We who listened were delighted. For myself I seemed to see the play a great success and one to be accomplished at little cost. We had now, since 1885, produced in succession three great plays, Faust, Macbeth, and The Dead Heart, and had in contemplation another, Henry VIII., which would exceed them all in possibilities of expense both of production and of working. These great plays were and always must be hugely expensive. As I was chancellor of the exchequer I was greatly delighted to see a chance of great success combined with a reasonable cost and modest accessories. From the quiet effectiveness of Irving’s reading I was satisfied that the play would hold good under the less grand conditions. This opinion I still hold. I must not, however, be taken as finding fault with Irving’s view, which was quite otherwise. He looked on the play as one needing all the help it could get; and I am bound to say that his views were justified by success, for the play as he did it was an enormous success. The production account was not large in comparison with that of some other great plays, being a little under five thousand pounds. There were no author’s fees, as the play had long ago been bought outright and paid for, so that expense had been incurred and was chargeable against estate whether the play was produced or not. But the running expenses were very heavy, between £180 and £200 a performance. As it was, the play was a heavy one for Ellen Terry; she could only play in it six times a week. To the management there is always an added advantage in a matinée or any extra performance.

Ravenswood was presented on September 20, 1890, and altogether was given during the season one hundred and two times.

II

During its run we had a strange opportunity of experiencing the extraordinary way in which a play fluctuates with the public pulse. From the first night it was a great success, and the booking became so great that we were obliged to enlarge the time for the advance purchase of seats. Our usual time was four weeks, and as a working rule it was found well to keep to this. Where booking is not under great pressure, too long a time means extra particularity in choice of seats, and a de facto curtailment of receipts. For Ravenswood we had to advance, first one week and then a second; so that about the end of the first month we were booking six weeks ahead. I may say that we were booked that long, for as each day’s advance sheet was opened it became quickly filled. The agents, too, were hard at work and we were not able to allot to any of them the full number of seats for which they asked. I have a special reason for mentioning this, as will appear. Now at the Lyceum from the time of my taking charge of the business we did not ever “pencil” to agents—that is, we did not let them have seats after the customary fashion “on sale or return.” We had, be sure, good reason for this. Whatever seats they had they took at their own risk by week or month, in a sort of running agreement terminable at fixed notice. When we arrived at the fiftieth performance the play was going as strong as ever, the receipts being on or about two thousand pounds per week. Towards the end of the year, theatre receipts generally began to drop a little; Christmas is coming, and many things occupy family attention; the autumn visitors have all departed; and the fogs of November are bad for business. We did not, therefore, give it a second thought that the door receipts got a little less, for all the bookable seats were already secure. On Thursday, November 20, I had an experience which set me thinking. During that day I had visits from three of the theatre agents having businesses in the West End and the City. They came separately and with an unwonted secrecy. Each wished to see me alone, and being secured from interruption, stated the reason. Each had the same request and spoke in almost identical terms, so that the conversation of one will illustrate all. The first one asked me:

“Will you tell me frankly—if you don’t mind—are you really doing good business with Ravenswood?”

“Certainly,” I answered. “All we can do. Why you know that we can only let you have for six weeks ahead a part of the seats you have asked for. After some odd nervousness he said again:

“I suppose I may take it that that applies to every one you deal with? I know I can trust you, for you always treat me frankly; and this is a matter I am exceedingly anxious about.” For answer I rang the bell for the commissionaire in waiting on the office and sent him round to the box-office to bring me the booking sheets for six weeks ahead. These I duly placed before the agent—Librarian they called them in those days, as they were the survivors of the old lending libraries who used to secure theatre tickets for their customers.

“See for yourself!” I said; and he turned over the sheets, every seat on which was marked as sold.

“It is very extraordinary!” he said after a pause. By this time my own curiosity was piqued and I asked him to tell me what it all meant.

“It means this,” he said. “Things can’t go on at this rate. We have not sold a single ticket this week for any theatre in London!”