Curiosities of Impecuniosity

by H. G. Somerville

Closing his performances at Birmingham, he made terms with Andrew Cherry to appear at Swansea. So indigent was the actor, that he was necessitated to undertake the journey on foot, a journey of 200 miles; and his wife, who accompanied him, was likely soon to become a mother. Mr. and Mrs. Kean owed money in Birmingham, or possibly the wife might have remained in the town; and from it—early one summer morning—they departed on their long and wearisome way, adding to their miserable store of money some additions as they proceeded, by giving recitations at the residences of the gentry. In a fortnight they reached Bristol, were ferried over to Newport, and at last reached Swansea, where they obtained lodgings. Kean’s acting was not warmly received; and referring to one of his impersonations in the town, he remarked, “I played the part finely, and yet they would not applaud me!” The actor grew moody, splenetic, and gave way to insobriety. A son born to him at this period he named Howard; and it was soon after the birth of the child that the Keans left Swansea, with Cherry, for other towns in the principality, and subsequently they crossed over to Ireland. At Waterford, Kean played tragedy, and in addition for his benefit, gave an exhibition of pugilism, tight-rope dancing, singing, and wound up by playing the Chimpanzee in the piece called ‘La Perouse.’ It was at Waterford that Edmund Kean’s second son, Charles, was born. Beaching Scotland, so exhausted were the funds of the actor, that at Dumfries he got up an entertainment at a tavern, and the only patron was a shoe-maker, who paid sixpence for admission. At Carlisle Kean appealed to the barristers on Assize, asking for their presence, when he would deliver a series of recitations, his reward to be at their discretion; but the appeal was made in vain. In the autumn of 1811, the family in the most miserable condition arrived in York, and from the ball-room, Minster Yard, Kean issued a circular announcing, “for one night only,” an entertainment comprising recitals, dramatic selections, imitations of actors, and singing by himself, assisted by his wife; but the scheme ended with anything but a prosperous result. Under their struggles, husband and wife broke into a wail of grief, as they contemplated their innocent and unfortunate babes. The mother on her knees, supplicated for spiritual influence to annihilate their sufferings by death, but the fiery-willed player still kept courage, “I will go on, I will hope against hope!!” They got to London, where, at Sadler’s Wells, Kean had a short engagement at two pounds a week, and then he had engagements at Weymouth and Exeter; in which latter place he played for a salary of one pound a week. Through the influence of an old friend, Dr. Drury, Kean at length obtained an engagement at Drury Lane. But ere his triumph on the London boards was effected, the child, Howard, died, an event to which the actor never alluded without feelings of grief. While Kean was concluding his Exeter performances, his wife and child were desolate in the garret of a house in Cecil Street, Strand; and they would have starved, but that the liberality of Dr. Drury succoured them. Even on the eve of his Drury Lane success, Kean underwent many trials and sufferings. Save Dr. Drury he was without a friend. On his début, that memorable evening at Drury Lane, 26th January, 1814, the directors of the establishment denied him everything calculated to awaken hope and courage. Kean went to the dressing-room, and from the dressing-room to the stage, conscious that he had been treated with superciliousness, apathy, and injustice. Under such treatment, and with all his previous trials, it was only a perfect knowledge of his own transcendent powers, that carried him through the ordeal. The effect of his triumph in Shylock, may best be described in the words of his late biographer. “In an almost phrenzied ecstasy he rushed through the wet to his humble lodging, sprang up the stairs, and threw open the door. His wife ran to meet him; no words were required, his radiant countenance told all—and they mingled together the first tears of true happiness they had as yet experienced. He told her of his proud achievement, and in a burst of exultation exclaimed, ‘Mary, you shall ride in your carriage, and, Charley my boy,’ taking the child from the cradle and kissing him, ‘you shall go to Eton, and’—a sad reminiscence crossed his mind, his joy was overshadowed, and he murmured in broken accents, ‘Oh that Howard had lived to see it! But he is better where he is.’” Pity that so fine a nature as Edmund Kean’s, with his genius, and generous sympathies, should have struck on the rock of self-indulgence. But in any estimate of his moral shortcomings, the evil influence around his early life, and the effect of his early privation, should be steadfastly, and charitably, borne in mind. When we remember the conditions under which the actor pursues his calling, it is scarcely surprising that the term “poor players,” should have become proverbial. The victims of a social ban, originating in the bigotry of church and conventicle; following a profession, perhaps of all professions the most scouted by smooth, smug respectability, and certainly of all professions the most liable to fluctuations of success from the caprices, whims and “breeches-pocket” condition of its patrons; it seems but natural that the history of the stage should yield numerous illustrations of man impecunious.

Then, too, it must be borne in mind, that the greater number of men and women who have recruited the ranks of the histrionics have been people of romantic and “happy-go-lucky” temperament; light-hearted, generous to a fault, unworldly in the money-making sense, and frequently of the most irregular and unbusiness-like habits. Such characteristics had Theophilus Cibber, Shuter, George Frederick Cooke, Edmund Kean, Ward, and John Reeve; and though the precarious nature of the profession, the necessarily unsettled habits of its followers, and the unreality of the life, may be conducive in a degree to impecuniosity, it seems to me—and I have strutted several fretful hours—the only real cause of players being poorer than other people is due to extravagance and irregularity. Frugal, steady, trustworthy habits invariably increase a man’s well-being, in any calling; and the theatrical profession is no exception to the rule.

Richardson, the showman, was born in a workhouse, and was in his early years a mere little social arab, cast upon the world without friends or education; and he began his social career by exhibiting a little child with spotted skin, calling him the “spotted boy.” The first venture was profitable, and the showman went on making money, and saved it. He then set up a show theatre, succeeded so well that year after year he had to enlarge it, and at last it became the largest in the kingdom. Richardson likewise established a character for honesty, and all that is summed up in the words “manly conduct.”

John Quick—George the Third’s favourite comedian—had, too, in his time been poor enough. He was the son of a Whitechapel brewer, and when only fourteen years old ran away from home, with the idea of taking to the stage for a profession. Without any money in his pocket he started on his romantic journey, and managed to find a booth company at Fulham, where he was allowed to enact Altamont in the ‘Fair Penitent.’

Having played to the satisfaction of the manager, that worthy commanded his wife to set the débutant down for a whole share of the night’s receipts, which at the close of the last piece amounted to three shillings. Quick rose in his profession, and by forethought and prudence amassed a fortune of £10,000.

Braham’s boyhood was surrounded with hardships and privations. Early left an orphan, he was obliged to walk the streets of London as a vendor of pencils. In that situation he was befriended by Leoni, a vocalist at the synagogue in Duke’s Place, Covent Garden, who trained the lad’s voice, so remarkable for its peculiar sweetness of tone and expression. For Leoni’s benefit, in 1787, at the Royalty Theatre, Wellclose Square, young Braham made his début. His genius, of its kind, was unsurpassable; but it was the prudence added to it which laid the foundation of his fortune, which would have remained in the possessor’s hands but that the vocalist entered unwittingly on theatrical management.

Even in the more humble departments of theatrical life may be found thrifty examples of people, who, versed in the somewhat difficult part of making both ends meet, at length found themselves in a reputable and flourishing position. Such an instance is that of Bennett, a theatrical manager once well known in the Midlands. Bennett possessed a gift for doing things himself—his only assistant being an old lady, one Mrs. Gamage. He began his career with a puppet-show, was thrifty on its poor proceeds, and eventually became proprietor of a theatre. Bennett was successful as an actor at Worcester, Coventry, Shrewsbury, and towns adjacent. His travelling-cases, boxes, and chests, had their surfaces touched up by the scenic artist, and in the theatre did duty for castle walls, palace terraces, and palatial furniture; his helmets, and other stage properties, were of canvas, easy to fold up for packing, and many of his properties combined several utilities. He would arrange with his friends to take money at the doors, and Mrs. Gamage combined the offices of candle-snuffer and constable, and during the day she cooked and cleaned up at home. Bennett has been known to seek out musical young men in a town, and allow them the privilege of singing on his stage; or, if they were at all proficient on an instrument, allow them to play in his orchestra. He dressed as a fine gentleman by day, and like a mechanic in the evening. He died prosperous, and, above all, a churchwarden.

Old Philip Astley, Davidge, John Douglas, and Samuel Phelps, all poor men at the outset of life, entered on theatrical management, carried it on with care, tact and probity, and all of them died reputable, and in comfort. Garrick, the Kembles, Charles Mayne Young, Munden, Richard Jones, William Farren, Liston, Macready, and a host of other gifted actors, died rich, having lived amidst the respect of the highest social circles; but it will be found in each particular case, that they were men of high character, and prudent habits.

In some other instances the impecuniosity of actors has resulted from short-sightedness to their own interests, imprudence, and utter incompetence in business matters, but unfortunately extravagance, and other irregular habits of life, have been the frequent cause of poverty.

Nicholson, once lessee of the Newcastle Theatre, by want of business habits gradually became a poor man, so poor that he became money-taker at Drury Lane, and subsequently died in the workhouse of the town where he had been theatrical manager; and Faucit-Saville, formerly lessee and manager at Gravesend, Margate, Deal and other theatres, died while engaged as money-taker at the City of London Theatre.