Let Mary Midnight o’er the Nation

Reign Queen of Love by Deputation.”

A footnote at the end of these lines states Hallet to be “a child not nine years old, who plays upon the violoncello, and in every other respect has a capacity greatly beyond his Years. N.B. He is shortly to have a benefit, at which ’tis hoped all Mrs Midnight’s Friends will do him the Honour of their Presence.”

Benefits were far more common in Hallet’s time than they are now. From the great Garrick down to the scene-shifter, all the personnelle of the Theatres had their “Benefit” in the Autumn. Concerts were not so numerous, but concert artists also not infrequently adopted the practice. Contemporary with Hallet Dr Arne’s little son, who was possessed of a wonderful singing voice, gave benefit concerts at which he both sang and played the organ. Then again, there was a sweet singer, Master Mattocks; and a Miss Davies, “a child nine years old,” who gave a concert in the Great Room in Dean Street, Soho, and distinguished herself by playing a “concerto of Mr Handel’s on the Harpsichord”; and a youthful dancer called “The little Swiss,” all of whom had their benefits. Hallet was not “alone in his glory,” there were several child prodigies for him to compete with, and one cannot help admiring him all the more, for a talent that can cope with rivalry and hold its own, must be of no mean order.

Unfortunately musical journalism did not begin in England until the beginning of the last century, so there is no possibility of gauging Hallet’s capacities in this manner, but, doubtless, his benefit concert met with a large measure of support and success, for the following programme given in The General Advertiser for 6th February 1752, is of an attractive character:—

At the particular desire of Several Persons
of Quality
For the Benefit of Benjamin Hallet
A child of Nine Years of Age
At the New Theatre in the Hay-market
This day will be exhibited a Grand Concert of
MUSICK
By Gentlemen mask’d after the Manner of the
Grecian and Roman Comedy. Boxes 5s. Pit 3s.
At the same time will be performed
The Old Woman’s Oratory
To be concluded by Mrs Mary Midnight and
her family.
To be divided into Three Acts.
Act the first will contain

1. A grand Piece with Kettle-Drums and Trumpets. 2. Solo on the Violoncello by Cupid. 3. The Inauguration speech by Mrs Mary Midnight. 4. Concerto for two Clarinettes. 5. Mr Handel’s Waterpiece, with a Preamble on the Kettle-Drums.

Act the Second

1. A full piece. 2. A piece by Signor Bombasto. 3. The Speech of Mrs Midnight in Defence of her Existence. 4. Solo on the Cymbalo. 5. Overture in Otho. 6. An Oration on the Salt-Box by a Rationalist.

Act the Third

1. An Italian Song by Signor Bombazeno. 2. A new dissertation by Mrs Midnight. 3. A French Horn Concerto. 4. A Declamatory Piece on the Jew’s Harp by a Casuist. 5. March in Judas Maccabeus, with the Side-Drum.

With a new occasional Prologue written by a gentleman of the University and an Epilogue to be spoken by Master Hallet in the character of Cupid.

The Doors to be opened at Six o’clock; and the Concert to begin exactly at Seven.

The House will be made very warm, and illuminated with Wax Lights.

Then follows the same remark about Benjamin Hallet’s capabilities which we have already quoted from The Old Woman’s Magazine, ending with the announcement that tickets could be had of Mr Hallet, in Exeter Court, near Exeter Exchange, in the Strand.

It is noticeable that this magnificent affair began at seven o’clock, an arrangement calculated to admit the Hoi polloi, and augment the managerial receipts, and also that the programme reveals little Hallet to have been possessed either of a large amount of modesty or perspicuity, for out of the fifteen or more items there announced only two were appropriated by himself. It must be remembered that although such masters as Handel, Buononcini, Arne, etc., had their numerous admirers among the more cultured musical amateurs, still, much of the British public were just as pleased with the Jew’s harp, marrow bones, and salt-box as with an oratorio of Handel’s or an aria of Arne’s. Benjamin probably realised the preference generally felt for these instruments, and for this reason put himself and the graver violoncello in the background at his concert, allowing the Jew’s harp and other grotesqueries the place of honour. A most amusing satire—among others—on the general taste for these caricatures of musical instruments, was written by Bonnell Thornton, whose wit would have been supreme, but for his contemporary, Kit Smart. With excellent humour he burlesqued the use of what he termed those “Ancient British instruments,” in an amusing lampoon entitled “Ode on St Cecilia’s Day, adapted to the Ancient British Musick: the Salt Box, the Jew’s Harp, the Marrow Bones, and Cleavers, the Hum Strum or Hurdy Gurdy” (London, 1762). No one appreciated this sally more than Dr Johnson, who, it is said, delighted in repeating extracts from it by heart. A number of Bonnell Thornton’s quaint conceits appeared in his magazine Have at you all, or The Drury Lane Journal, which emulated Fielding’s Covent Garden Journal, but was neither so long lived nor so successful. Under the pseudonym of “Mrs Roxana Termagant,” Bonnell Thornton pursued his editorial labours, and introduced into its pages many a burlesque skirmish with his contemporaries’ magazines, The Midwife and The Covent Garden Journal, and in the year 1752 a witty account of a visit made by “Mrs Mary Midnight” to “Madam Roxana Termagant” appeared.

Little Hallet was evidently a favoured protégé of all the wits of the day from his connection with one of the most popular entertainments then in vogue, and there is little doubt that he proved an attraction, as his name appears among the performers during the whole of the first season and again in the following season. On the 10th April 1753 The Public Advertiser announces a concert:

For the Benefit of
Master Benjamin Hallet and Sig. Gapatuns
At the New Theatre in the Hay-market.
This Day will be exhibited
Mrs Mary Midnight’s Concert

With a new occasional Prologue, to be spoken by Master Hallet, in the character of Cupid; and an Epilogue by Mrs Midnight on a Jack Ass; likewise a new Song called The Dust Cart, by Mr Joe, accompanied by Sig. Bombasto. To which will be added a Grand Dance in the old British Taste, and a hornpipe by the great Mons. Timbertoe.

Boxes 5s.Pit 3s. Gallery 2s.

Tickets to be had at Mr Johnson’s Musick-shop in Cheapside; Mr Peter Thomson’s in St Paul’s Church-yard; Mr Jones’s in Holborn; and at Mr Waylett’s in Exeter Exchange in the Strand, and at the Theatre.

This will be the last time except one, that Master Hallet will perform at this Theatre.