Having described the characters, it next becomes necessary to say a few words as to the “stage” whereon they perform. Most of our readers will be familiar with the portable theatre of the genuine street artists; a sentry-box-like wooden framework with a green baize cover, within which the performer stands, while a movable shelf in front of him supports the box which contains the puppets and other “properties” of the mimic drama. A little simple stage-carpentering will transform the domestic clothes-horse into a capital Punch-and-Judy theatre. Some sort of ornamental framework or border should be tacked all round the outer edge of the opening, by way of a kind of proscenium, and a slip of thin board, three or four inches in width, should be nailed horizontally across from side to side, to form the stage. The remainder should be covered with green baize, tammy, or any other available material, reaching to the ground. The structure should be placed against a wall or window curtain, which will close its vacant side, and form a convenient background.
Where even this simple arrangement is deemed too elaborate, an open door, with a slip of wood tacked across it about six feet from the floor, and a table cover hanging from this by way of curtain, will serve as a tolerable makeshift.
The “properties” of the drama are not numerous. They consist of a gallows or gibbet, made to fit, when in use, into a mortice cut into the piece of wood which forms the stage, a couple of wooden sticks, about a foot in length and half an inch in diameter, and an instrument known as the “squeaker,” which is said to be used to produce those peculiar vocal effects in which Mr. Punch delights. It consists of a couple of pieces of tin, each about an inch and a quarter in length, and three quarters in breadth. These, which are slightly curved in the direction of their length, are laid one against the other (the concave faces inward), with a piece of tape or China ribbon, of the same breadth, stretched tightly between them, and the whole bound firmly together with thread. This instrument is placed in the mouth, and is asserted to produce the Root-i-too-ti-too! and other eccentricities of the Punch language, and it is possible that in the hands (or rather the mouths) of those who cultivate the art professionally, it really does so. We must confess, however, that our own attempts in that direction have not been successful, and after several very narrow escapes of swallowing the instrument, we have come to the conclusion that a less perfect Root-i-too, produced by natural means, is on the whole to be preferred. Should any reader, after this warning, still be disposed to run the risk of choking himself in the pursuit of artistic effect, far be it from us to discourage his noble ardor.
It is customary to have a second or assistant showman, who stands outside the theatre, and forms the orchestra, for which purpose he is supplied with a set of Pandean pipes and a drum, or, for lack of these, with the best substitutes available. In a drawing-room, some obliging young lady at the piano-forte will generally render the performance independent of his musical aid. But he has a second function somewhat akin to that of the “Chorus” of a Greek play. His duty is to converse with Mr. Punch, to “draw him out,” to elicit his views on things in general, and his own domestic arrangements in particular, and last, but not least, by judicious repetition, in the form of questions or otherwise, to translate, so to speak, his observations to the audience.
The drama of Punch and Judy is based on tradition. The plot is pretty much the same in all cases, but the dialogue varies according to the taste and invention of the individual performer. We subjoin a specimen, representing pretty nearly the popular version, on which the reader may engraft such variations as he pleases.
Punch (heard below).—Roo-it-oot-i-too-it!
Showman.—Good morning, Mr. Punch.
Punch.—Good morning, Mr. Showman. Have you seen my Judy?
Showman.—Have I seen your Judy? No, sir, I don’t know the lady.
Punch.—She’s such a beauty! I’ll call her. Judy, my dear! Judy!