When the orchestra begins playing, before “the gods” have settled into their seats, it is impossible to hear a note of music. The puffed-out cheeks of the trumpeters, and the raised drumsticks tell you that the overture has commenced, but no tune is to be heard. An occasional burst of the full band being caught by gushes, as if a high wind were raging. Recognitions take place every moment, and “Bill Smith” is called to in a loud voice from one side, and a shout in answer from the other asks “What’s up?” Or family secrets are revealed, and “Bob Triller” is asked where “Sal” is, and replies amid a roar of laughter, that she is “a-larning the pynanney.”
By-and-by a youngster, who has come in late, jumps up over the shoulders at the door, and doubling himself into a ball, rolls down over the heads in front, leaving a trail of commotion for each one as he passes aims a blow at the fellow. Presently a fight is sure to begin, and then every one rises from his seat whistling and shouting; three or four pairs of arms fall to, the audience waving their hands till the moving mass seems like microscopic eels in paste. But the commotion ceases suddenly on the rising of the curtain, and then the cries of “Silence!” “Ord-a-a-r!” “Ord-a-a-r!” make more noise than ever.
The “Vic” gallery is not to be moved by touching sentiment. They prefer vigorous exercise to any emotional speech. “The Child of the Storm’s” declaration that she would share her father’s “death or imprisonment as her duty,” had no effect at all, compared with the split in the hornpipe. The shrill whistling and brayvos that followed the tar’s performance showed how highly it was relished, and one “god” went so far as to ask “how it was done.” The comic actor kicking a dozen Polish peasants was encored, but the grand banquet of the Czar of all the Russias only produced merriment, and a request that he would “give them a bit” was made directly the Emperor took the willow-patterned plate in his hand. All affecting situations were sure to be interrupted by cries of “orda-a-r;” and the lady begging for her father’s life was told to “speak up old gal;” though when the heroine of the “dummestic dreamer” (as they call it) told the general of all the Cossack forces “not to be a fool,” the uproar of approbation grew greater than ever,—and when the lady turned up her swan’s-down cuffs, and seizing four Russian soldiers shook them successively by the collar, then the enthusiasm knew no bounds, and the cries of “Bray-vo Vincent! Go it my tulip!” resounded from every throat.
Altogether the gallery audience do not seem to be of a gentle nature. One poor little lad shouted out in a crying tone, “that he couldn’t see,” and instantly a dozen voices demanded “that he should be thrown over.”
Whilst the pieces are going on, brown, flat bottles are frequently raised to the mouth, and between the acts a man with a tin can, glittering in the gas-light, goes round crying, “Port-a-a-a-r! who’s for port-a-a-a-r.” As the heat increased the faces grew bright red, every bonnet was taken off, and ladies could be seen wiping the perspiration from their cheeks with the play-bills.
No delay between the pieces will be allowed, and should the interval appear too long, some one will shout out—referring to the curtain—“Pull up that there winder blind!” or they will call to the orchestra, saying, “Now then you catgut-scrapers! Let’s have a ha’purth of liveliness.” Neither will they suffer a play to proceed until they have a good view of the stage, and “Higher the blue,” is constantly shouted, when the sky is too low, or “Light up the moon,” when the transparency is rather dim.
The dances and comic songs, between the pieces, are liked better than anything else. A highland fling is certain to be repeated, and a stamping of feet will accompany the tune, and a shrill whistling, keep time through the entire performance.
But the grand hit of the evening is always when a song is sung to which the entire gallery can join in chorus. Then a deep silence prevails all through the stanzas. Should any burst in before his time, a shout of “orda-a-r” is raised, and the intruder put down by a thousand indignant cries. At the proper time, however, the throats of the mob burst forth in all their strength. The most deafening noise breaks out suddenly, while the cat-calls keep up the tune, and an imitation of a dozen Mr. Punches squeak out the words. Some actors at the minor theatres make a great point of this, and in the bill upon the night of my visit, under the title of “There’s a good time coming, boys,” there was printed, “assisted by the most numerous and effective chorus in the metropolis—” meaning the whole of the gallery. The singer himself started the mob, saying, “Now then, the Exeter Hall touch if you please gentlemen,” and beat time with his hand, parodying M. Jullien with his baton. An “angcore” on such occasions is always demanded, and, despite a few murmurs of “change it to ‘Duck-legged Dick,’” invariably insisted on.
The Politics of Costermongers.—Policemen.
The notion of the police is so intimately blended with what may be called the politics of the costermongers that I give them together.