Days and Nights in London; Or, Studies in Black and Gray

by J. Ewing Ritchie

For my part, I candidly own I felt more inclined to sympathise with the wife than with her husband; but the music-hall is bound to stand up for drinking, for it is by drinking that it lives. If people cared for music and the drama, they would go to the theatre; but that declines, and the music-hall flourishes. Astley’s Theatre is a case in point. That has been an old favourite with the public. At one time, I should imagine, few places paid better—does not Ducrow sleep in one of the most magnificent monuments in Kensal Green, and did he not make his money at Astley’s?—but now there are two flourishing music-halls one on each side of Astley’s, and as I write I see one of the proprietors, as a plea why he should be given more time for the payment of a debt, admits that sometimes they lose at Astley’s as much as forty pounds a week. If Astley’s is to be made to pay, evidently the sooner it is turned into a music-hall the better.

Will the London School Boards raise the character of the future public? is a question to be asked but not to be answered in our time. The real fact is that amusements have a deteriorating effect on the character of those who devote themselves to them, and become more frivolous as they become more popular. This is the case, at any rate, as regards music-halls. A gentleman the other day, as we were speaking of one of the most successful of them, said how grieved he was on a visit to it lately to see the generally lowered tone of entertainment. At one time the attempt was made to give the people really good music, and there were selections of operas of first-rate character. Now all that is done away with, and there is nothing but silly comic singing of the poorest kind.

In another respect also there has been a deterioration—that is, in the increased sensationalism of the performance. A music-hall audience requires extra stimulus—the appetite becomes palled, and if a leap of fifty feet does not “fetch the public,” as Artemus Ward would say, why then, the leap must be made a hundred; and really sometimes the spectacles held up for the beery audience to admire are of the most painful character. I have said that the doubtful female element is not conspicuous in the music-hall—that is the case as regards those on the outskirts of London, but the nearer you approach the West-End the less is that the case; and there is more than one music-hall I could name which is little better than a place of assignation and rendezvous for immoral women, and where you may see them standing at the refreshment bars soliciting a drink from all who pass. Such music-halls are amongst the most successful of them all, and the proprietor reaps a golden harvest.

I presume it is impossible to tell the number of our metropolitan music-halls, or to give an idea of the numbers who frequent them, and of the amount of money spent in them during the course of a single night. Apparently they are all well supported, and are all doing well. If you see a theatre well filled, that is no criterion of success. It may be, for aught you know, well filled with paper, but the music-hall is a paying audience, and it is cash, not paper, that is placed in the proprietor’s hands. In the east of London I find that both as regards the theatres and music-halls the proprietors have a dodge by means of which they considerably increase their profits, and that is to open a particular entrance a little before the time for admission, and to allow people to enter on payment of a small extra fee. It was thus the other night I made my way into a music-hall. I paid an extra twopence rather than stand waiting half an hour outside in the crowd. Another thing I also learned the other night that must somewhat detract from the reputation of the theatre, considered in a temperance point of view, and that is the drinking customs are not so entirely banished as at first sight we may suppose. The thousands who fill up the Vic., and the Pavilion in Whitechapel, perhaps do not drink quite as much as they would had they spent the evening at a music-hall, but they do drink, nevertheless, and generally are provided with a bottle of liquor which they carry with them, with other refreshment, down into the pit, or up where the gods live and lie reclined.

If it is impossible to reckon the number of music-halls in London, it is equally impossible to denote the public-houses with musical performances. In Whitechapel the other night I discovered two free-and-easies on my way to one of the music-halls of that district. They were, in reality, music-halls of a less pretentious character, and yet they advertised outside the grand attractions of a star company within. Prospects may be cloudy, trade may be bad, and, as a slang writer remarks, things all round may be unpromising, but the business of the music-hall fluctuates very little. Enter at any time between nine and ten and you have little chance of a seat, and none whatever of a good place. As to numbers it is difficult to give an idea. Some of the officials are wisely chary in this matter, and equally so on the subject of profits. The Foresters’ Hall in Cambridge Heath Road advertises itself to hold four thousand people, and that does not by any means strike me as one of the largest of the music-halls. Last year the entire British public spent £140,000,000, or eight shillings a week for each family, in drink, and the music-halls help off the drink in an astonishing way. As I went into a music-hall last autumn I saw a receipt for £51 as the profit for an entertainment given there on behalf of the Princess Alice Fund, and if the attendance was a little greater, and the profit a little larger than usual, still a fair deduction from £51 for bad nights and slack times will make a pretty handsome total at the end of the year after all. Now and then the music-hall does a little bit of philanthropy in another way, which is sure to be made the most of in the papers. For instance, last year Mr. Fort, of the Foresters’ Music Hall, invited some of the paupers from a neighbouring workhouse to spend the evening with him. I daresay he had a good many old customers among the lot, whereupon someone writes in Fun as follows: “The Bethnal Green Guardians showed themselves superior to the Bath Guardians the other day, and in response to the offer of Mr. Fort, proprietor of the Foresters’ Music-hall, rescinded the resolution prohibiting the paupers from partaking of any amusement other than that afforded within the workhouse walls. So the inmates of the union had a day out, and, we trust, forgot for awhile their sorrows and troubles. It is whispered that, in addition to pleasing the eye and the ear, the promoter of the entertainment presented each of his visitors with a little drop of something of an equally Fort-ified character.” I may add that the Foresters’ Music-hall claims to be a celebrated popular family resort, and that evening I was there the performance was one to which a family might be invited. Of course the family must have a turn for drink. They cannot go there without drinking. There is the public-house entrance to suggest drink, the bar at the end of the saloon to encourage it, and the waiters are there expressly to hand it round, and a good-natured man of course does not like to see waiters standing idle, and accordingly gives his orders; and besides, it is an axiom in political economy that the supply creates the demand.

Here are some of the verses I have heard sung with immense applause:

The spiritualists only can work by night,
They keep it dark;
For their full-bodied spirits cannot stand the light,
So they keep it dark;
They profess to call spirits, but I call for rum
And brandy or gin as the best medium
For raising the spirits whenever I’m glum;
But keep it dark.

The utter silliness of many of the songs is shown by the following, “sung with immense success,” as I read in the programme, by Herbert Campbell:

I’ve read of little Jack Horner,
I’ve read of Jack and Jill,
And old Mother Hubbard,
Who went to the cupboard
To give her poor dog a pill;
But the best is Cowardy Custard,
Who came to awful grief
Through eating a plate of mustard
Without any plate of beef.

Chorus.

Cowardy Cowardy Custard, oh dear me,
Swallowed his father’s mustard, oh dear me—
He swallowed the pot, and he collared it hot;
For, much to his disgust,
The mustard swelled, Cowardy yelled,
Then Cowardy Cowardy bust.

This is supposed, I presume, to be a good song. What are we to think of the people who call it so? It is difficult to imagine the depth of imbecility thus reached on the part of singer and hearers, and is a fine illustration of the influence of beer and “baccy” as regards softening the brain. The music-hall singer degrades his audience. Even when he sings of passing events he panders as much as possible to the passions and prejudices of the mob. His words are redolent of claptrap and fury, and are a mischievous element in the formation of public opinion. Heroes and patriots are not made in music-halls. But rogues and drunkards and vagabonds—and lazy, listless lives, destitute of all moral aim. There are respectable people who go to music-halls—women as well as men—but they get little good there. Indeed, it would be a miracle if they did.