Hornpipe by Mast & Miss Wells.*
---------------------------------------------
To conclude with, The FIRST ACT of the Farce of the
_Kentuckian_
Or--A Trip to New-York.
*Nimrod Wildfire,* *Mr. Hackett*
Mr. Freeman Mr. Clarke
Percival, Wheatley
Pompey, Povey
Tradesman, Gallott
Mrs. Luminary, Mrs. Wheatley
Mrs. Freeman Vernon
Mary, Durie
Servant, Conway
Caroline Miss Turnbull
--------------------------------------------
_Thursday--Third Night of the Engagement of_
*MISS TREE*
LOM,
Miss Tree
And, ANIMAL MAGNETISM.
----------------------------------------------------
Friday and Saturday Evenings MISS TREE will perform.
----------------------------------------------------
]
RIP VAN WINKLE
_A LEGEND OF THE CATSKILLS_
A ROMANTIC DRAMA IN TWO ACTS
ADAPTED FROM WASHINGTON IRVING’S SKETCH BOOK
_By_ CHARLES BURKE
[It is common knowledge that “Rip Van Winkle,” as a play, was a general
mixture of several versions when it finally reached the hands of Joseph
Jefferson. From Kerr to Burke, from Burke to Boucicault, from Boucicault
to Jefferson was the progress. The changes made by Burke in the Kerr
version are so interesting, and the similarities are so close, that the
Editor has thought it might be useful to make an annotated comparison of
the two. This has been done, with the result that the reader is given two
plays in one. The title-page of the Kerr acting edition runs as follows:
“Rip Van Winkle; A Legend of Sleepy Hollow. A Romantic Drama in Two Acts.
Adapted from Washington Irving’s Sketch-Book by John Kerr, Author of
‘Therese’, ‘Presumptive Guilt’, ‘Wandering Boys’, ‘Michael and Christine’,
‘Drench’d and Dried’, ‘Robert Bruce’, &c., &c. With Some Alterations, by
Thomas Hailes Lacy. Theatrical Publisher. London.” The Burke version, used
here as a basis, follows the acting text, without stage positions,
published by Samuel French. An opera on the subject of “Rip Van Winkle,”
the libretto written by Wainwright, was presented at Niblo’s Garden, New
York, by the Pyne and Harrison Troupe, Thursday, September 27, 1855. There
was given, during the season of 1919–20, by the Chicago Opera Association,
“Rip Van Winkle: A Folk Opera,” with music by Reginald de Kovan and
libretto by Percy Mackaye, the score to be published by G. Schirmer. New
York.]
CAST OF CHARACTERS
First performed at the West London Theatre (under the management of Mr.
Beverley).
RIP VAN WINKLE
A Legend of the Sleepy Hollow.
CHARACTERS
ACT I. 1763
_Original_ _Walnut St. _
_Philadelphia_
DEIDRICH VAN SLAUS Mr. Sanger Mr. Porter
HERMAN (his Son) " N. Norton " Read
KNICKERBOCKER (a " S. Beverley " J. Jefferson
Schoolmaster)
RORY VAN CLUMP (a " C. Osborne " Greene
Landlord)
" Chapman
RIP VAN WINKLE " H. BEVERLEY " Hackett
NICHOLAS VEDDER " T. Santer " Sefton
PETER CLAUSEN " Cogan " James
GUSTAVE Master Kerr Miss Anderson
DAME VAN WINKLE Mrs. Porter Mrs. B. Stickney
ALICE " W. Hall Mrs. S. Chapman
LOWENA Miss Kerr Miss Eberle
IMP OF THE W. Oxberry, Jun. W. Wells
MOUNTAIN
The Spectre Crew of the Mountains, Farmers, &c.
A Lapse of Twenty Years occurs between the Acts.
Act II. 1783.
HERMAN VAN SLAUS Mr. H. Norton Mr. Read
SETH KILDERKIN —— ——
KNICKERBOCKER " S. Beverley " J. Jefferson
NICHOLAS VEDDER " T. Santer " Sefton
GUSTAVE —— ——
YOUNG RIP —— ——
" Chapman
RIP VAN WINKLE " H. Beverley " Hackett
ALICE VAN Mrs. W. Hall Mrs. S. Chapman
KNICKERBOCKER
LOWENA Miss Kerr Miss Eberle
JACINTHA —— ——
CAST OF THE CHARACTERS
_Bowery_ _Arch Street_
_Theatre_ _Theatre_
_New York_ _Philadelphia_
ACT I—1763 1857 1850
RIP VAN WINKLE (a Mr. F. S. Chanfrau Mr. C. Burke
Dutchman)
KNICKERBOCKER (a " Whiting " J. L. Baker
Schoolmaster)
DERRIC VAN SLAUS " Ferdon " Marsh
(the Burgomaster)
HERMAN VAN SLAUS " Blake " Henkins
(his son).
NICHOLAS VEDDER " Baker ——
(friend to Rip)
CLAUSEN " Edson " Bradford
RORY VANCLUMP (a " Foster " Worrell
Landlord)
GUSTAFFE " F. Hodge " Mortimore
DAME VAN WINKLE Mrs. Axtel Mrs. Hughs
ALICE " Fitzgerald Miss Wood
LORRENNA Miss Wallis " E. Jones
SWAGGRINO } Mr. Williams Mr. Brown
Spirits of the
{
GAUDERKIN } " Barry " Ray
Catskills {
ICKEN } " Bennett " Ross
{
ACT II.—1783.—_A lapse of twenty years is supposed to occur between_
_the First and Second Acts._
RIP VAN WINKLE Mr. F. S. Chanfrau Mr. C. Burke
(the dreamer)
HERMAN VAN SLAUS " Blake " Henkins
SETH SLOUGH " Denham " J. Jefferson
KNICKERBOCKER " Whiting " J. L. Baker
THE JUDGE " Pelham " Anderson
GUSTAFFE " F. Hodges " Mortimore
RIP VAN WINKLE, " Thompson " Stanley
JR.
FIRST VILLAGER " Bennett " Thomas
SECOND VILLAGER " Alkins " Sims
ALICE Mrs. Fitzgerald Miss Wood
KNICKERBOCKER
LORRENNA " J. R. Scott " E. Jones
_Broadway_ _Metropolitan_
_Theatre_ _Theatre_
_New York_ _Buffalo_
ACT I—1763 1855 1857
RIP VAN WINKLE (a Mr. Hackett Mr. F. S. Chanfrau
Dutchman)
KNICKERBOCKER (a " Norton " B. G. Rogers
Schoolmaster)
DERRIC VAN SLAUS " McDonall " Ross
(the Burgomaster)
HERMAN VAN SLAUS —— " Ferrell
(his son)
NICHOLAS VEDDER " Anderson " Stephens
(friend to Rip)
CLAUSEN —— " Leak
RORY VANCLUMP (a " Price " Boynton
Landlord)
GUSTAFFE Miss Wood " Kent
DAME VAN WINKLE Mrs. Bellamy Miss Wells
ALICE " Sylvester Mrs. C. Henri
LORRENNA Miss Henry La Petite Sarah
SWAGGRINO } Mr. Lamy Mr. Henri
Spirits of the
{
GAUDERKIN } —— " McAuley
Catskills {
ICKEN } —— " Ferris
{
ACT II.—1783.—_A lapse of twenty years is supposed to occur between_
_the First and Second Acts._
RIP VAN WINKLE Mr. Hackett Mr. F. S. Chanfrau
(the dreamer)
HERMAN VAN SLAUS " Warwick " Ferrell
SETH SLOUGH " Whiting " Stephens
KNICKERBOCKER " Norton " B.G. Rogers
THE JUDGE —— " Spackman
GUSTAFFE " Levere " Kent
RIP VAN WINKLE, " Ryder " McAuley
JR.
FIRST VILLAGER " Brown " Ferris
SECOND VILLAGER " Hoffman " Judson
ALICE Mrs. Sylvester Mrs. C. Henri
KNICKERBOCKER
LORRENNA " Allen Miss Tyson
COSTUME
RIP—_First dress:_—A deerskin coat and belt, full brown breeches, deerskin
gaiters, cap. _Second dress:_—Same, but much worn and ragged.
KNICKERBOCKER—_First dress:_—Brown square cut coat, vest and breeches,
shoes and buckles. _Second dress:_—Black coat, breeches, hose, &c.
DERRIC VAN SLAUS—Square cut coat, full breeches, black silk hose, shoes
and buckles—_powder_.
HERMAN—_First dress:_—Ibid. _Second dress:_—Black frock coat, tight pants,
boots and tassels.
VEDDER }
CLAUSEN } Dark square cut coats, vests, breeches, &c.
RORY }
GUSTAFFE—Blue jacket, white pants, shoes.
SETH SLOUGH—Gray coat, striped vest, large gray pants.
JUDGE—Full suit of black.
YOUNG RIP—A dress similar to Rip’s first dress.
DAME—Short gown and quilted petticoat, cap.
ALICE—_First dress:_—Bodice, with half skirt, figured petticoat. _Second
dress:_—Brown satin bodice and skirt, &c.
LORRENNA, Act 1—A child.
LORRENNA, Act 2—White muslin dress, black ribbon belt, &c.
RIP VAN WINKLE
ACT I.
SCENE I.
_A Village.—House, with a sign of_ “George III.”—_Two or three
tables._—VILLAGERS _discovered, smoking_. VEDDER, KNICKERBOCKER, RORY,
CLAUSEN _at table. Chorus at rise of curtain._
CHORUS.
In our native land, where flows the Rhine,
In infancy we culled the vine:
Although we toiled with patient care,
But poor and scanty was our fare.
SOLO.
Till tempting waves, with anxious toil,
We landed on Columbia’s soil;
Now plenty, all our cares repay,
So laugh and dance the hours away.
CHORUS.
Now plenty, all our cares repay,
So laugh and dance the hours away;
Ha, ha, ha! Ha, ha, ha!
So laugh, ha, ha! and dance the hours away.
VEDDER.
Neighbour Clausen, on your way hither, saw you anything of our friend,
Rip Van Winkle? Where there’s a cup of good liquor to be shared, he’s
sure to be on hand—a thirsty soul.
KNICKERBOCKER.
Truly, the man that turns up his nose at good liquor is a fool, as we
Dutchmen have it; but cut no jokes on Rip; remember, I’m soon to be a
member of his family: and any insult offered to him, I shall resent in
the singular number, and satisfaction must follow, as the Frenchmen have
it.
VEDDER.
So, Knickerbocker, you are really determined to marry Rip’s sister, the
pretty Alice?
KNICKERBOCKER.
Yes, determined to be a prisoner in Hymen’s chains, as the lovers have
it. I’ve got Rip’s consent, I’ve got Alice’s consent, and I’ve got my
own consent.
CLAUSEN.
But have you got the dame’s consent, eh?
KNICKERBOCKER.
There I’m dished and done up brown; would you believe it? she calls me a
long, scraggy, outlandish animal, and that I look like two deal boards
glued together!
RORY.
Here comes Alice, and with her, Rip’s daughter.
_Enter_ ALICE, _with_ LORRENNA. [LOWENA](1)
ALICE.
Come along, loiterer! Woe betide us when we get home, for having tarried
so long! What will the dame say?
LORRENNA.
Well, it’s not my fault, for you have been up and down the lane a dozen
times, looking for the schoolmaster, Knickerbocker.
ALICE.
Hold your tongue, Miss, it’s no such thing.
LORRENNA.
You know you love him.
ALICE.
How do you know that, Miss Pert?
LORRENNA.
I can see it; and seeing is believing, they say. Oh, you’re monstrous
jealous of him, you know you are.
KNICKERBOCKER _advances._
ALICE.
Jealous! I, jealous of him? No, indeed, I never wish to see his ugly
face again.
KNICKERBOCKER.
Say not so, sweet blossom of the valley, for in that case I shall shoot
myself in despair.
ALICE.
Oh, don’t think of such a thing, for then your ghost might haunt me.
LORRENNA.
And I’m sure you would rather have him than his ghost, wouldn’t you,
Alice?
KNICKERBOCKER.
That’s a very smart child. But Alice, sweet Alice, can’t I drop in this
evening, when the old folks are out of the way?
ALICE.
Not for the world; if the dame were to find you in the house, I don’t
know what would happen.
LORRENNA.
Don’t you know, Alice, mammy always goes out for an hour in the evening,
to see her neighbour, Dame Wrigrim; now, if you [_To_ KNICKERBOCKER.]
come at eight o’clock, and throw some gravel at the window, there’s no
knowing but you might see Alice.
KNICKERBOCKER.
That’s an uncommon clever girl; but, Alice, I’m determined to turn over
a new leaf with Dame Van Winkle; the next time I see her, I’ll pluck up
[my] courage and say to her—
DAME.
[_Without._] Alice! Alice! odds bodikins and pins, but I’ll give it you
when I catch you.
_The_ VILLAGERS _exit._
KNICKERBOCKER.
Run, Alice, run!
[ALICE, LORRENNA _and_ KNICKERBOCKER _run to right._
DAME.
[_Without._] Alice!
[ALICE, LORENNA _and_ KNICKERBOCKER _exeunt hastily_.
RORY.
Egad! the dame’s tongue is a perfect scarecrow!
VEDDER.
The sound of her voice sets them running just as if she were one of the
mountain spirits, of whom we hear so much talk. [But where the deuce can
Rip be all this while? [RIP _sings without._] But talk of the devil and
his imps appear.](2)
_Enter_ RIP VAN WINKLE, _with gun, game-bag, &c._
RIP.
Rip, Rip, wass is dis for a business. You are a mix nootze unt dat is a
fact. Now, I started for de mountains dis mornin’, determined to fill my
bag mit game, but I met Von Brunt, de one-eyed sergeant—[comma see hah,
unt brandy-wine hapben my neiber friend];(3) well, I couldn’t refuse to
take a glass mit him, unt den I tooks anoder glass, unt den I took so
much as a dozen, [do](4) I drink no more as a bottle; he drink no more
as I—he got so top heavy, I rolled him in de hedge to sleep a leetle,
for his one eye got so crooked, he never could have seed his way
straight; den I goes to de mountain, [do](5) I see double, [d——d](6) a
bird could I shooted. But I stops now, I drinks no more; if anybody ask
me to drink, I’ll say to dem—[VEDDER _comes down, and offers cup to
him._]—here is your [go-to-hell],(7) and your family’s [go-to-hell], and
may you all live long and [prosper].(8) [_Drinks._
VEDDER.
Why, neighbour Rip, where have you been all day? We feared some of the
[Elfin](9) goblins of the Catskill had caught you.
RIP.
Ha, ha! I never see no ghosts, though I’ve fought mit _spirits_ in my
time, ha, ha!
VEDDER.
And they always throw you, eh? ha, ha!
RIP.
Dat’s a fact! Ha, ha, ha!
VEDDER.
But, Rip, where have you been?
RIP.
Oh, very hard at work(10)—very busy; dere is nothing slipped [fun my
fingers as was come at abe.](11)
RORY.
They appear to have slipped through your game bag though, for it’s full
of emptiness.—Ha, ha, ha!
RIP.
Ho, ho, ho! cut no jokes at my _bag_ or I’ll gib you de sack.
VEDDER.
Come, Rip, sit down, take a pipe and a glass and make yourself
comfortable.
RIP.
[Nine, nine—ech con neiched—](12) it behoves a man to look after his
interest unt not drink all de while, I shall den be able to manage—
VEDDER.
Your wife, Rip?
RIP.
Manage mine [frow](13)? Can you fly to de moon on a [paper](14) kite?
Can you drink all de beer and brandy-wine at one gulp? when you can do
dat, mine goot [im himmel](15) you can manage mine [frow]. [_All
laugh._(16)
RORY.
Take one glass, Rip.(17)
RIP.
No, I won’t touch him.
VEDDER.
Come, come, lay hold.
RIP.
Now I’ll be [d——d fun](18) I does.
VEDDER.
Well, if you won’t. [_All go to table but_ RIP.
RIP.
Dere is [a](19) drinks, dere is [a] drinks; I have [conquered](20)
temptation at last. Bravo resolution! bravo resolution; resolution, you
shall have one glass for dat.(21) [_Goes to table._
OMNES.
Ha, ha, ha!
RORY.
Here, Rip, here’s a glass at your service, and as for the contents I’ll
warrant it genuine and no mistake. [_Gives_ RIP_ a cup._
RIP.
Rory, here is your [go-to-hell],(22) unt your family’s [go-to-hell], un
may you all live long unt [prosper].(23)
RORY.
Come, Rip, give us a stave.
VEDDER.
Yes, yes, Rip, a stave, for the old dame will be after you soon and then
we will all have to make a clearance.
RIP.
Oh, tunner wasser! [won’t](24) my old woman skin me when I get home.
VEDDER AND RORY.
Ha, ha, ha! come, the song, the song.
RIP.
Well, here is Rip Van Winkle’s warning to all single fellows.
SONG.—RIP.
List, my friends, to caution’s voice,
Ere de marriage knot you tie;
It is [the devil],(25) mit shrews to splice,
Dat nobody can deny, deny,
Dat nobody can deny.
_Chorus._—That nobody can deny, &c.
When a wife to rule once wishes,
Mit poor spouse ’tis all my eye,
I’m [d——d](26) if she don’t wear de breeches,
Dat nobody can deny, deny,
Dat nobody can deny.
_Chorus._—That nobody can deny, &c.
Yet dere is a charm about dem,
Do dere voices are so high
We can’t do mit’em, [_Pause._
Nor we can’t do mit-out ’em,
Dat nobody can deny, deny,
Dat nobody can deny.
_Chorus._—That nobody can deny, &c.(27)
DAME.
[_Without._] Rip, Rip! I’ll stretch your ears when I get hold of them.
RIP.
[Mine goot im himmel],(28) dere is my frow.
DAME.
[_Without._] Rip! you lazy varmint! Rip!
RIP.
[_Gets under the table with bottle._] Look out, boys! de wild cat’s
coming.
_Music._—VEDDER, RORY _and_ CLAUSEN, _at table._—_Enter_ DAME, _with a
stick._
DAME.
Where is this wicked husband of mine! odds bodikins and pins! I heard
his voice; you’ve hid him somewhere! you ought to be ashamed of
yourselves to inveigle a husband from a tender, loving spouse; but I’m
put upon by all, because they know the mildness of my temper.—[_They
laugh._]—Odds bodikins and curling irons, but some of you shall laugh
the other sides of your mouths—I’ll pull your pates for you.(29)
_Music._—_Chases them round table; they exit._—DAME _upsets table and
discovers_ RIP.
DAME.
Oh, you Rip of all rips! what have you to say for yourself?
RIP.
Here is your [go-to-hell],(30) unt your family’s, unt may you all live
long and [prosper].
DAME.
[_Pulling him down the stage by the ear._] I’m cool—that is to say not
very hot: but the mildest temper in the world would be in a passion at
such treatment. Get home, you drunken monster, or I sha’n’t be able to
keep my hands off you. Tell me, sir, what have you been about all day?
RIP.
Hard at work, my dumpsy dumpsy; de first ting I see dis morning was a
fine fat rabbit.
DAME.
A rabbit? Oh, I do like rabbits in a stew; I like everything in a stew.
RIP.
I be [d——d](31) but dat is a fact.
DAME.
Well, well, the rabbit?
RIP.
I was going to tell you, well, dere was de rabbit feeding in de grass.
DAME.
Well, well, Rip?
RIP.
I [puts](32) my gun to my shoulder—
DAME.
Yes,—
RIP.
I takes goot aim mit him.
DAME.
Yes,—
RIP.
I [pulls](33) my trigger, unt—
DAME.
Bang went the gun and down the rabbit fell.
RIP.
Eh? snap went [de](34) gun and off de rabbit run. Ha, ha, ha!
DAME.
No!
RIP.
I be [d——d fun](35) dat is a fact.
DAME.
And you shot nothing?
RIP.
Not dat time; but de next time, I picks me my flint, unt I [creeps](36)
up to de little [pond](37) by de old field, unt dere—what do you
[tink](38) I see?
DAME.
Ducks?
RIP.
More as fifty black ducks—ducks as big as [a goose](39)—well, I hauls up
again.
DAME.
And so will I [_Raising stick._] if you miss fire this time.
RIP.
Bang!
DAME.
How many down?
RIP.
[One!](40)
DAME.
Not more than one duck out of fifty?
RIP.
Yes, a great deal more as [one] duck.
DAME.
Then you shot more than one?
RIP.
Yes, more as one duck,—I shot one old bull.
DAME.
What?
RIP.
I’m [d——d fun] dat is a fact! dat was one down, and [my goot im
himmel](41) how he did roar and bellow, unt lash his tail, unt snort and
sneeze, unt sniff! Well, de bull puts right after me, unt I puts right
away fun de bull: well, de bull comes up mit me just as I was climbing
de fence, unt he catch me mit his horns fun de [seat](42) of my
breeches, unt sent me flying more as a mile high.—Well, by-and-bye
directly, I come down aready in a big tree, unt dere I sticks fast, unt
den—
DAME.
You went fast asleep for the rest of the day.
RIP.
Dat’s a fact. How(43) you know dat? you must be a witch.
DAME.
[_Catching him by the collar._] Home, sir, home! you lazy scamp.
[_Beating him._
RIP.
But, mine lublicka frow—
DAME.
Home! [_Beating him._
RIP.
[Nine! nine!—](44)
DAME.
Home! [_Beats him._
RIP.
[Mine goot im himmel.](45) [_Music._—DAME _beats him off._
*Footnotes*
1 So spelled in the Kerr version.
2 Assigned to CLAUSEN in the Kerr version. Preceding this bracket,
CLAUSEN. Well, she is a tartar, there’s no denying that.
VEDDER. Not but if she were my wife instead of Rip’s. I warrant I’d
soon tame her.
CLAUSEN. Not you! But where the deuce ...
3 Not in the Kerr version.
4 “but” in K.
5 “but as” in K.
6 “not a” in K.
7 “Goot-hell” in K.
8 “brosber” in K. In this speech, there is a variation in dialect as
“v” for “w” in such words as “was,” and “v” for “o” in such a word
as “one.”
9 Not in K.
10 "vork" in K.
11 “froo my fingers as vas comeatable,” in K.
12 “Nein, nein” in K.
13 “frau” in K.
14 “baber” in K.
15 “freund, den” in K.
16 Here is given in Kerr, the following:
VEDDER. I wish she was my wife, I’d manage her.
RIP. And I wish she vas your vife too, or anybody’s vife, so long as
she vasn’t mine vife.
17 RORY’S speech, in K., begins with “Come.”
18 “stewed vhen” in K.
19 “der” in K.
20 “gonguered” in K.
21 In K., variation only in dialect form.
22 “goot-hell” in K.
23 “brosber” in K.
24 “vont” in K. The present edition does not attempt to indicate such
slight variations and differences.
25 “der tyfil” in K.
26 “stewed” in K.
27 In this song, “v” takes the place of “w” in K.
28 “Der tyfil” in K.
29 In K. there follows:
VEDDER. Oh. I wish I was your husband, Dame Winkle. [_Exit._
DAME. You, my husband, you! [_To the others._] Out of my sight,
reprobates.
30 “goot-hell” in K.
31 “stewed” in K.
32 “buts” in K.
33 “bulls” in K.
34 “der” in K.
35 “stewed but” in K.
36 “creebs” in K.
37 “bond” in K.
38 “think” in K.
39 “gooses” in K.
40 “von” in K.
41 “den” in K.
42 “back” in K.
43 “do” follows “how” in K.
44 “Nein, nein” in K.
45 In K., Rip’s speech is “Ter tyfill but I have cotch him dis time!”