ST. THOMAS HOSPITAL AND HOUSES OF PARLIAMENT.
were necessary. In America it would have been nothing singular had a Chickering piano been used, and a parlor set in reps. Imagine the delight of seeing a drawing-room furnished with furniture of the period, with an old harpsichord, such as the ladies of the time used, with the ancient zittern, and the gorgeous harp, with the chairs and couches precisely as they were in the country house of the time. The costumes were not mere guess work—they were designed and constructed by a professional costumer, who made studies from pictures, and put upon the stage men and women of King Charles’ day. This was a delight, in and of itself, that paid one for his time and expenditure, even if he cared nothing for the play.
And then the acting. If there is any one thing in the way of amusements that is utterly and fiendishly detestable, it is the acting of the usual child. The mother or father who trains the ten year old phenomenon to play children’s parts, takes it as far away from childhood as he can possibly, and the child does not play a child at all. He does, or tries to do, Hamlet, in children’s clothes. But nothing of the sort is permitted in London. The child plays the child, and does it as it should be done. It was a comfort to see two children on the floor in one scene, playing at the game of “See-saw, Margery Daw,” and doing it exactly as children would do in real life, instead of mouthing the lines like an old-style actor in “Macbeth.”
And all the way down there was the same perfection in the acting as in the setting of the piece. There was not one star and twenty “sticks,” as is the rule over the water, but the servant who merely said, “My lord, the carriage waits,” did that bit just as well as the hero or heroine of the piece.
The Englishman is a very thorough sort of a man, and wants what he has done well, according to his notion of what well is.
The places of amusement, other than the regular theaters, are of as great variety as they are vast in number. The prevailing attraction is, of course, the regular variety theater, which does not differ materially from its brother in America. It is singular that the stock attraction at the variety theater is the negro minstrel act. Minstrelsy originated in America forty years ago, but it has as firm a hold upon England as it has upon America, and a trifle firmer. No programme is complete without it, and no part of the performances are so heartily enjoyed.
But their minstrelsy would drive an American negro crazy. It is sufficient for a London audience to have a performer black his face and hands, and put on a long-tailed coat, and striped trowsers, and sing negro songs. The rich, mellow accent of the American African, the rollicking humor, the funny grotesqueness, all that is wanting. At any music hall you shall hear the songs popular in America sung by a cockney with all the cockney peculiarities of speech, even to the misplacing of the h’s.
The leg business is even more common and more indecent than in America, and variety performance is more highly flavored generally. Magic and athletic performances are greatly in favor, albeit fine vocalism and instrumental performance of a very high character must be interspersed.