It followed therefore, almost as a matter of course, that the theatre, without any exertion on his part, would, as it were, drop into his hands. He at once prepared to carry out his venture on the bold and sumptuous lines which have since made his reputation. The poor lady naturally fancied that she had a grievance; but her complaint ought in truth to have been directed against the hard fate which had placed her in a position that was above her strength.[17] With much gallantry and energy she set herself to do battle with fortune in a new and lower sphere. She secured the old theatre at Islington, which she partially rebuilt and beautified, and on the opening night was encouraged by a gathering of her old friends, who cheered her when she appeared, supported by her two faithful daughters. Even this struggle she could not carry on long. She took with her some of her old company, Bentley, the Brothers Lyons, and others, and she furnished melodramas, brought out in a somewhat rude but effective style, suited to the lieges of the district. Later Mr. Charles Warner, greatly daring, gave a whole course of Shakespearian characters, taking us through the great characters seriatim. It was indeed a very astonishing programme. But the truth was, she had fallen behind the times; the old-fashioned country methods would no longer “go down.” In a few years she gave up the weary struggle, and, quite worn-out, passed away to join the “old Colonel.”
CHAPTER VI.
1878.
THE NEW MANAGER OF THE LYCEUM—MISS TERRY—HIS SYSTEM AND ASSISTANTS.
The Lyceum was designed by a true architect at a time when a great theatre was considered to be a building or monument, like a public gallery or museum. In these days little is thought of but the salle or interior, designed to hold vast audiences in galleries or shelves, and laid out much like a dissenting chapel. The Lyceum is really a fine structure, with entrances in four different streets, an imposing portico, abundance of saloons, halls, chambers, and other dependances, which are necessary in all good theatres. There is a special grace in its lobby and saloon, and in the flowing lines of the interior, though they have suffered somewhat from unavoidable alterations.[18] The stage is a truly noble one, and offers the attraction of supplying a dignity and theatrical illusion to the figures or scenes that are exhibited upon it; thus contrasting with the rather mean and prosaic air which the stages of most modern houses offer. This dignified effect is secured at a heavy cost to the manager, for every extra foot multiplies the area of scenery to a costly degree, and requires many figures to fill the void. Beazely, a pleasant humorist and writer of some effective dramas, was the architect of this fine temple, as also of the well-designed Dublin Theatre, since destroyed by fire.[19]
It may be imagined that the financial portion of the transaction could have offered little difficulty. A man of such reputation inspires confidence; and there are always plenty ready to come forward and support him in his venture, his abilities being the security. A story was long industriously circulated that he was indebted to the generosity of a noble lady well known for her wealth and liberality, who had actually “presented him with the lease of the theatre.” The truth, however, was that Irving entirely relied on his own resources. According to a statement which he found it necessary to have circulated, he borrowed a sum of money on business terms, which he was enabled to pay off gradually, partly out of profits, and partly out of a substantial legacy. His first repayments were made out of the gains of his provincial tour.
The new manager’s first effort was to gather round him an efficient and attractive company. It became presently known that Miss Ellen Terry was to be his partner and supporter on the stage, and it was instantly, and almost electrically, felt that triumph had been already secured. People could see in advance, in their mind’s eye, the gifted pair performing together in a series of romantic plays; they could hear the voices blending, and feel the glow of dramatic enjoyment. This important step was heartily and even uproariously acclaimed. No manager ever started on his course cheered by such tokens of goodwill and encouragement, though much of this was owing to a natural and selfish anticipation of coming enjoyment.
The new actress, a member of a gifted family, was endowed with one of those magnetically sympathetic natures, the rarest and most precious quality a performer can have. It may be said to be “twice blessed,” blessing both him that gives and him that takes—actor and audience. She had a winning face, strangely expressive, even to her tip-tilted nose, “the Terry nose,” and piquant, irregular chin; with a nervous, sinuous figure, and a voice charged with melodious, heart-searching accents. She indeed merely transferred to the stage that curious air of fitful enjouement which distinguished her among her friends, which often thus supplied to her performances much that was unfamiliar to the rest of the audience. She had, in short, a most marked personality.
I possess a rare and possibly unique bill of one of Miss Ellen Terry’s earliest child-performances, which it may be interesting to insert here:
LECTURE HALL, CROYDON.
FOR ONE NIGHT ONLY!
Tuesday Evening, March 13th, 1860.