Theatrical Customs.
PLAY-BILLS.
To the Editor.
Sir,—Conjecturing that some slight notices of the early use of play-bills by our comedians might be interesting to your readers, allow me respectfully to request the insertion of the following:—
So early as 1587, there is an entry in the Stationers’ books of a license granted to John Charlewood, in the month of October, “by the whole consent of the assistants, for the onlye ymprinting of all maner of bills for players. Provided that if any trouble arise herebye, then Charlewoode to bear the charges.” Ames, in his Typogr. Antiq., p. 342, referring to a somewhat later date, states, that James Roberts, who printed in quarto several of the dramas written by the immortal Shakspeare, also “printed bills for the players;” the license of the Stationers’ Company had then probably devolved to him. The announcements of the evening’s or rather afternoon’s entertainment was not circulated by the medium of a diurnal newspaper, as at present, but broadsides were pasted up at the corners of the streets to attract the passerby. The puritanical author of a “Treatise against Idleness, Vaine-playes, and Interludes,” printed in black letter, without date, but possibly anterior to 1587, proffers an admirable illustration of the practice.—“They use,” says he, in his tirade against the players, “to set up their bills upon postes some certain dayes before, to admonish the people to make resort to their theatres, that they may thereby be the better furnished, and the people prepared to fill their purses with their treasures.” The whimsical John Taylor, the water-poet, under the head of Wit and Mirth, also alludes to the custom.—“Master Nat. Field, the player, riding up Fleet-street at a great pace, a gentleman called him, and asked what play was played that day. He being angry to be stay’d on so frivolous a demand, answered, that he might see what play was plaied on every poste. I cry your mercy, said the gentleman, I took you for a poste, you rode so fast.”
It may naturally be inferred, that the emoluments of itinerant players could not afford the convenience of a printed bill, and hence from necessity arose the practice of announcing the play by beat of drum. Will. Slye, who attended Kempe in the provincial enactment of his “Nine Men of Gotham,” is figured with a drum. Parolles, in Shakspeare’s “All’s Well that ends Well,” alludes to this occupation of some of Will. Slye’s fellows, “Faith, sir, he has led the drum before the English comedians.”
The long detailed titles of some of the early quarto plays induce a supposition, that the play-bills which introduced them to public notice were similarly extended. The “pleasant conceited Comedy,” and “the Bloody Tragedy,” were equally calculated to attract idling gazers on the bookstalls, or the “walks at St. Paul’s,” and to draw gaping crowds about some vociferous Autolycus, who was probably an underling belonging to the company, or a servant to one of the players; for, as they ranked as gentlemen, each forsooth had his man. A carping satirical writer, who wrote anonymously “Notes from Blackfriers,” 1617, presents some traces of a play-bill crier of that period.
—————“Prithee, what’s the play?
The first I visited this twelvemonth day.
They say—‘A new invented boy of purle,
That jeoparded his neck to steale a girl
Of twelve, and lying fast impounded for’t,
Has hither sent his bearde to act his part,
Against all those in open malice bent,
That would not freely to the theft consent:
Faines all to ’s wish, and in the epilogue
Goes out applauded for a famous—rogue.’
—Now hang me if I did not look at first,
For some such stuff, by the fond-people’s thrust.”
In 1642, the players, who till the subversion of the kingly prerogative in the preceding year, basked in the sunshine of court favour, and publicly acknowledged the patronage of royalty, provoked, by their loyalty, the vengeance of the stern unyielding men in power. The lords and commons, assembled on the second day of September in the former year, suppressed stage plays, during these calamitous times, by the following
Ordinance.
“Whereas the distressed estate of Ireland, steeped in her own blood, and the distracted estate of England, threatened with a cloud of blood, by a Civill Warre; call for all possible meanes to appease and avert the wrath of God, appearing in these judgments; amongst which, fasting and prayer having been often tried to be very effectuall, have bin lately, and are still enjoyned: And whereas public sports doe not well agree with public calamities, nor publike Stage Playes with the seasons of humiliation, this being an exercise of sad and pious solemnity, and the other spectacles of pleasure, too commonly expressing lascivious mirth and levitie: It is therefore thought fit, and ordeined by the Lords and Commons in this Parliament assembled, that while these sad causes, and set times of humiliation doe continue, publike Stage Playes shall cease, and bee forborne. Instead of which, are recommended to the people of this land, the profitable and seasonable considerations of repentance, reconciliation, and peace with God, which probably may produce outward peace and prosperity, and bring againe times of joy and gladnesse to these nations.”
The tenour of this ordinance was strictly enforced; many young and vigorous actors joined the king’s army, in which for the most part they obtained commissions, and others retired on the scanty pittances they had earned, till on the restoration, the theatre burst forth with new effulgence. The play-bill that announced the opening of the new theatre, in Drury-lane, April 8, 1663, has been already printed in the Every-Day Book. The actors’ names were then, for the first time, affixed to the characters they represented; and, to evince their loyalty, “Vivat Rex et Regina,” was appended at the foot of the bills, as it continues to this day.
In the reign of the licentious Charles II., wherein monopolies of all kinds were granted to court favourites, licenses were obtained for the sole printing of play-bills. There is evidence in Bagford’s Collections, Harl. MSS. No. 5910, vol. ii., that in August, 1663, Roger L’Estrange, as surveyor of the imprimery and printing presses, had the “sole license and grant of printing and publishing all ballads, plays, &c. not previously printed, play-bills, &c.” These privileges he sold to operative printers. When that license ceased, I have yet to learn.
The play-bills at Bartholomew-fair were in form the same as those used at the regular theatres; but, as they were given among the populace, they were only half the size. One that Dogget published recently, in my possession, had W. R. in the upper corners, as those printed in the reign of Charles II., had C. R., the royal arms being in the centre.
The luxurious mode of printing in alternate black and red lines, was adopted in Cibber’s time; the bills of Covent-garden theatre were generally printed in that manner. The bills of Drury-lane theatre, within the last ten years, have issued from a private press, set up in a room below the stage of that theatre. The bills for the royal box, on his majesty’s visit to either theatre, are printed on white satin.
Connected with these notices of playbills, are the means by which they were dispersed. A century ago, they were sold in the theatres by young women, called “orange-girls,” some of whom, Sally Harris and others, obtained considerable celebrity; these were succeeded by others, who neither coveted nor obtained notoriety. The “orange-girls” have gone out, and staid married women, who pay a weekly stipend to the box-lobby fruit-woman, now vend play-bills in the theatre, but derive most of their emolument from the sale of the “book of the play,” or “the songs” of the evening. The old cry about the streets, “Choice fruit, and a bill of the play—Drury-lane or Covent-garden,” is almost extinct; the barrow-women are obliged to obtain special permission to remain opposite some friendly shopkeeper’s door; and the play-bills are chiefly hawked by little beggarly boys.
I am, sir, &c.
Will o’ the Wisp.
March, 1827.