A well-known actor remembers playing the Stranger, Philip, in ‘Luke the Labourer,’ and a farce character at a small theatre in Chelsea, and receiving twopence for his services, and then having to walk to the Mile End Road!
Phelps, when attached to Huggins’ company, has tramped with his bag on his shoulders, more than once a distance of five-and-twenty miles, being without coach-money; and his wife and child at Preston had, in the early time of Phelps’ career, for nearly a week to subsist on a rather small meat-pie. It was a terrible thing some fifty years ago, for some stage-stricken swain, or maiden, to depart hundreds of miles, perchance so far as Scotland, and find themselves in some poorly-paid company. Twenty shillings a week would be considered a fair salary. There would be scores of miles to travel, certain dresses to find, and upon the residue of the scant income the player had to live. When things failed it was sometimes literally tragic; for the tyros had little chance of escape, railways and cheap steamers being unknown.
What a bizarre picture is that drawn by Edmund Stirling of Ben Smithson’s Agency for Actors, at the “White Hart” in Drury Lane!
“Kind-hearted considerate Ben,” writes his remembrancer, “a real Samaritan, ever ready with food and kindly words to cheer and encourage the poor stroller. Ben, strongly impregnated with the ‘Mysteries of Udolpho’ school, was wont to use grandiloquent words for every day purposes. His hostel became a ‘castle’; back parlours, smelling strongly of ‘baccy,’ tapestry chambers; dilapidated staircases, lumber closets, and dark landings, ‘galleries, crow’s-nests, and eagle towers;’ his beer-cellars were known as ‘dungeon keeps;’ ‘Barclay’s entire’ at fourpence per pot became ‘nectar,’ like Mr. Dick Swiveller’s ‘rosy wine;’ and his two serving-men, plain Bob and Dick, were transformed into ‘Robarto’ and ‘Ricardo.’ Every poor player that arrived, footsore and hungered, was styled according to his robe, Kemble, Kean, Munden, or Siddons; Smithson knowing full well how pleasantly a little flattery would tickle the palate. There was always a bed, supper, and breakfast, money or not, in that Mecca for wanderers. Such liberality brought failure in its train, and the ‘White Hart’s’ doors speedily closed on Ben and his ‘good intentions.’”
Not less amusing, too, is Mr. Stirling’s description of the Brothers Strickland and their lesseeship of the Oddfellows’ lodge-room, at the Chiswick “Red Cow,” where they announced “A London company for two nights, with ‘Pizarro,’ as played at the Theatre Royal, Drury Lane; elaborate scenery and heart-rending effects. Pit, one shilling; boxes, two; and standing room, sixpence. Seats booked at the ‘Red Cow’ daily from 10 till 4. Schools and children half-price.”
Stirling tried to get employment under the Stricklands, and having wended his way to the tavern, was shown into the kitchen, and there found the company dressed for the evening’s performance of ‘Pizarro.’ At a table, superintending the tea, Elvira sat in faded black robes, wielding a tea-pot, and ever and anon scowling at her base destroyer, Pizarro. He sat aloof, encased in rusty tin armour, a ferocious wig and locks to match, in his hand a long pipe, and by his side an empty glass. Cora, the lovely Peruvian maid, employed her soft hands in toasting muffins, assisted by her husband, the Spanish Alonzo. Such was the heat of the climate, combined with the effects of something short, that Peruvians and Spaniards sat socially together, doing their pipes and beer. Strickland engaged Stirling to play Richmond on the following Monday, but he wasn’t to have anything for it.
Perhaps there is no more pertinent illustration of a chequered career—a career with indigence at one end and splendid wealth at the other—than that furnished by the life of Harriet Mellon, afterwards Mrs. Coutts, and subsequently Duchess of St. Alban’s. She was not the only actress who made a fortunate marriage. Anastasia Robinson married the Earl of Peterborough; Lavinia Fenton, the original Polly Peachem, in the ‘Beggar’s Opera,’ gave her hand to the Duke of Bolton; Louisa Brunton became Countess of Craven, and Elizabeth Farren exchanged her name for that of Countess of Derby. But not one of those enumerated had known the privations and hardships suffered by Harriet Mellon. When raised to affluence as Mrs. Coutts, and when coroneted as a duchess, she sometimes with mirth and sometimes with pathos referred to those old days of her life, when she was downcast by harsh treatment and impecuniosity, and was never ashamed of the time when she was nothing more than a poor strolling actress.
In 1789 Harriet Mellon, with her mother and Entwisle, her step-father, joined the theatrical company of Stanton. In the city of Lichfield the tenement is still pointed out where the Entwisles lodged in a couple of rooms, each ten feet by four and three-quarters across, with windows two feet square; the rent for the lodgings being two shillings a week. Stanton on one occasion obtained a bespeak from a squire, who requested a performance of the ‘Country Girl.’ The manager was only too glad to play anything, so low had been the ebb of his fortunes. No copy of the comedy being in the manager’s possession, an actor was despatched to a town not many miles distant for the necessary volume. Extra delay took place, the needy commissionnaire having gone on foot, putting the coach-money in his pocket. When he returned the play-book was cut up leaf by leaf and distributed to the company to transcribe; at least to those acquainted with the art of penmanship. It is stated that the copyists were few. Harriet Mellon, though of junior rank in the company, was cast for Peggy. She had the part given her in virtue of her ready and trustworthy memory. The girl’s heart filled with enthusiasm when she learned that she was to perform the title rôle. But her heart filled with sorrow an hour or two afterwards when she inspected the square-cut and dingy, snuff-coloured coat, held aloft by the manager, as the garment in which Peggy should appear as the boy, the character assumed in the park scene by the country girl. Being made acquainted with Harriet’s disgust at the costume furnished by the manager, Mrs. Entwisle bethought her of acquaintances who might help her daughter out of the trouble. A lady housekeeper to whom the mother applied, suggested the loan of a fashionable suit from one of her young masters. The proposition was declined. The housekeeper then stated that an idea crossed her: she might be enabled to procure a small and well-cut suit of clothes elsewhere.
Mother and daughter spent an anxious afternoon, and about four o’clock, at their lodgings, a lad made his appearance with a parcel, and not long afterwards the friendly housekeeper appeared too. The old lady said she had called on another old lady in a similar capacity to herself, and by her kind offices had procured not the clothes of any young gentleman, but the wedding-dress of her old master, and as he was only a “dwarfy” when young, probably the clothes would fit Harriet. A pang smote the breast of Miss Mellon as she thought the garments must be at least thirty years old; but the parcel was unfastened, and it was found to contain a light amber-coloured silk coat, silver trimmed white satin waistcoat and smalls; pale blue silk stockings, shoes laced, stock buckles, and ruffles.
Harriet Mellon was in raptures. Half-past six o’clock came, the barn was crowded, and the one musician, Entwisle, led off with ‘Rule Britannia,’ ‘Britons, strike Home,’ and ‘The Bonny Pitman.’ Up went the curtain, and the comedy began. The family whose bespeak proved so attractive were delighted with the performance, and especially with the acting of Miss Harriet. In the park scene the baronet and lady grew particularly grave of countenance as they surveyed Peggy in the boy’s clothes, which gravity continued during the remaining part of the entertainment.