The successful sojourn of the party at Dublin at length drew to a close, as it was necessary that they should return to London to be in readiness for the pantomime. On the 6th of December, 1821, they bade farewell to Ireland, and after a most boisterous voyage landed at Holyhead, whence they posted in haste to town, and the day after their arrival began the rehearsals for Christmas. In his ill state of health, Grimaldi was terribly shaken by the journey home and the sea-sickness, and felt worse in point of general health than he had yet done.
The pantomime was "The Yellow Dwarf."[79] Although the performers began to rehearse at an unusually late period, its success was perfect; but, notwithstanding it ran forty-four nights, Grimaldi never thought it a favourite with the public. He himself played the Yellow Dwarf, and his son played a part called "Guinea Pig." "Cherry and Fair Star" was revived at Easter, in consequence of its great success in the previous season, and answered the purpose extremely well.
[79] The pantomime at Covent Garden Theatre, on December 26, 1821, was entitled "Harlequin and Mother Bunch; or, The Yellow Dwarf." The characters were: The King of the Gold Mines, afterwards Harlequin, Mr. Ellar; Guinea Pig, afterwards Harlequin's lacquey, Mr. J. S. Grimaldi; Yellow Dwarf, afterwards Clown, Mr. Grimaldi; the Princess Allfair, afterwards Columbine, Miss E. Dennett; and the Queen of Golconda, a lady with a ruby nose, afterwards Pantaloon, Mr. Barnes.
Grimaldi, for the benefit of Mr. T. Dibdin, at the Surrey Theatre, March 26, 1822, played his old part of Squire Bugle, in "Mother Goose," Ridgway being the Harlequin. On Easter Monday, April 8th, the melodramatic romance of "Cherry and Fair Star; or, the Children of Cyprus," was produced at Covent Garden. Fair Star was played by Miss Foote, now Countess of Harrington; Grimaldi enacted Topac, the slave of the Greek Captain. This piece for splendour surpassed every other production at that theatre; the accompaniments were of the first description, and the looking-glass scene presented a gorgeous effect.
During the whole of this summer Grimaldi's health gradually but steadily declined. Sometimes there were slight fluctuations for the better, in which he felt so much improved as to fancy that his strength was beginning to return; and although the next day's decay and lassitude showed but too clearly that they were but brief intervals of strength, he fondly regarded these red-letter days as tokens of a real and permanent change for the better. Perhaps even now, as he had nothing to do at Sadler's Wells, and was too unwell to accept country engagements, if he had remained quiet during the Covent Garden recess, lived with great regularity, and acted upon the best medical advice, he might have retained for many years longer some portion of his health and spirits. But Mr. Glossop, who was then the lessee of the Coburg Theatre (now the Victoria), made him an offer which he could not resist, and he acted there for six weeks,[80] at a considerable sum per week and a free benefit. The engagement turned out so profitable a one for the management, that he might have renewed it for the same space of time, if he had not become too ill to appear upon the stage.
[80] Grimaldi's performances commenced at the Coburg, on Monday, July 1st, 1822, in a pantomime, comprising a selection of the most successful scenes from various harlequinades of the last fifteen years, called "Salmagundi; or, the Clown's Dish of all Sorts!" produced under Grimaldi's directions. The scenery painted by Stanfield and his assistants. Harlequin, Mr. Howell; Pantaloon, Mr. Barnes, his first appearance in that theatre; Lover, Mr. Widdicomb; Clown, Mr. Grimaldi; Columbine, Madame Le Clercq. This lasted six nights; on the 8th, the pantomime of "Harlequin and the Three Wishes; or, Puck and the Black Puddings;" the pantomimists as in the former piece. On Monday, July 15th, commenced the third week of Grimaldi's engagement, in a new pantomime called "Disputes in China; or, Harlequin and the Kong Merchants!" the scenery painted from views taken in China, by Stanfield. J. S. Grimaldi made his first appearance at the Coburg this evening. Joe and his son sustained the characters of the two clowns incidental to the piece. In the scene of the Whampoa river, Joe affected to astonish John China-man with his song of "Hot Codlins." The bill of Monday, July 22, was underlined to the effect that, in consequence of the continuous and dangerous indisposition of Mr. Grimaldi, the pantomime was unavoidably postponed. Gilderoy, in the melodrama of that name, was this night played by Mr. J. H. Chapman, from the Surrey Theatre: it had been previously played by Henry Kemble, but the irregularities and drunkenness of this man were unpardonable: he was the instigator of young Joe's follies and misconduct; latterly they were inseparable, and which was the worst of the two was hard to be decided. Henry Kemble had been employed to supply Huntley's vacancy, caused by illness; but he could scarcely be retained a fortnight, and was dismissed.
On the 29th, Grimaldi was so far recovered that he resumed his part of Clown in the "Disputes in China." The bills announced his re-appearance as "positively the last six nights of his performing;" and a further intimation, which was really a matter of fact:—"It is particularly recommended to those families who have not witnessed the inimitable acting of Mr. Grimaldi and his son, Mr. J. S. Grimaldi, that they should secure places as soon as possible, much disappointment having been experienced by parties coming late and finding the boxes filled from the overflowing of the pit." Grimaldi sang on these last six nights his two most popular songs, "Tippitywitchet" and "Hot Codlins." His last night was August 3, and concluded the four weeks of his engagement.
At this crisis of his disorder Grimaldi was advised to try the Cheltenham waters. He went to Cheltenham in August, and being somewhat recovered by the change of air, consented to act for Farley and Abbott, who had taken the theatre on speculation, for twelve nights. He cleared 150l.; and whether this sum of money, or the waters, or the change of scene revived him is uncertain, but he felt greatly improved in health when he returned to London for the opening of Covent Garden, to commence what ultimately proved to be his last season at that theatre.
"Harlequin and the Ogress; or, the Sleeping Beauty," was the pantomime of the season. The rehearsals went off very briskly, and the piece, when it was produced, met with the success which generally attended the production of pantomimes at that house. Nothing, indeed, could exceed the liberality displayed by Mr. Harris in getting up this species of entertainment; to which circumstance, in a great measure, the almost uniform success of the pantomimes may be attributed. This spirit was not confined to the stage and its appointments, but was also extended in an unusual degree to the actors. Every suggestion was readily listened to, and as readily acted upon, if it appeared at all reasonable: every article of dress was provided at the expense of the management; the principal actors were allowed a pint of wine each, every night the pantomime was played, and on the evening of its first representation they were invited to a handsome dinner at the Piazza Coffee-house, whither they all repaired directly the rehearsal was over. At these dinners Farley took the chair, while Brandon acted as vice; and there is no doubt that they materially contributed to the success of the pantomimes. There can be no better means of securing the hearty good-will and co-operation of the parties employed in undertakings of this or any other description than treating them in a spirit of generosity and courtesy.