By Kemble's pride and Kemble's gold."
The Chronicle, on the other hand, took up the opposite side of the question, and supported the O. P. rioters with great fervour and constancy. In its columns one of the most popular of the numerous squibs on the subject appeared, which is here inserted. It may be necessary to premise that "Jack," was John Kemble; that the "Cat" was Madame Catalani, then engaged at Covent Garden Theatre, and who was much opposed at that time, in consequence of her being a foreigner; and that the "boxes" were the new private boxes, among the great objects of popular execration.
"THE HOUSE THAT JACK BUILT.
"This is the House that Jack built.
"These are the boxes, let to the great, that visit the house that Jack built.
"These are the pigeon-holes, over the boxes, let to the great, that visit the house that Jack built.
"This is the Cat, engaged to squall, to the poor in the pigeon-holes, over the boxes, let to the great, that visit the house that Jack built.
"This is John Bull, with a bugle-horn, that hissed the Cat, engaged to squall, to the poor in the pigeon-holes, over the boxes, let to the great, that visit the house that Jack built.
"This is the thief-taker, shaven and shorn,
That took up John Bull, with his bugle-horn,
who hissed the Cat, engaged to squall, to the poor in the pigeon-holes, over the boxes, let to the great, that visit the house that Jack built."This is the manager, full of scorn,
Who RAISED THE PRICES to the people forlorn,
And directed the thief-taker, shaven and shorn,
To take up John Bull, with his bugle-horn,
who hissed the Cat, engaged to squall, to the poor in the pigeon-holes, over the boxes, let to the great, that visit the house that Jack built."
When this had gone on for several nights, Kemble sent for Grimaldi, and said, that as the people would not hear dialogue they would try pantomime, which might perhaps suit their tastes better, and accordingly "Don Juan"[53] was put up for the next night, Grimaldi sustaining his old part of Scaramouch. He was received on his entrance with great applause, and it happened oddly enough that on that night there was little or no disturbance. This circumstance, which he naturally attributed in some degree to himself, pleased him amazingly, as indeed it did Kemble also, who, shaking him cordially by the hand when he came off, said, "Bravo, Joe! we have got them now; we'll act this again to-morrow night." And so they did; but it appeared that they had not "got them" either, for the uproar recommenced with, if possible, greater fury than before, all the performers agreeing that until that moment they had never heard such a mighty and indescribable din.
[53] The tragic pantomimic ballet of "Don Juan" was one of the pieces intended for representation, and for which new dresses and properties had to be prepared, without reference to the Old Price Riots, and was played for the first time in the New Theatre on November 20; Scaramouch, by Mr. Grimaldi; Donna Anna, by Miss Bristow. The piece was performed several nights in succession.
Eventually, on the fifteenth of December,[54] the famous O. P. row terminated, on the proprietors of the theatre lowering the charge of admission to the pit, removing the obnoxious private boxes, rescinding Madame Catalani's engagement, discharging Mr. James Brandon, house and box book-keeper, who had rendered himself greatly offensive to the O. P. people, abandoning all prosecutions against those who had been required to answer for their misconduct at the sessions, and offering a public apology. The ungracious task of making it, fell upon Mr. Kemble, who delivered what it was deemed necessary to say, with remarkable self-possession and dignity. It was received by the audience with great applause, and a placard was immediately hoisted in the pit, bearing the words, "We are satisfied;" it was speedily followed by a similar announcement in the boxes; and thus terminated[55] the famous O. P. war, wholly unparalleled in dramatic or indeed in any other annals.
[54] Kemble this night played Penruddock, in the "Wheel of Fortune;" the afterpiece, "The Blind Boy."
[55] It was resumed on the opening of the season of 1810-11; the private boxes remaining the same; on September 18th the theatre closed; the obnoxious boxes were rendered free to the public, and on the 24th, peace was finally established.
At Christmas, "Harlequin Pedlar, or the Haunted Well," was produced: it met with very great success, being played fifty-two nights. In March, 1810, Grimaldi first appeared as Skirmish in "The Deserter of Naples;" and "Mother Goose" was again played. The theatre closed in July, and re-opened in October.[56] Nothing particular new was done that season at Sadler's Wells. At Christmas, 1810, he appeared, as usual, in the Covent Garden pantomime, which was called "Harlequin Asmodeus, or Cupid on Crutches." It was acted for forty-six nights, and was played occasionally until May, 1811.[57]
[56] The "Deserter of Naples" was revived at Covent Garden on May 23, 1810, not in March; nor in fact was this Grimaldi's first appearance as Skirmish. He had in the last season, in the Old Theatre, played that part for Mr. Charles Taylor's benefit, June 3, 1808. After its revival in May, the "Deserter of Naples" was repeated a few nights during the remnant of that season. "Mother Goose" was again revived on June 12th. The theatre closed on July 6th, and re-opened for the season of 1810-11, on September 10th, not October, as here stated.