Instantly a rain of money—more of it gold than silver, and some folded notes—fell into the hat. Then with a handshake all round the clever old fellow toddled off. The names of that party will show most people of the great world, even twenty years afterwards, that there was no lack of “brains” in that crowd, even enough possibly to answer effectually to the sallies of one old man. Most of them may be seen on the dinner menu which they signed.
One night at supper in the Beefsteak Room, Irving told me an amusing occurrence which took place at Manchester when Booth played there. He said it was “about” 1863, so it may have been that time of which I have written—1861. Richard III. was put up, Charles Calvert, the manager, playing Richmond, and Booth Gloster. Calvert determined to make a brave show of his array against the usurper, and being manager was able to dress his own following to some measure of his wishes. Accordingly he drained the armoury of the theatre and had the armour furbished up to look smart. Richard’s army came on in the usual style. They were not much to look at though they were fairly comfortable for their work of fighting. But Richmond’s army enthralled the senses of the spectators, till those who knew the play began to wonder how such an army could be beaten by the starvelings opposed to them. They were not used to fight, or even to move in armour, however; and the moment they began to make an effort they one and all fell down and wriggled all over the stage in every phase of humiliating but unsuccessful effort to get up; and the curtain had to be lowered amidst the wild laughter of the audience.
SUGGESTION FOR IAGO’S DRESS
Drawn by Henry Irving, 1881
X
SHAKESPEARE PLAYS—II
I
Romeo and Juliet was the first great Shakespearean production which Irving made under his own management. Hamlet had been done on very simple lines, the age in which it is set not allowing of splendour. The Merchant of Venice had been entirely produced and rehearsed within three weeks. But the story of “Juliet and her Romeo,” perhaps the greatest and most romantic love-story that ever was written, is one which not only lends itself to, but demands, picturesque setting. For its tragic basis the audience must understand the power and antiquity of the surroundings of each of those unhappy lovers. Under conditions of humbler life the tragedy would not have been possible; in still loftier station, though there might have been tragedy, it would have been wrought by armed force on one of the rival Houses or the other. It is necessary to give something of the luxury, the hereditary feud of two dominant factions represented by their chiefs, of the ingrained bloodthirstiness of the age of the Italian petty States. Irving knew this well, and with his superlative stage instinct grasped the picturesque possibilities. The Capulets and the Montagues must be made not only forces, but typal.
What Irving’s intention was may be seen in the opening words which he wrote himself in the short preface to the published Acting Version of the play:
“In producing this tragedy, I have availed myself of every resource at my command to illustrate without intrusion the Italian warmth, life, and romance of this enthralling love-story.”
It was produced on May 8, 1882, and ran for one hundred and sixty-one nights, the summer vacation intervening.