In the sixties Edward Terry essayed the stage. Seeing an advertisement, the future comedian offered his services at a salary of 15s. a week.
Above the door was announced in grand style:
“Madame Castaglione’s Dramatic Company, taking advantage of the closing of the Theatres Royal Covent Garden, Drury Lane, Lyceum, etc., will appear at Christchurch for six nights only.”
It was an extraordinary company, in which several parts were acted by one person during the same evening. There was only one play-book, from which every actor copied out his own part, no one was ever paid, and general chaos reigned. Edward Terry had fallen into the hands of one of the most notorious bogus managers of his time. His next engagement was more lucrative. He was always sure of playing eighteen parts a week, and sometimes received 20s. in return. Matters are better now; but strange stories of early struggle crop up occasionally, and the bogus manager-agent, in spite of the Actors’ Association and the Benevolent Fund, still exists.
Edward Terry had to fight hard in order to attain a position, and thoroughly deserves all the success that has fallen to his lot; but all stage aspirants are not Edward Terrys, and then their plight in the hands of the bogus agent is sad indeed, especially in the provinces where he flourishes.
Those who know the stage only from the front of the house little realise the strict regulations enforced behind the scenes in our first-class London theatres, the discipline of which is almost as severe as that of a Government office. Each theatre has its code of rules and regulations, which generally number about twenty, but are sometimes so lengthy they are embodied in a handbook. These rules and regulations have to be signed by every one, from principal to super, and run somewhat in this wise:
“The hair of the face must be shaven if required by the exigencies of the play represented.”
“All engagements to be regarded as exclusive, and no artiste shall appear at any other theatre or hall without the consent in writing of the manager or his representative.”
“All artistes engaged are to play any part or parts for which they may be cast, and to understudy if required.”
“In the event of the theatre being closed through riot, fire, public calamity, royal demise, epidemic, or illness of principal, no salary shall be claimed during such closing.”