Junk.—Salt beef.
K.
Kean.—“Hear Kean speak.” Edmund Kean, the celebrated tragedian, 1787-1833.
Kean’s Head—The.—Was a well-known theatrical tavern in Russell Court, Drury Lane. It had previously been called the O.P. and P.S. but re-christened in honour! to the celebrated tragedian—then in the zenith of his fame, the late Edmund Kean:—
Then off again, no fear or dread,
To the once famed O.P.
In better taste—chang’d to Kean’s Head—
And noted for a spree!
Pierce Egan’s The Show Folks.
The tavern was much frequented by all persons directly and indirectly connected with the theatrical profession. And was at one time kept by Tom Hudson, a jolly bon vivant, and famous comic song writer and singer, of whom Pierce Egan, wrote—“his facility in producing songs is astonishing—he also sings them with a peculiar naiveté, and tells his ‘story’ to his company better than most men, who are not regular performers. In his line, he is a second Charles Dibdin, senr.—The above tavern,” continues Pierce Egan—“afforded considerable amusement to its visitors, as a few wags, fond of a bit of fun, frequented the coffee-room every evening, and, in concert together, represented themselves as managers from the country, in want of performers, and waiting in turn to engage young men for different ‘lines of business,’ to complete their companies. This had the desired effect; and numerous ludicrous scenes was the result, which defy anything like communication, and enthusiastic, stage-struck, inexperienced youths afforded these pretended managers sport and roars of laughter, night after night. The plan generally adopted was, that one of the party kept on the look out to pick up a simple youth—having a soul above buttons!—and having got one in tow, he was formally introduced to the assumed proprietor of a country theatre. The latter person, with a face of gravity, then inquired whether he wished to engage for the light or heavy business of the stage, or if singing was his forte; or, perhaps, he could undertake the general line, and assist in melo-dramas, spectacles, &c., &c. The manager then, with a polite request, wished to have a ‘taste’ of the young man’s quality, before he finally settled his engagement, and fixed his salary. And several young aspiring heroes, anxious to obtain an engagement, have been prevailed upon to mount the table, and to give selections from Romeo, Hamlet, and Octavian, &c., amidst the shouts of pretended applause from country actors, wags of all sorts, and men of the world, who nightly resorted to this tavern, to pick up anecdotes, and spend a pleasant hour. When the managers! thought they had had enough of this burlesque, ‘the exit—the exit,’ would be whispered one to another, and while the hero on the table was spouting out some impassioned speech from Shakespeare, his back would be readily assailed with the contents of their jugs; and upon the unfortunate wight hastily looking round for the authors of such an assault, his front, from another part of the company, would be attacked in the same manner. Redress was out of the question, and the more passion and rage exhibited by the youth, produced the more laughter; when he was informed it was the way to teach him how to make his ‘exit’ in a rage! and that no person would deny him the title of being a wet actor. It was Tom Hudson who altered the sign of the tavern to the Kean’s Head: a remarkable likeness of the great tragedian was hung over the fireplace, and he was wont to visit Tom and take a drink after the fatigue of the night’s performance. The mere rumour of this attracted many to the house. A capital harmonic meeting took place late at night—or rather early in the morning, which was supported by a mixture of professionals from the theatres, and amateurs of talent and celebrity. Vain endeavours were seldom entered upon at Tom Hudson’s; a pretender was soon coughed down. Amongst the leaders of the vocal department who contributed to the musical attractions were Morton Box; Jem Savern; Little Harris; Joe Wells, so popular afterwards in connection with the Coal Hole; Mr. John Hart, late of the Cider Cellars; Tom Prynn, Belasco, and others of great vocal talent and celebrity. Apropos of Edmund Kean, the late Mr. Leman Rede, author and dramatist, in his ‘Sketch of the Life of John Reeve,’ relates the following anecdote—‘Kean’s name was the ‘open sesame’ to all night houses near the theatres; and ere John Reeve came upon the stage, he was apt to indulge much in the ‘little hours.’ He and his friends, lads of his own age, could not have got admission, but he knew the secret, and acted accordingly. After giving a mystic knock, he applied his mouth to the keyhole, and with an exactitude of imitation that defied detection, exclaimed—‘’Tis I——Kean—Edmund Kean!’ In an instant the door was opened; in glided Reeve, saying, with an easy assurance, ‘Ned’s just gone round the corner—back in a moment.’”
Keep the Line.—To behave in a becoming manner: not to forget one’s self.
Keep it Up.—To prolong the debauch, or game. A term made popular by frequent reiteration.
Keep up the Ball.—Be jolly. Keep the ball rolling, is also used in the same sense.
Kick.—A sixpence. Quite the Kick, quite a dandy.