Part 18

"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._)

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"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._)

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"The Theatres were shut on Saturday evening, to commemorate, with the greater solemnity, the _Martyrdom_ of King Charles."--(_Times, Feb. 1, 1796._)

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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._)

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"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._)

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"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._)

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.

"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._)

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"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._)

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"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._)

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"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.

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.

_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.

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.

In spite of his foreign name, Stephen Storacé, was born in England, although of Italian parentage. He was early sent to Italy, and studied at the Conservatorio of St. Onophris, at Naples, in 1787, being then 24 years of age. He returned to England, and, soon afterwards, was appointed Composer to Drury Lane; and, up to his death, in 1796, he was actively engaged on Operas, &c.

_Thomas Linley_ received his musical education from Chilcott, the organist at Bath. One of his daughters, Eliza, married Sheridan, and, soon after the production of his first theatrical essay, "The Duenna," he became joint patentee, with his son-in-law, in Drury Lane Theatre, and, leaving Bath, went to reside in London. There, he wrote for the Stage, and composed many operas, besides songs, madrigals, &c. He received a severe shock, when his son was drowned, in 1778--and, although he lived till 1795, he never recovered from it.

William Jackson (whose _Te Deum_ is, or was, such a favourite), was born, at Exeter, in 1730, and was afterwards Organist to the Cathedral of that city. He did not write much for the Stage, preferring sacred music, songs, and canzonets.

The following paragraph shows a curious state of things at the Opera:--

"When the Gallery at the Opera House, on Saturday night, expressed its disapprobation of the crowded stage, _Sir John Gallini_!!![9] who was part of that crowd, _very modestly_ declared, that, unless the gentlemen behind the scenes left the House, there would be no Opera.--But, upon being asked where the _half guineas_ should remain, if the gentlemen retired, this _shark for words_ recanted his former assertion, and, very composedly, swallowed the gilded pill."--(_Morning Post, Apr. 10, 1788._)

[Footnote 9: Sir John Gallini, was connected with the Theatre. It was to him that "The Monster," was sent to learn dancing.]

The same paper (15 Ap. 1788) in its Notice "to Correspondents" rather injures him with its forbearance. "The various articles sent to this paper against Mr. Gallini, previous to his Benefit, we have uniformly refused to insert, being unwilling to injure a POOR MAN, at so important a period."

"How we are ruined! Bruni, the new singer, has 1400 guineas, Mara 1000, and a benefit, and Millerd, 1000 for the present Opera season."--(_Times, Febr. 16, 1793._)

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"Haymarket Opera. Almost all the subscribers, in Town, graced the Boxes, with the Prince of Wales, and Duke of Clarence, at the head of the list. The Pit had some pretty, as well as well dressed, women; but we were sorry to observe several of the gentlemen in round hats, and many of them slovenly to a degree, descending even to boots. This ought not to be permitted."--(_Times, Jan. 13, 1794._)

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OPERA.

"Il Capriccio Dramatico, considerably curtailed, on Saturday, again introduced Signora Negri, and her reception was again most flatteringly favorable. The Burletta has to boast some very beautiful music, and the _Finale_ in particular is much indebted to the exertions of the performers. So far, all was peace, and harmony. Would we could say the same of Don Giovanni, whose reception was, throughout, disapproved. So determined an opposition to this kind of entertainment we have never witnessed: and, indeed, some of the occurrences were so peculiarly _striking_, as to baffle all description. Several blows passed in the pit; and one gentleman, who was remarkably forward in having a slap at Don Juan, got a slap in the face from an enraged _amateur_, who, perhaps, would have been better employed in _beating_ time. In short, till the fall of the curtain, Morelli's pretty Venetian Ballad, excepted, which gained an encore, all was noise and uproar; and the scene of Hell, magnificent, and terrific, as it was, had so far the characteristic accompanyment of _groans_, not of the damned, but of those troubled spirits who wished to torment the Manager.

"The Procession was totally omitted, and several other judicious alterations made, but, as the sense of the subscribers, as well as the public, seems decidedly against a repetition of this Opera, we have no doubt but the Manager will submit, respectfully, to their _fiat_--comforting himself with the _reflection_, that his liberal exertions deserve--though it is not always in the power of mortals to command--success.

"The Opposition to the new Opera of Don Giovanni, on Saturday night, is said to have been preconcerted: and it was known in the morning of that day that there was to be a riot. In one part of the Pit, the disturbance became so serious, that two Gentlemen called each other out, and agreed to meet, as yesterday morning. Sir W. H. was at the head of the opposition party. In justice to the Manager of the Opera, it should be recollected by those who are dissatisfied with the present company of performers, that the same unprecedented circumstances which prevented several Dancers from leaving France, also deterred several singers from coming from Italy, as they must pass through a part of France. This inconvenience is only of a temporary nature, and cannot be prevented. In the meantime, the subscribers, and the public, have the most magnificent, as well as the most commodious, theatre in Europe to resort to."--(_Times, Mar. 10, 1794._)

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"_Tweedle dum_, and _Tweedle twee_--the Soprano, and Tenor, of the Italian Opera are objects equally important, no doubt, in the eye of the public. Instead of _high notes_ they have gone to _high words_. Signor _Tenor_, not having taken the precaution to soap his nose,--Signor _Soprano_ got fast hold, and gave it a musical shake, not perfectly in unison with the feelings of the tenor, who, now, if he wishes to sleep in a whole skin, will, no doubt, alter the _tenor_ of his conduct!!"--(_Times, Jan. 14, 1795._)

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