The needs of the theatre were very great; at the beginning almost overwhelming. On my first taking over the responsibility of business affairs I acquired a wide experience of what is known as “pulling the devil by the tail.” When Irving took the Lyceum its entire holding capacity was £228. Sometimes under extraordinary pressure, when every inch of standing room was occupied, we got in a little more; but only once in the first two seasons did we cover £250. That was on Irving’s “Benefit,” as it was then called.
The autumn of 1881 was devoted to enlarging and improving the house. At a cost of over £12,000 it was made to hold another £100. Thence on, various improvements and certain dispositions of the seating were effected, which brought up the holding power to a maximum of about £420, though on very special occasions we managed to squeeze in a little more. Some idea may be formed of the vast expense of working such a theatre as the Lyceum, and in the way which Irving worked it, when I say that on that theatre he spent in what we called “Expenses on the House” a sum of £60,000. During my time the “Production account” amounted to nearly £200,000.
The takings for his own playing between the time of beginning management, 30th December 1878, and the day of his death, 13th October 1905, amounted to the amazing total of over two million pounds sterling.
II
Only those who have experience of the working of a great theatre can have any idea of the vast expenditure necessary to hold success. A play may be a success or a failure, and its life must have a natural termination; but a theatre has to go on at almost equal pressure and expense through bad times and good alike. It is necessary for the management to have a large reserve of strength ready to be used if need arises. This implies ceaseless expenditure; a portion of which never can be repaid because the plays which involve it have to be abandoned. It is really too much work for one man to have to think of the policy of the future, and of carrying it into effect, whilst at the same time he has to work as an artist in the running play. No monetary reward would atone for such labour; only ambition can give the spur. Things, therefore, are so constituted in the theatrical world that the ambitious artist must be his own manager. And only those strong enough to be both artist and man of business can win through. The strain of ceaseless debt must always be the portion of any one who endeavours to uphold serious drama in a country where subsidy is not a custom. In the future, the State or the Municipality may find it a duty to support such effort, on the ground of public good. Otherwise the artist must pay with shortened life the price of his high endeavour. Light performances may and generally do succeed, but good plays seriously undertaken must always be at great risk to the venturer. For more than twenty-five years Irving did for England that which in other nations is furthered by the State; and his theatre was known and respected all over the world. This entailed not only hospitality in all forms to foreign artists, but to many, many strangers attracted by the fame of his undertaking, and anxious to meet so famous a man in person. This duty Irving never shirked; he had ever a ready hand for any stranger, and in the long career of his ministration of the duties of hospitality he actually aided, so far as one man could do, the popularity of his own country amongst the nations of the world. Such men are the true Ambassadors of Peace, as well as National benefactors. Reputation for hospitality and charity is a factor in the enlargement of the demands made on these. When duty called, Irving was never found wanting, in this or any other form.
But still through all it must be remembered that the more he had to spend the harder he had to work to earn the wherewithal to do it. When I came to him first, six performances each week in heavy plays was deemed sufficient work for the strongest; but as time went on a matinée was added. And for some twenty years seven performances a week was the working rule. In light, amusing, or unemotional plays this is not too much; for when a run is on, the ordinary work of rehearsal is suspended. But for heavy plays it is too much. Still what is one to do who is playing for the big stakes of life? Brain and body, nerve and soul have to be ground up in the effort to hold the place already won. Irving was determined from the very first to strain every nerve for the honour of his art; for the perfecting of stage work; for his own fame. To these ends he gave himself, his work, his fortune. He forwent very many of the ordinary pleasures of life, and laboured unceasingly and without swerving from his undertaken course. He gave freely in its cause all the fortune that came to him as quickly as it accrued. It was only when through shocks of misfortune and the stress of coming age he was unable to put by the large sums necessary for further developments that he had to forestall the future temporarily. Bankers are of necessity stern folk and unless one can give quid pro quo in some shape they are pretty obdurate as to advances. Therefore it was that now and again, despite the enormous sums that he earned, he had occasionally to get an advance. Fortunately, there were friends who were proud and happy to aid him. Such never lost by their kindness; every advance was punctiliously met, and the attachment between him and such friends grew ever and ripened. It would be invidious to mention who those friends were. Some perhaps would not like their names mentioned, and so “the rest is silence.”
There were not many occasions when such measures were necessary. I only mention them now lest any of those friends should deem me wanting, in even such a partial record as this, did I not mention that Henry Irving had constant and loving friends who held any power in their hands at his disposal, and were alike glad and proud to help him in the splendid work which he was doing. Let me, as the only mouthpiece that he now can ever have, since I alone know all those friends, say that to the last hour of his life he was grateful to them for their sympathy, and belief, and timely help; and for all the self-confidence which their trust gave to him.
III
When after his long illness in 1898–1899 the proposition of selling his interest in the Lyceum was made to Irving by the Lyceum Theatre Company—the parent Company—the terms suggested were these:
He was to convey to the Company his lease—of which some eighteen years were still to run, and all his furniture and fittings in the theatre. He was for five years—the duration of the contract—to play an annual engagement of at least a hundred performances at the Lyceum on terms which were mentioned and which were between 10 per cent. and 25 per cent. less than he was in the habit of receiving in any other theatre. He was to hand over to the Company one-fourth of all his profits made by acting elsewhere, he guaranteeing to play on tour at least four months in each year. He was to give the Company free use of such of his scenery and properties as were not in his own use. He was to pay all the expenses of production of plays in the first year, and in the others 60 per cent. of the same. For the first season he was to guarantee the Company a minimum of £100 for their share of each performance. He was to pay all the stage expenses, and half of the advertisements.