CHAPTER IV.

ON THE CONSTRUCTION OF THE THEATRE AND THE ACTING OF THE PUPPETS.

Having dwelt at some length on the antiquity and high popularity of Mr. Punch, we will devote the whole of this chapter in explaining to the reader how he may successfully arrange and work the figures, with a description of the frames or Punch and Judy houses in which the performer operates his troupe of puppets.

Portable frames, complete, ready for use, are advertised by the author in the last pages of this work; yet the reader, if a genius, may save half its cost by constructing for himself the little house. Obtain four pieces of pine, eight feet long, two inches in diameter; let them be planed on the four sides; divide each piece in the centre, and fix thereon an hinge, with a bolt on the opposite side; thus the four eight-feet pillars may be made to fold up to fit into any box or trunk four feet in length. Next cut six cross-pieces, 31 inches long, for the sides, two to be used for the centre, and four for the ends; next get ready five lengths, 36 inches long, to make the cross-pieces for the back and front of the frame, four to be fitted on the four ends, the remaining one to form the cross-piece on which you screw a flat piece of wood, six inches wide, to form the stage, which we advise to be fixed up about 59 inches from the ground, the whole to be clamped firmly together with twenty-two ordinary iron bolts and nuts. If each joint is mortised, the skeleton structure will have a wonderful degree of strength. To finish, cut a shelf from a ten-inch board, full 36 inches long; mortise two of the corners to fit or catch into the two front pillars; this you lay on the two centre cross-pieces, which forms you a snug interior shelf on which you lay all the figures that you use in the performance. A proscenium, cut out of thick cardboard, and tastefully decorated or painted, should be hung in front of the stage. This, with the calico covering that you wrap around the frame, completes the structure, illustrations of which may be seen on our title-page and next succeeding engraving.

It is generally known that the writer of this book owns the largest and most complicated Punch and Judy theatre in the world, with its six changes of scenery; and, although its plan of construction has been kept secret, we think that to the readers of this work we ought to convey some idea of its specialties. We therefore not only give a description, but have caused our artist to make engravings of two of its most important parts of construction. The theatre is near ten feet in height, over six feet frontage, and the same distance in its depth to back of stage. Below we give a description of the engraving.

Having thus fully explained how to construct a Punch's theatre, we will now proceed to treat on

THE CHOICE AND SELECTION OF PERFORMING FIGURES,

of which there are two classes--the perfectly made and the imperfect. The latter, which are chiefly importations from foreign countries, should be studiously avoided by the performer. They may be distinguished from the properly made puppets by their cramping the hand, their shortness of dress bringing into special notice the arms of the performer as he attempts to manipulate them above the stage. The desirable genuine-made figures can only be safely secured by ordering them from a dealer or maker that is himself, also, a Punch and Judy player. A bona fide performer, of course, knows just how they ought to be made, and prides himself on their perfectness, improvements and advantages over those of the toy importers that deal in the productions of novices, made for them at the cheapest rates; hence the reducing of those essential parts of the dress that are of special advantage to the performer. We draw the reader's attention to the address of the dealer whose card will be found in the last pages of this book, and who will supply you with correctly made figures, and has every appurtenance and stage-requisite treated on in this work.

An operator can give a very fair show with an outfit of eight figures, to which, from time to time, he should add others, until he has a complete set, which are to be arranged on the inner shelf in his frame in the following order:

Under his left hand, at the end of shelf, he lays the Snake Demon and Little Dog; next to them the Sheriff, Doctor, Ghost, Negro, Negress, Judy; on his right or other end Punch, Scaramouch, Dutchman, Irishman, and Pretty Polly; over these he rests Dog Toby and Punch's Baby in readiness for the opening acts. Amongst the figures he should have a bell, the gallows, and three clubs, as sticks for Mr. Punch. The box trick, coffin, and other stage properties should lie on the ground near the performer's feet. Where there is but one player to work the show, remember to put a stick in the hole of Mr. Punch's head, and in several of the others. This greatly assists the performer, and enables him to catch the figures up much quicker, and prevents Mr. Punch from dropping down his head, as if weary. Whilst one figure is up to view above the stage, the operator may quickly adjust another figure by holding its head betwixt his chin and breast, whilst he plants his hand beneath its dress.

The performer should educate himself to playing the acts both single-handed, and also with the help of an assistant. Where convenient for two performers to be inside the frame, the show, of course, can be gotten up on a much more grand and extensive scale. Punch is always held in the performer's right hand, and is always to be the hero in the tragedies, and the most lively of all the puppets, and operated by the best man of the two performers. The assistant player puts up a third figure at some window or side corner to poke fun at Mr. Punch, and also is a useful help by interesting the company at any gap in the performance caused by the leading performer fixing his puppets ready for the successive acts. The players must remember to give to each figure genuine life-like motions, convey the impressive idea by shaking the head or arms of each figure in turn, as they converse one with the other. This advice is of special importance, and should be observed by the players. On no account should Mr. Punch be allowed to remain motionless, dull or stupid, with nothing to say or do. He is ever to be the gayest of the gay, king and conqueror of all before him. Once in view above the stage before the company, whilst waiting for an act to commence or for a figure to come up, he thumps his club down on the stage, throws it at the showman outside, dances, or sings a verse of a song. After a figure has entered and announced to Mr. Punch that he has a fine horse for Mr. Punch to ride on, Punch shows his pleasure by running from end to end of the stage, to the company appearing to enjoy taking note of every effort that is being made to bring the horse in. Hector enters; the comical results relating thereto are illustrated and described in the dialogue for Act I.

ON THE MANAGEMENT OF THE SQUEAKER.

Some writers have raised objections to the use of the instrument called the Punch and Judy Squeaker, on account of the greater difficulty in articulating the words used by Mr. Punch. From the earliest times within the reach of our memory the familiar squeak of Mr. Punch has always greeted our ear. We therefore say by all means let it so continue. A little practice will soon enable you to articulate the sound of words intelligibly, and until you are proficient in its use, the answer of the other figure will convey the meaning. Thus, Punch, in his squeaking voice, asks for the baby. Judy answers, "Oh, Mr. Punch, you want the baby, do you? Well, I'm afraid it's asleep, but I'll go and see." Let the squeaker be (_a good one_) placed on the centre of the tongue, held close to the roof of the mouth and the words spoken through it. It will readily rest itself on the tongue when the answering voice is made. The best squeakers are made of silver; they are fully four times thicker in substance than those that are made of tin or zinc, hence they cannot so easily be crushed up, and only require rebinding with tape about once every year. A second squeaker should also be in the performer's vest pocket for instant readiness in case squeaker No. 1 should be dropped out of the performer's mouth.

Having instructed the reader how to build a theatre, and traced the history, with the character and deportment, of Mr. Punch, we shall now proceed to place his performances upon record. It is time to do so for the benefit of posterity; lest, as society gradually acquires a more superfine polish than it even now possesses, it should be impossible, hereafter, to print what is fortunately yet considered innocent and harmless. Addison tells us that "the merry people of the world are the amiable," and in the language of "a man forbid," we address ourselves to those,

"Chi amano, senza smorfia e ipocrisia Gl'innocenti piaceri e l'allegria."

THE TRAGICAL ACTS, OR COMICAL TRAGEDIES OF PUNCH AND JUDY.

PREFACE.

Portions of the following drama are founded upon the performances of an old Italian Punch and Judy performer of the name of Piccini, who has perambulated the towns and country hamlets of England for the last forty or fifty years. Like the representations of our early stage, it was not by him distinguished into acts and scenes, but the divisions were easily made. The writer is a professional player of Punch and Judy, and now gives the public, in this book, not only the Italian Piccini's earlier introduction, but the records of his own experience, with gleanings from that of other first-class players. The whole now assumes a shape in which it may rival most of the theatrical productions of the present era, whether by Poole, popular for his "Paul Pry," Peake for his puns, Planche for his poetry, Peacock for his parodies or Payne for his plagiarisms.

Piccini lived in the classical vicinity of the West End of London, and up to the time that ourselves left England (in 1869) was still travelling, considering it "no sin to labor in his vocation." He is thus described by a writer in a discontinued periodical called the _Literary Speculum_, which we quote because it is the only printed notice we have seen of an individual so generally known. It is to be observed that the article to which we are indebted was published many years ago, and the author of it speaks of his own youth, when Piccini's age was "as a lusty winter, frosty but kindly," and before "time, the old clock-setter," had nearly let him run the whole length of his chain without winding him up again. "He (Piccini) was an Italian; a little thick-set man, with a red, humorous-looking countenance. He had lost one eye, but the other made up for the absence of its fellow by a shrewdness of expression sufficient for both. He always wore an oil-skin hat and a rough great-coat. At his back he carried a deal box, containing the _dramatis personæ_ of his little theatre, and in his hand the trumpet at whose glad summons hundreds of merry, laughter-loving faces flocked round him, with gaping mouths and anxious looks, all eager to renew their acquaintance with their old friend and favorite, Punch. The theatre itself was carried by a tall man, who seemed a sort of sleeping partner in the concern, or mere _dumb waiter_ on the other's operations." The woodcut on our title-page precisely corresponds with this lively description, making some allowance for the difference of age in the master of the puppet-show; still, however, not too old to carry his deal box and to blow an "inspiring air."

There is one peculiarity about Piccini's puppets which deserves notice: they were much better carved, the features having a more marked and comic expression than those of his rivals. He brought most of them over with him from Italy, and he complained that in England he had not been able to find any workman capable of adequately supplying the loss if by chance one of his figures had been broken or stolen. Why his Punch was made to squint, or, at least, to have what is known by the epithet of a swivel-eye, unless for the sake of humor or distinction, does not appear.

Besides Piccini's representation, we have compared the following pages with, and corrected them and made additions according to, the text of our professional performances and the exhibitions of other perambulatory _artistes_ (as our neighbors term them) now flourishing.

The reader's attention should be specially directed to the acting drama of the Persecuted Dutchman, in Mrs. Barrisnobes Hotel, and to Punch's famous $25,000 Box Trick.

THE TRAGICAL ACTS, OR COMICAL TRAGEDIES OF PUNCH AND JUDY.