Ambitious Earl: "Ugh! I hate all amateurs, hang 'em, taking the bread out of one's mouth!"
Idols of the 'Eighties
Punch, as I have so often insisted, was a Londoner first and foremost, but he did not exclude the provinces from his survey. The opening of the Shakespeare Memorial Theatre at Stratford-on-Avon in 1879 was a landmark in the history of the legitimate drama, and Punch did not fail to acknowledge the strenuous local labour and large local liberality which had carried to completion a worthy scheme for commemorating the most memorable work ever wrought by mortal brain. It was in the same year, again, that Punch recorded with sympathy and admiration the memorial performances given at Manchester for the benefit of the widow and family of Charles Calvert, the actor-manager "who did more for the elevation and development of the higher drama, historical and imaginative, than any provincial manager on record, and than any metropolitan managers, except Macready, Charles Kean and Phelps." Phelps and Charles Mathews had both died in 1878, and Buckstone in 1879. Mrs. Langtry, who had taken to the stage, is advised to give up acting in 1882. In 1883 Mr. Anstey Guthrie's immortal Vice Versâ was dramatized and produced with Mr. Charles Hawtrey as Mr. Bultitude. The evergreen veterans of to-day were already advancing in fame and popularity. Sir Johnston Forbes Robertson had appeared as Romeo in 1881. In 1884 the late Mr. Wilson Barrett, encouraged by his successes in melodrama, essayed the rôle of Hamlet. Punch maliciously embodies his criticisms in a letter to Irving, then touring in America, but the general tenor of his remarks is decidedly reassuring to Irving. The long run of Our Boys in 1877 was equalled and eclipsed, after an initial failure, by the prodigious popularity of The Private Secretary, also in 1884. Lady Bancroft died only the other day; Sir Squire is still hale and hearty. Yet it is thirty-six years ago since they resolved, while still at the zenith of their popularity and in early middle age, to quit the scenes of their many triumphs, and Punch, in his notice of their farewell performance, says no more than the strict truth:—
The Bancrofts have done much for the Stage; in fact, the mise-en-scène at the houses where Comedy is played, owes its present completeness entirely to them. They, and Mr. Hare with them, introduced the natural style of acting, thereby supplanting the theatrical tone and gestures of the old school, which Burlesques had done good service in laughing off our Stage for ever.
The performance at Cambridge of the Eumenides by "Messrs. Æschylus and Verrall" in the same year is handled in a vein of friendly facetiousness. Punch found Sir Charles Stanford's music rather more than worthy of the occasion, but thinks Æschylus and his very clever collaborator might have shown more common sense and allowance for modern feeling.
Punch was less considerate in his treatment of the performance of Shelley's Cenci by the Shelley Society which had been founded by "a Dr. Furnivall," the scholar and redoubtable controversialist whom Punch had already attacked in connexion with the Browning Society. The performance was described by a member of the society as four hours of monotonous horror:—
"The actors and actresses in the labour of love did all that could be done; but the play is proved to be impossible, and so let us leave it in the hope (shared by many of my fellow-members) that before another 'sixty years' it will be possible to debate the matter calmly, but not to put 'The Cenci' on the Stage."
Punch was less hopeful. He regarded "the literary disease of which the Shelley Society may be regarded as an exemplar" as an ineradicable malady.
"L'Assommoir" in French and English
Sir Frank Benson's productions of A Midsummer Night's Dream and The Taming of the Shrew in 1890 come in for more commendation of the scenic effects than the acting, but a favourable exception is made in favour of the late Stephen Phillips, afterwards better known as poet and dramatist. Punch's notice of the late Sir Herbert Tree's Hamlet in the summer of 1892 is a good specimen of discreetly veiled disparagement. But it does not quite accord with Gilbert's famous description, "funny without being vulgar," as Punch considered some of the new readings and by-play to be tasteless and grotesque. It was this production that gave rise to that "desperate saying" that to solve the Bacon-Shakespeare controversy, all that was necessary was to let Tree play Hamlet and then open the two graves and see which of the mighty dead had turned.