The pits in the London theatres have undergone as great a change, though a different one, as the pit at the opera, which now only nominally exists, if it exist at all. It is now an area of stalls; the old price for admission is doubled, and the entertainment is not worth an eighth of what charged for it compared with that of the olden time, when for an eight-and-sixpenny pit ticket you had Grisi, Mario, Lablache, and Tamburini, with minor vocalists, thorough artists, in the same opera. What a spectacle was the grand old house! The old aristocracy had their boxes for the season, as they had their town and country houses. You got intimate with them by sight; it was a pleasure to note how the beautiful young daughters of each family grew in gracefulness. You took respectful part in the marriages. At each opening season you marked whether the roses bloomed or paled upon the young cheeks, and you sympathised accordingly. You spoke of Lord Marlshire’s look with a hearty neighbourly feeling, and you were glad that Lady Marlshire really seemed only the eldest sister of a group of beauties who were her daughters. As for the sons of those great families, they were in full dress, sauntering or gossiping in that Elysium ill-naturedly called ‘Fops’ Alley’; they were exchanging recognitions with friends and kinsmen in all parts of the house. If you heard a distant laugh—loud enough where the laughers were moved to it—you might be sure it was caused by Lord Alvanley, who was telling some absurdly jocose story to a group of noble Young Englanders in the pit passage under the boxes. We have seen the quiet entry of a quiet man into a private box make quite a stir. Every stranger felt that the quiet man was a man of mark; he came to snatch a momentary joy, and then away to affairs of state again; he was the prime minister. Dozens of opera-goers have recorded their souvenirs of the old glorious days when the opera, as they say, was an institution, opened only twice a week: whereas each house is merely an ordinary theatre, with audiences that are never, two nights running, chiefly made up of the same habitués. They have told what friendly interest used to be aroused when the Duchess of Kent and her daughter, the Princess Victoria, took their seats every opera night. We seem again to hear a ringing laugh, and we know it comes from the sparkling English lady with an Italian title, the Countess St. Antonio. We seem again to see that marvellously audacious-looking pair, Lady Blessington and Count D’Orsay, gauging the house and appearing to differ as to conclusions. The red face of the Duchess of St. Albans and the almost as ruddy vessel from which her tea was poured have been described over and over again; and, in the records of other chroniclers we fancy that once more there come upon us the voices of two gentlemen who talked so above the singers that a remonstrant ‘Hush!’ went round the building. The offenders were the Duke of Gloucester and Sir Robert Wilson. The soldier would draw out of sight, and the prince would make a sort of apologetic remark in a voice a little higher than that which had given offence. These are reminiscences chronicled in the memoirs, diaries, and fugitive articles of old opera-goers.
Mr. Planché must have been among those ancient lovers of music and of song, and that he should record his experiences is a thing to be grateful for, especially as he writes of the battle and joys of life while he is still in harness and the wreathed bowl is in his hand. In 1818, he began with burlesque—‘Amoroso, King of Little Britain,’ written for amateurs, and taken by Harley, unknown to the author, to Drury Lane. In 1872, after fifty-four years of work, Mr. Planché executed the better portion of ‘Babil and Bijou,’ which, compared with ‘Amoroso,’ is as the Great Eastern steamer to a walnut-shell. We heartily welcome all chroniclers of an art that lives only in the artist, and never survives him in tradition. Our own collection begins with Downes, and Mr. Planché’s emerald-green volumes will find room there. Scores of biographies are ‘squeezing’ room for him. Fred Reynolds’s portrait seems to say, ‘Let Planché come next to me.’ As we look at those dramatic historians we are struck with their usefulness as well as their power of entertaining. For example, a paragraph in one of the most ancient of dramatic chronicles—the ‘Roscius Anglicanus,’ by old Downes, the prompter—is of infinite use to the reputation of Shakespeare. Dryden, who produced his version of ‘The Tempest’ to show how Shakespeare ought to have written it, maintained that after the Restoration our national poet was not much cared for by the people, and that for a long time two plays of Beaumont and Fletcher were acted for one of Shakespeare. In Downes’s record the prompter registers the revival of ‘Hamlet;’ and, without any reference to Dryden, or knowledge, indeed, of his depreciation of Shakespeare, he states that the tragedy in question brought more money to the house and more reputation to the players than any piece by any other author during a great number of years.
To some nameless chronicler we owe a knowledge of the fact that Shakespeare’s ‘Hamlet’ was played on board ship, in Shakespeare’s time, by sailors. Why was this left unnoticed when the royal captain of the Galatea took the chair at the last Theatrical Fund dinner? But for the chroniclers we should be ignorant that, just six hundred years ago, the Chester mysteries and passion-plays were at their highest point of attraction. Indeed, they could never have been unattractive; for all those who undertook to witness the performance during about a month’s season were promised to be relieved from hundreds of years of the fire of purgatory. What a delicious feeling to the earnest play-goer, that the more regularly he went to the play on these occasions, the more pleasantly he would work out his salvation! The different dramatic scenes were represented by the best actors in the Chester trading companies. One would like to know on what principle the distribution of parts was made by the manager. Why should the Tanners have been chosen to play the ‘Fall of Lucifer’? What virtue was there in the Blacksmiths, that they should be especially appointed to enact ‘The Purification’? or, in the Butchers, that they should represent ‘The Temptation’? or, in the Bakers, that they should be deemed the fittest persons to illustrate ‘The Last Supper’? One can understand the Cooks being selected for ‘The Descent into Hell,’ because they were accustomed to stand fire; but what of angelical or evangelical could be found exclusively in the Tailors, that they should be cast for ‘The Ascension’? Were the Skinners, whose mission it was to play ‘The Resurrection,’ not deemed worthy of going higher? Or, were the Tailors lighter men, and more likely to rise with alacrity?
We are inclined to think that the idea of plays being naughty things and players more than naughty persons in the early days is a vulgar error. Plays must have been highly esteemed by the authorities, or Manningtree in Essex (and probably many another place) would not have enjoyed its privilege of holding a fair by tenure of exhibiting a certain number of stage plays annually.
There was undoubtedly something Aristophanic in many of the early plays. There was sharp satire, and sensitive ribs which shrank from the point of it. When the Cambridge University preachers satirised the Cambridge town morals the burgesses took the matter quietly; but when the Cambridge University players (students) caricatured the town manners in 1601, exaggerating their defects on the University stage, there was much indignation.
The presence of Queen Elizabeth at plays in London, and the acting of them in the mansions which she honoured by a visit, are proofs of the dignity of the profession. We have her, in the year last named, at one of the most popular of London theatres, with a bevy of fair listening maids of honour about her. This was in her old age. ‘I have just come,’ writes Chamberlain to Charlton, ‘from the Blackfriars, where I saw her at the play with all her candida auditrices.’ At Christmas time, Carlile writes to Chamberlain, ‘There has been such a small court this Christmas, that the guard were not troubled to keep doors at the plays and pastimes.’
And if the name of Elizabeth should have a sweet savour to actors generally, not less delicious to dramatic memories should be the mayor of Abingdon, in that queen’s time, who invited so many companies of players to give a taste of their quality in that town for fee and reward. If any actor to whom the history of the stage be of interest should turn up at Abingdon, let him get the name of this play-loving mayor, and hang it over the fire-place of the best room of the Garrick, or rather of the club that will be—the social, cosey, comfortable, professional, not palatial nor swellish, but homelike house, that the Garrick was in its humbler and happier days.
Now the companies the Mayor had down to Abingdon included the Queen’s players, the Earl of Leicester’s players, the players of the Earl of Worcester, of Lord Sussex, of the Earl of Bath, of Lord Berkely, of Lord Shrewsbury, of Lord Derby, and of Lord Oxford. Is there no one who can get at the names of these actors, and of the pieces they played—played for rewards varying from twenty pence to twenty shillings? Will that thoroughly English actor, one of the few accomplished comedians of the well-trained times now left to us, be the more successfully urged to the task, if we remind him that, in 1573, his professional namesake, Mr. Compton, took his players to Abingdon, and earned four shillings by the exercise of their talents?
The Elizabethan time was a very lively one. It had its theatrical cheats and its popular riots. We learn from State records that on the anniversary of the Queen’s accession, November, 1602, ‘One Verner, of Lincoln’s Inn, gave out bills of a play on Bankside, to be acted by persons of account; price of entry, 2s. 6d. or 1s. 6d. Having got most of the money he fled, but was taken and brought before the Lord Chief Justice, who made a jest of it, and bound him over in 5l. to appear at the sessions. The people, seeing themselves deluded, revenged themselves on the hangings, chairs, walls, &c., and made a great spoil. There was much good company, and many noblemen.’
The Queen died in March, 1603. There were the usual ‘blacks,’ but the court and stage were brilliant again by Christmas. Early in January of the following year people were talking of the gay doings, the brilliant dresses, the noble dramas, the grand bear-baitings, the levity, dancing, and the golden play, which had solemnised the Christmas just ended. Thirteen years later Shakespeare died, and in little more than half a century small spirits whispered that he was not such a great spirit himself after all.