Theatrical advertisements are, as has been remarked, often very funny, and whether from ignorance on the part of the writers, or the prevalence of technology, the columns of the Era absolutely teem with startling notices, which when coupled with the really remarkable as well as “original” correspondence, and the provincial critiques, make the chief theatrical organ one of the most genuine among comic papers, and this is none the less so because the Era’s comicality is unintentional. A fair specimen of the general style is given in an advertisement appearing in March 1874, and if our reproducing it will be of any use to Messrs Gonza & Volta, they are quite welcome. In fact it would be sad to think that such an effort should go unrewarded:—
Nil Admirari.
GONZA and VOLTA!!!
GONZA and VOLTA!!!
GONZA and VOLTA!!!
The Modern Hercules and Achilles. The Goliathan Gymnasts. The Champions of Olympia Resuscitated. The greatest Athletes since the Christian Era.
M. DE GONZA, the famous Mexican Athlete of the Golden Wing and Olympic Club; also of Crystal Palace, Cirques Napoleon and de l’Imperatrice celebrity, and late Proprietor of Gonza’s Transatlantic Combination Company, has much pleasure in announcing that the Colossal Sensation he is about submitting to the World’s criticism is in course of progression, and that he has secured the services of EDOUIN VOLTA, the grandest Aerial Bar Performer of the period, who will have the honour of making his First Appearance in England in conjunction with M. DE GONZA’S New Aerial Athletic Performance. M. DE GONZA, without desiring to eulogise, prognosticates that his coming achievement will introduce an astonishing epoch in gymnastics. In ancient days mythological conceptions were framed by senile philosophers for the wonder and delectation of the inhabitants of the world B.C., more particularly during the existence of Rome under the Empire, when the stupendous Colosseum lived in its glory, and where myriads witnessed the famous gladiatorial combats. In those mighty days of heroism, when the great pan-Hellenic festivals were held, every fourth year in Olympia, instituted by Iphitus, King of Elis, the ninth century B.C., when Athletic revels and Icarian games were as prevalent as cigar smoking in this generation, people were more prone to countenance the possible existence and marvellous exploits of the gods and goddesses. Evanescent ages have flown by, and in the sentiments of millions there now subsists a certain amount of familiarity with the intrepid and valiant deeds of those illustrious mythological gods Hercules and Achilles. They have been quoted and spoken of so often that their fictitiousness is forgotten. They have ingratiated their fabulous selves into the good graces of mankind, and become entwined around their minds like the ivy around the gnarled and knotted oak; and, although centuries have passed away, this nurtured concatenation of deep-rooted imaginations have not proven altogether futile, for these legendary and dauntless heroes actually do exist in the persons of
GONZA and VOLTA,
The Cyclopean Athletes of the Age.
Anchorites, ascetics, persons of secluded and fastidious natures, stoics, and misanthropists, all will be metamorphosed into congenial spirits, and be reconciled to the world and its pleasures after witnessing these gigantillos and wonders of creation in the most surprising and surpassingly elegant gymnastic exhibition hitherto placed before an appreciative nation, the production of which due notice will be given. Meanwhile all communications are to be addressed to M. de Gonza, ——.
Turning from such extremely professional exponents of art and literature, we are reminded of one who stands in quite an opposite position to that of the Cyclopean athletes, Dr Vellère, the champion and foremost representative of the “unacted and unread,” of the theorists who would regenerate the drama with their own works, and, if they could only once be performed, would mark an epoch in the history of the stage. Doubtless they would. About five years ago the enthusiastic Doctor—who, being a foreigner, has a perfect right to regenerate the British drama, as well as the British Constitution—burst forth in the Times, and at once placed himself at the head of that glorious minority which, owing to the iniquitous “ring” formed by a clique of authors, managers, and critics, cannot get its plays, marvellously good as they are, produced; and thus not only they, but the great British public are sufferers under a system which Vellère & Co. will yet expose or perish in the attempt. The first advertisement of the regenerator appeared on October 2, 1869. It ran thus:—
TO the PATRONS of the LEGITIMATE DRAMA and to the
PLAY-GOING PUBLIC in GENERAL.