IV.
For the last night of the New York engagement programme was a novelty, in every respect, to a New York audience. Custom confines the night’s entertainment in American theatres to one piece. On occasion the play-bill contained the first act of “Richard III.”; the Lyceum version of “The Belle’s Stratagem”; the, in England, well-known recitation “Eugene Aram”; and Irving was also expected to make a speech. The programme was played to an enthusiastic audience; and, at the close of “The Belle’s Stratagem,” Mr. Irving addressed them as follows:
“Ladies and Gentlemen,—A month ago, standing before you for the first time, and stimulated by your most kind welcome, I expressed the hope that our loves might increase as our days did grow. You, for your part, have fulfilled my dearest wishes, and I can but hope that we have not disappointed you. On that same first night I bespoke your good-will for my sister artist, Ellen Terry. I felt sure that she would win hearts, and I believe she has. For her, for all comrades, and for myself, I thank you for your enthusiastic and generous indorsement of our work. I sorry that the time has come when I must leave you. I am glad that I have not yet to say ‘Good-by,’ but only ‘Au revoir.’ In April next we shall have the honor—if all be well—of appearing before you again, and I would propose to present to you ‘Much Ado About Nothing’ and ‘Hamlet.’ In my old home, on the other side of the Atlantic, these plays are often performed by us; and I hope they will be welcome in—if I may say so—my new home on this side of the sea. And now, ladies and gentlemen, with a grateful remembrance of your kindness, I must say ‘Au revoir.’ I find no words to adequately express my gratitude to you; indeed, I would feel but little, if I could say how much.”
Retiring for a few minutes, Irving, in evening dress, returned to the stage. A chair was placed in the centre of it. Now standing, now sitting, he recited Hood’s dramatic poem. The audience sat spell-bound. Even as Mathias, with the accessories of the mysterious court-scene, Mr. Irving had not held New York play-goers with a firmer grip. They followed the grim story almost in silence. The ancient mariner’s narrative did not more impress the wedding-guest. I have seen all kinds of audiences in both hemispheres, and under all sorts of circumstances, and never saw a theatre full of people more under the control of a story. At the end the applause was loud and continued for some minutes, the reciter having to bow his acknowledgments again and again. The next day a discriminating critic pointed out to one of Irving’s few opponents, that “the pseudo critic who pronounced Irving’s ‘Bells’ a mere success of lime-lights, properties, scenery, and stage-management,” had been quite extinguished “by the recitation of Hood’s ‘Dream of Eugene Aram,’ delivered in evening dress, without any lime-lights, properties, scenery, or stage-management.”
“And,” added a journalistic writer in the “Herald” “aside from the artistic success Mr. Irving has made here the financial result should be considered very satisfactory. The total amount received from subscriptions and box-office sales for the four weeks’ engagement is $75,687. The receipts for the first week were $15,772; for the second week, $18,714; for the third week, $18,880, and for the week closing last evening, $22,321. It has been estimated that the public paid altogether, to speculators and to the box-office, upwards of $200,000. Judged, therefore, by the financial standard of the box-office, as well as by that of the highest criticism, New York’s answer to the London “Standard” was a full and complete endorsement of the English popularity of Henry Irving and Ellen Terry.”
But it remained for Boston, Philadelphia, and Chicago, to pronounce upon them. The campaign was only in its infancy, though the first stronghold had been won. An advance was made upon Philadelphia, on the day following the recitation of “Eugene Aram.” The reader who follows the fortunes of the campaigners in these pages will find the record justified by independent pens, and supported by the current chronicles of the entire Union.
IX.
AT PHILADELPHIA AND “IN CLOVER.”
Rivalries of American Cities—Boston and Philadelphia—The Real and the Picturesque—Miss Terry’s Portia—“Three Kinds of Criticism”—First Appearance as Hamlet—Miss Terry’s Ophelia—Journalism and the Stage—Critics, Past and Present—Philadelphia and English Cities—A New Style of Newspaper—Bogus Reports and Interviews; an Example of Them—The Clover Club—A Letter from an Eminent American Tragedian—Presented with Forrest’s Watch—The Macready Trouble—Hamlet, and an Invitation from Guest to Hosts.