Part 4

Then in early manhood,[9] the unrestrained alertness and vivacity of youth were his in bounteous measure. He was in the _Percy Ardent_ and _Young Rapid_ period, and had not yet entered the corridor of years at the far end of which lurked the _blasé_ figure of "My Awful Dad." We remember him in so many parts which in all likelihood he never will play again! There was _Rover_, in "Wild Oats," that buskined hero, with his captivating nonchalance dashed with tragic fire; his tender conversion of _Lady Amaranth_--played, be it said, with all proper demureness by Miss Lizzie Weston; his triumph over _Ephraim Smooth_--one of Blake's instances of versatility--in a scene rich with the spirit of frolic abandon; and his humorous tilt with _Sir George Thunder_--a belligerent sea-dog, played by Burton as he alone could play it--an episode replete with comic power;--all these contributed to a performance which we revelled in many and many a night; and the memory of it, now as we write, draws near in a succession of vivid pictures. There was _Tangent_, in "The Way to Get Married," a capital part in Lester's hands, blending manly action and debonair grace with that easy transition to airy farcical expression, a favorite and effective dramatic habit of this actor, and given full play in that memorable prison scene in the comedy, when, a victim to adverse circumstances, and actually fettered, he makes felicitous use of his handkerchief to hide his mortification and his chains from the eyes of the heroine during her visit of sympathy. _Percy Ardent_, in "The West End," was another of his characteristic assumptions in those days; so also were _Young Rapid_, in "A Cure for the Heartache," and the _Hon. Tom Shuffleton_, in "John Bull"; and, indeed, Burton's frequent revivals of the old comedies would have been a difficult matter without Lester; for in every one of them a light comedy part is distinctly drawn, and unquestionably the rarest among all dramatic artists is the first-class light comedian.

[9] Lester Wallack's first appearance in New York was made at the Broadway Theatre, Sept. 27, 1847, as _Sir Charles Coldstream_ in "Used Up."

Let any one who thinks otherwise endeavor to recall the names of those who have been or are famous in that special line, and he will be surprised to find how few he can enumerate. One might suppose that all young actors would naturally incline toward light comedy, and be ambitious in that direction, since in that sphere are found the charm of youth, the expression of lofty sentiment, the impulse to chivalrous action, the opportunity for the display of graceful and manly bearing,--not to mention the lover, whom, as Emerson declares, all the world loves; and why then, one may ask, should there not be always a plentiful crop of ripening light comedians? Alas, it is not enough to be young, good-looking, intelligent, and of virtuous impulse, or even a lover. Something more is needed, and we conceive it to be that gift of nature, which study and practice develop into seeming perfect art, but which neither study nor practice can create; the gift, let us say, of perceiving instinctively the salient points of a character, and going beyond the author in felicitous and suggestive expression of them. It is easier, we think, to compass tragedy; easier to simulate age; easier to be funny; than to be at once airy and gay, delicately humorous, and engagingly manly. There are fewer light comedians born,--that is the whole story; and where we find one actor like Lester Wallack, we meet with plenty of every other specialty. This was made strikingly evident by Burton's experiments in supplying Lester's place, when the latter joined his father in the establishment of Wallack's Lyceum. Charles Fisher was imported, and he for a season essayed to succeed Lester; but

"The expectancy and rose of the fair state"

he was not, and it was not long before the fiddle of _Triplet_ and the yellow stockings of _Malvolio_ emancipated him from the bondage of light comedy, revealed his true powers, and made us grateful to Burton for introducing to New York one of the best eccentric comedians of the day. Dyott, Norton, and even Holman, were severally thrown into the breach, such was the strait in which the manager found himself; and it was not until he secured George Jordan that equilibrium was restored to the company.

But to return. The versatility of Lester, so conspicuous throughout his career, was early made apparent. We remember him as _Steerforth_, as _Sir Andrew Aguecheek_, and _Captain Murphy Maguire_; and though in the last he acted under the shadow of Brougham's rich impersonation, still he was a delightful _Captain_. We saw him as the young lover, in "Paul Pry"; as _Frederick_, in "The Poor Gentleman," and many more; besides those parts, such as _Young Marlow_, _Charles Surface_, and _Captain Absolute_, which need no reference, since they remain ripe and finished conceptions in his present repertory. But of all his delineations of the past, that which we linger on with the greatest pleasure, and which affected us most, was his _Harry Dornton_, in "The Road to Ruin." From the moment he appears beneath his father's window, importunate for admittance, he awakens an interest and sympathy that follow him to the end. The part abounds in touches of Lesterian hue and flavor: the scene just mentioned; that wherein _Milford_ makes careless and heartless allusion to _Old Dornton_, and is met by _Harry's_ eloquent and electric rebuke; the scene with the _Widow Warren_, and with _Sophia_;--all are charming; and we feel it to be no small tribute to hold in memory Lester's _Harry_ side by side with the _Old Dornton_ of Blake.

We have spoken of T. B. Johnston, and referred to famous parts of his, particularly to the conception and execution of certain characters in Dickens which undeniably he made his own; but we remember this actor in other and sundry enjoyable delineations, of which brief mention may be made. The odd aspect of Johnston, joined to his whimsical method, so in keeping, as before remarked, with the creations of Boz, peculiarly fitted him for the apt portrayal of those idiosyncrasies of nature and temperament shadowed forth by characters in many of the old farces, in which he often appeared, those pieces being quite the fashion in the days of which we are writing. We may instance _Panels_, in "A School for Tigers," as one of these; his part in "A Blighted Being" (the name quite forgotten), was another; _Humphrey Dobbins_, in "The Poor Gentleman" (that not a farce, however), was a capital portraiture, and an amusing foil to Burton's _Sir Robert Bramble_; his _Miss Swithers_, in "A Thousand Milliners," where he almost divided the honors with Burton as _Madam Vandepants_;--these are a few of the many that come floating back on the tide of recollection.

Bland was a useful member of Burton's company, though we think his stay was brief, and he contributes less to memory, as it chances, than many others. We never regarded him as a great actor, though we have read of his being thought the best _Jacques_ of his day, and very fine as _Sir Thomas Clifford_. We never saw him in either, and have no recollection of "The Hunchback" being produced at the Chambers Street Theatre. In "The Honeymoon" Burton himself was the _Jacques_. We remember Bland very well as _Sulky_, in "The Road to Ruin," and as _Ham_, in "David Copperfield," and both efforts were creditable and contributed to the general success--his share in the exciting and touching scenes between _Old Dornton_ and himself, as _Sulky_, being admirably done.

We are surprised that we remember so little interesting to record of Jordan. Succeeding Lester, and deemed by many the peer of that comedian, one might naturally suppose that his achievements would figure largely in these reminiscences; but we can recall very few impersonations of which we retain a vivid impression. We cannot concur with that estimate of his powers which ranked him with Lester, yet we cordially admit that he came nearer than any actor we know of. He was very handsome, had a fine stage presence, and was agreeable in all that he did. We recall his spirited performance of _Rover_; his _Kitely_, in Ben Jonson's "Every Man in His Humor"; his _Ferdinand_, in "The Tempest"; his _Lysander_, in "Midsummer Night's Dream"; and his _Captain Hawksley_, in "Still Waters Run Deep," was superb and unequalled. It was always a pleasure to see Jordan, and we owe to his acting many an hour of enjoyment.

George Barrett--or, "Gentleman George," as he was quite as well known--was one of Burton's company for a short period, and with his name are associated many pleasant memories. Among them we may mention with delight his performance of _Sir Andrew Aguecheek_, a companion picture to Fisher's _Malvolio_. His long body and attenuated "make up," his piping voice, his fantastic manner, and absurd assumption of acumen,--all contributed to an embodiment artistic and entertaining in the highest degree. He also played _Flute_, the Bellows-Mender, in the revival of "Midsummer Night's Dream"; and it seems but yesterday, so vivid is the remembrance, that we saw him stalking about the stage, in the guise of Ben Jonson's bombastic hero, _Captain Bobadil_.

Old play-goers, if they remember nothing else of John Dyott, will recollect his admirable reading--his distinct utterance--his fine emphasis,--qualities specially noticeable in his Shakespearian assumptions and in characters of a didactic cast; and which made acceptable many a part he undertook, half redeeming it from deficiencies consequent upon natural unfitness. It was such a pleasure to listen to his delivery of the text, that you overlooked or pardoned inadequacy of treatment in other respects. Necessarily his impersonations were of very unequal merit. Certain phases of the character assumed might be justly conceived and well executed; others manifestly lacking in the expression of what was naturally suggested, or sufficiently obvious. We might cite instances of this--_Claude Melnotte_ or _Alfred Evelyn_, for example; but we prefer to think of him in his most agreeable aspects, which were not conspicuous in light comedy, though that rôle, under the stress of exigency, often fell to his lot.

We pleasantly recall him as _Lieut. Worthington_, in "The Poor Gentleman"; as _Peregrine_, in "John Bull"; as _Penruddoch_, in "The Wheel of Fortune"; as _Duke Orsino_, in "Twelfth Night"; as _Master Ford_, in "The Merry Wives of Windsor"; and others that might be mentioned. He was a useful member of the Chambers Street company, acted always with intelligence and spirit, and, though leaving no great name, deserves remembrance as a finished reader and conscientious artist.

Charles Fisher, well known to the present generation of play-goers as a sterling comedian, came to Burton's after Lester's withdrawal, and, as previously remarked, succeeded that actor as the exponent of light comedy. We saw him in several characters of that order; but it must be confessed that his efforts, however praiseworthy, were not such as to induce a condition of complacency on the part of the management, with regard to his capacity in that direction. But the whirligig of time, as Shakespeare tells us, brings on its revenges; and in due course Mr. Fisher had his, and a truly artistic one it was.

It came about on the second revival of "Twelfth Night," and was achieved in the part of _Malvolio_. In referring to Blake's assumption of this character, we observed, in passing, that Fisher was born in yellow stockings and cross-gartered--meaning to express the natural affinity for Shakespeare's creation existing in the actor; and we believe there will be no question among those who remember the impersonation, as to the subtlety of conception, the felicity of portrayal, and fidelity to detail, that so eminently distinguished it. From first to last it was a masterpiece. His manner when he interrupts the orgies of _Sir Toby_, the _Clown_, and _Aguecheek_, and during their maudlin mockery, was full of rare suggestiveness; the great scene in the garden, where he falls into the trap set by _Maria_, was one of the finest pieces of acting known to our stage. The audience were as intent during its progress as if their own lives and fortunes hung upon that enigmatic letter. When it comes home to him at last that he indeed is the favored of _Olivia_, and he gives full rein to his fancy respecting his future exaltation--how he must bear himself, the lofty air he will assume, the consideration he will extort,--he was inimitable. Already he is clothed in yellow stockings and cross-gartered; and he smiles, as he struts, the smile that his deceiver declares so becomes him. In the ensuing scene before _Olivia_, where the stockings and smiles play so important a part, he was equally fine; and if Fisher had played nothing else, his _Malvolio_ would remain an interpretation of the highest class, and a glory of dramatic art. The press, with one accord, united in its praise; and Mr. Richard Grant White, whose ability to judge of Shakespearian delineations was well known, confessed, in the columns of the _Courier and Inquirer_ that he did not know where Mr. Fisher learned to play _Malvolio_ so well. To say that we enjoyed what we have here endeavored to recall, is to say but little. It is one of our most valued memories--and we could not help thinking, when the lovely _Viola_ of the late Miss Neilson was captivating all hearts, what a revelation it would have been to her admiring audience had Fisher presented his picture of _Malvolio_.

In Burton's revival of the "Midsummer Night's Dream," Fisher was cast as _Duke Theseus_; and in thinking of the part, that glorious passage descriptive of the _Duke's_ hounds rings in our ears, as spoken with glowing enthusiasm by the actor:

"My hounds are bred out of the Spartan kind, So flew'd, so sanded; and their heads are hung With ears that sweep away the morning dew; Crook-kneed, and dew-lapp'd like Thessalian bulls; Slow in pursuit, but match'd in mouth like bells, Each under each. A cry more tunable Was never holloa'd to, nor cheered with horn, In Crete, in Sparta, nor in Thessaly: Judge when you hear."

In "The Tempest" also, as _Prospero_, Mr. Fisher appeared to advantage, and swayed the destinies of the Enchanted Isle with dignity and effect. _Triplet_, in "Masks and Faces," was another performance of Fisher's that we might linger over in pleasant memory of its humor and pathos; a performance, too, by the way, which brought to public view a new accomplishment of the actor; namely, his acquaintance with the violin,--an advantage that lent unusual force and brilliancy to the capital scene where _Woffington_, having played Lady Bountiful to the forlorn family, completes her conquest by calling for the fiddle and dancing "Cover the Buckle." And with the tune in our ears, and a vision of Fisher's elbow in deft movement, we take leave of the actor who gave us in the past so many happy hours.

An artist of quite another sort was Lysander Steele Thompson. He was an importation of Burton's; and his specialty was the Yorkshireman of the stage, a line in which he stood alone and unapproachable. Actors there have been who played the same parts, and with a sufficient mastery of the dialect to pass muster; but, compared with Thompson's, their assumptions were like artificial flowers in a painted vase beside a clump of spring violets in the dew of morning. The semblance was there; but the delicious fragrance of nature's breath it was not theirs to give. The native freshness and out-of-door breezy spirit were Thompson's own and born with him. His engagement was followed by the production of all the known plays in which there was a _Zekiel Homespun_, or a _Robin Roughhead_. We saw him in them all: _Bob Tyke_, in "The School of Reform"; _Zekiel Homespun_, in "The Heir-at-Law"; _Stephen Harrowby_, in "The Poor Gentleman,"--and until the advent of Thompson, the _Harrowby_ family had been omitted in Burton's version of the comedy;--_Robin Roughhead_, in "A Ploughman Turned Lord"; _John Browdie_, in "Nicholas Nickleby"; and _Giles_, in "The Miller's Maid"; in which last, indeed, he acted under an inspiration that almost laid claim to genius itself; and we see him now, in that high-wrought scene, where, as the defender of virtue and innocence, he towers in superb wrath above the villain _Gamekeeper_, who would tear from her home the person of _Susan Fellows_.

It goes without saying that his dialect was perfect, and all the humorous phases--the touches of bewilderment and arch simplicity, the quaint retort, the rollicking drollery, the innocence blent with audacity,--all these traits and characteristics were so many gifts of expression summoned and employed at will. We have seen many tragedians and artists in melodrama; many "old men" and light comedians; many funny men and eccentric actors, but we have seen one Yorkshireman only--Lysander Thompson.

He was not without vanity, however, and possibly aspired to other dramatic walks than his famous specialty, if we may judge from a little episode in his career at Burton's, which really makes too good a story to be lost. Burton had in view the production of "The Merry Wives," in order to act _Falstaff_; and in the distribution Thompson was asked to make choice of a part. The story runs that, after due reflection, Mr. Thompson answered that on the whole he would prefer to play _Sir John_. The manager regarded him for a moment with a glance of wonder, and then: "I'm ---- if you do; one _Falstaff_ is enough; you must choose again, Thompson." And he chose the _Host of the Garter Inn_, and made a palpable hit.

The late Charles Mathews played a short engagement at Burton's; and we remember his capital acting in "Little Toddlekins" and as _Young Rapid_; but we need not dwell upon an actor whose stay was so fleeting, whose celebrity was so extended, and whose Memoirs have so recently been given to the public.

George Holland, also departed, was for a brief period at the Chambers Street Theatre, and we recall our enjoyment of his broad fun and facial extravagance. We always felt, however, that--as his line was somewhat akin to Burton's--he underwent a perilous ordeal in appearing on the same stage with the great actor whose genius was so overshadowing.

Messrs. Norton,[10] Holman, and Parsloe, Jr., were useful members of the stock company, limited in range and ability; and we mention them as painstaking actors, who always did their best, and aided materially in the general success of the theatre. The name of young Parsloe is included on account of his performance of _Puck_, which, owing to natural cleverness and acrobatic aptitude, he succeeded, under Burton's training, in making exceedingly effective and full of goblin action.

[10] An amusing experience may be related apropos of Mr. Norton. Not liking a part in which he was cast, he addressed the following letter to the manager:

"MR. BURTON, My Dear Sir:--It was not necessity which drove me to America. I wished to travel, to see the country, and, after having satisfied myself as to whether it pleased me, professionally or otherwise, to arrange either to remain in it or return to England. I consider myself greatly insulted by being cast for the part of Scaley in 'Nicholas Nickleby.' To offer such an indignity to a gentleman who has held a good position in the Olympic Theatre, London, under the management of so great an actor as Mr. W. Farren, where he has played Sir John Melville, Sir Lucius O'Trigger, Sir Arthur Lascelles, etc., I consider a great insult, and positively request you to take me out of the objectionable cast, and in future to keep to the promise you made on engaging

"Yours, W. H. NORTON."

Shortly he received the following reply:

"MY DEAR MR. NORTON:--When I engaged you I thought you were merely an actor. I find that you are a gentleman on your travels, and I have to apologize for detaining you. If you proceed, let me advise you to visit Niagara about this time. Take a tour through Canada. After that take your way through the country generally, not forgetting the caves of Kentucky, and in mid-winter return to Niagara, a splendid sight. But should you feel inclined to defer your travels, W. E. Burton will be happy to retain your services until the close of the season."

"What could I do or say?" said Norton, relating the incident. "I literally roared with laughter. He had beaten me completely. We adjusted the difference, and I remained with him for two seasons."

And now let us fancy ourselves sitting, as of old, in the parquette, the curtain having risen on "The Serious Family." _Sleek_ reads his appeal, and we hear a voice saying: "Those words give comfort to every fainting and world-worn spirit, good Mr. Aminadab Sleek"--and we know that _Lady Sowerby Creamly_ has spoken, and that Mrs. Hughes is before us. Of this estimable lady and admirable actress, much more might be said than present space will allow. Almost as familiar a figure as the manager himself, for years she enacted those characters which were peculiarly her forte, and was identified with all the success and shared all the fame of the renowned theatre. We can recall no instance of her having disappointed an audience; and though, in the course of her long service, she may have assumed uncongenial parts, yet so intelligent was she, so thorough, so conscientious, that, in spite of unsuitableness, her performance was always acceptable and meritorious. _Lady Duberly_, in "The Heir-at-Law," _Mrs. Malaprop_, in "The Rivals," _Lucretia McTab_, in "The Poor Gentleman," were her accustomed line, and well indeed she played them. _Widow Warren_, in "The Road to Ruin," _Mrs. Skewton_, in "Dombey and Son," _Betsy Trotwood_, in "David Copperfied," were kindred felicitous portraitures; and no one can think of Burton as _Sleek_ and _Toodle_ without instantly associating Mrs. Hughes as _Lady Creamly_ and _Mrs. Toodle_. How many times did they play those parts together! In all those lighter pieces and farces Burton made so popular and famous, she was his ally and strong support; and no history of the drama of that period can be written without conspicuous mention of her name; nor can the professional career and triumphs of Burton be recounted without suggestion and remembrance of Mrs. Hughes. Their professional relation was perfectly harmonious, and she was with him to the last. She went with him from Chambers Street to the New Theatre, and when that was given up accompanied him on all his starring tours, acting with him when he appeared for the last time in New York, and when he acted for the last time in his life at Hamilton, Canada. In a speech Burton once made, he thus referred to their theatrical relations: "I have been her father, her son, her uncle, her first husband, her second husband, and her third husband, her friend, and her disconsolate widower, and I have liked her better and better in each relation!"

Even as far back as 1826 Mrs. Hughes was a great favorite. H. B. Phelps, in his valuable work known as "Players of a Century," gives a notice of the press she received for a benefit night at that period, which he says is worth preserving as a model: "Mrs. Hughes takes her benefit at the theatre to-night. It would be an insult to the generous enthusiasm of her numerous admirers, to say another word on the subject."

As it cannot fail to be of interest to readers of this volume, we copy from Mr. Phelps's book a reply to a letter addressed by him to the Hon. Charles Hughes, State Senator, asking information respecting Mrs. Hughes's subsequent history.