Six years later Mr. Briggs himself was lifted from Punch on to the stage (amongst others) of the Royal Marylebone Theatre, which then assiduously cultivated the equestrian drama. On November 14th, 1851, for the benefit of a lady called Mrs. MORETON BROOKES, there was played a "new grand dramatic equestrian spectacle, entitled the Maid of Saragossa; or, The Dumb Spy and Steed of Arragon—realising Sir David Wilkie's Celebrated Picture." As the Arragon Steed remained on the premises when the curtain fell on the first piece, it was obviously a pity to waste him; so, after he had finished realising Wilkie's picture, and had rested awhile, he stepped out of romance into high comedy, or, as the playbill simply put it—"After which will be presented from Sketches furnished from Punch's Domicile, Fleet Street, a New, Grand, Locomotive, Pedestrian, Equestrian, Go-ahead Extravaganza, entitled
MR. BRIGGS!
Or, House Keeping versus Horse Keeping"—
in which Mr. Briggs was played by Mr. Crowther, and Mrs. Briggs by the fair beneficiaire.
The first dramatic effort of Punch, in his individual quality and personality as a jester, was the pantomime of "King John, or Harlequin and Magna Charta." Punch had at that time become so popular, and was so generally regarded as the incarnation of all that was witty, that a commission was given for a pantomime that was to surpass for wit and humour any pantomime that had ever been written or thought of before. "They have given out," said Alfred Bunn in his vituperative "Word with Punch," "in distinct terms that none but themselves can write a pantomime, and modestly entitled the one they did write 'Punch's Pantomime' ... which they laboured so lustily, but so vainly, to puff into notoriety." It was written in 1842, by Lemon, Jerrold, and Henry Mayhew; but when it was read by the first-named to the Covent Garden Company, by whom it was produced, it was found to contain a great deal of wit, but very little fun. It was extensively amended in response to the representations of the pantomimists, and W. H. Payne managed to make a good deal of his part. The wit, however, militated greatly against the "go" and success of the piece, the prestige of its writers did not help it, and the experiment of a "Punch's Pantomime" was accordingly not repeated.
The cordial sympathy that has bound together so many of Punch's Staff in life has more than once taken the form of kindly charity in death or misfortune. To the performance given on behalf of the unhappy Angus Reach reference is made where the man and his work are considered. For Leigh Hunt—although he was not of the band—a theatrical performance was also given, and realised a large sum, and the benefit in aid of Charles H. Bennett's widow and children was even more successful. That interesting event is described later; but for the sake of history it may be well to reproduce the programme here:—
AMATEUR PERFORMANCE AT THE THEATRE ROYAL, MANCHESTER,
(kindly placed at the disposal of the committee by John Knowles, Esq.,)
MONDAY EVENING, JULY 29, 1867.
To commence with an entirely new and original Triumviretta, in one act and ten tableaux (being a lyrical version of Mr. Maddison Morton's celebrated farce of "Box and Cox"), by Mr. F. C. Burnand, entitled—