In the latter, more tragic portion of the play, the very intensity of the emotion seemed to add maturity and depth to the character of Romeo. Nothing could better supply the notion of impending destiny, of gathering gloom, than the view of the dismal heart-chilling street, the scene of the visit to the apothecary. Our actor’s picturesque sense was shown in his almost perfect conception of this situation. The forlorn look of the houses, the general desolation, the stormy grandeur in keeping with the surroundings, the properly subdued grotesqueness of the seller of simples (it was the grotesqueness of misery that was conveyed), filled the heart with a sadness that was almost real. In Miss Terry’s case there was a division of opinions, some thinking her performance all but perfect, others noting the absence of “girlishness.” All agreed as to its engaging character and its winning charm. Terriss was the Mercutio, which he gave with his favourite blunt impetuosity. But one of the most perfectly played characters was Mrs. Stirling’s Nurse. This accomplished woman represented all the best traditions—high training, admirable elocution, with the art of giving due weight and breadth to every utterance. And yet—here was a curious phenomenon—the very excellence of the delineation disturbed the balance of the play. The Nurse became almost as important as the leading performers, but not from any fault of the actress. She but followed the due course. This is a blemish which is found in many exhibitions of Shakespearian plays, where the inferior actor works up his Dogberry, or his Gravedigger, or his Jacques to the very fullest extent of which they are capable. But there should be subordination; these are merely humours exhibited en passant. With an actress of Mrs. Stirling’s powers and rank, the manager no doubt felt too much delicacy to interfere; nor would perhaps the audience have placidly accepted any effacing of her part. But as it was, the figure of this humble retainer became unduly prominent.[31]
‘Romeo and Juliet’ was witnessed one night by the impetuous Sarah Bernhardt, who afterwards came behind the scenes to congratulate the performers. “How can you act in this way every night?” she exclaimed to Ellen Terry. The latter, in her simple, natural way, explained: “It is the audience—they inspire me!”
Such was this refined, elegant, and truly brilliant spectacle, which, as usual, furnished “talk for the town,” and stirred its interest. The hundredth night of performance was celebrated by a banquet on the stage, on Sunday night, June 25, 1882. Here assembled critics, dramatists, artists, e tutti quanti; there were many admirers, friends, and sympathizers present, some of whom have since passed away—Sir W. Hardman, Dr. Cox, Laman Blanchard, Palgrave Simpson, and many more. There is a sadness in thinking of these disappearances.
Among the guests at the banquet was Mr. Abbey, the American manager, well known for his many daring and very successful coups in management. In the course of the night there were some rumours circulated as to the motives of his presence in town; but an allusion in Irving’s speech, when he said pointedly that he hoped next year to have good experience of the cordiality of American audiences, set the matter at rest. This scheme had long been in his thoughts; and, indeed, already many invitations and proposals had been made to him to visit the United States. There was something dazzling and fascinating in this prospect of going forth to conquer a new great kingdom and new audiences. There was the chance, too, of riches “beyond the dreams of avarice.” No wonder, then, that the scheme began to take shape, and was presently to be decided upon.
After one hundred and thirty nights’ performance of ‘Romeo and Juliet,’ the season was brought to a close, the manager taking “a benefit” on his last night. Some ungracious folk object to this old-established form of compliment, but he defended it in a very modest and judicious way.
CHAPTER XI.
1882.
‘MUCH ADO ABOUT NOTHING’—AMERICAN VISIT ARRANGED.
In his speech at the close of the season, the manager announced the new piece selected for the next season. With that judicious view to contrast or relief which directed all his efforts, he had settled on a true comedy—the effective ‘Much Ado About Nothing.’ To this piece many had long since pointed as being exactly adapted to the special gifts of the two performers. Here was the fourth Shakespearian play of an Italian complexion and atmosphere, which entailed accordingly a fresh exhibition of Italian streets, manners, and costumes. A happy impression was produced by the very note of preparation, the air was filled with the breath of the coming piece; all felt, in anticipation, the agreeable humours and fancies of Benedick and his Beatrice. This feeling of comedy, it may be said, is ever a delightful one; it spreads abroad a placid, quiet enjoyment and good-humour with which nothing else can compare.
On Wednesday, October 11, 1882, the delightful piece was brought out. From the excellent acting of the two principal performers, and the beautiful “setting” of the whole, it was destined to become one of the most popular and acceptable of the Lyceum répertoire. By a curious delusion, owing no doubt to the recollection of the lavish splendours of ‘Romeo and Juliet,’ some critics pronounced that it had been brought out with but a moderate display of scenic resources. The truth was that the play had been “mounted” with as much state as it would properly bear. Some scenes were equipped in an unusually lavish and superb style. The general effect, however, was harmonious; indeed, the happy tact of the manager was never displayed to such advantage as in seizing on what might be termed the proper key of the piece. When we recall, with a pleasant enjoyment, these various Lyceum spectacles, we find that there is no confusion of one with the other, that each has a special, distinct note, and thus is started a train of impressions, delightful for their variety, which enrich the chambers of the memory.
There was one scene which, for its splendour and originality, was to be talked of for many a day, viz., the beautiful interior of a church at Messina—the “Church Scene,” as it was called. The art displayed here, the combination of “built-up” scenery with “cloths,” the rich harmonious tintings, the ecclesiastical details, the metal-work, altars, etc., made an exquisite picture.[32] The well-known passage of the interrupted bridal was “laid out” with extraordinary picturesqueness, much emphasis being given to the religious rites. It was felt, however, that the genuflections before the altar were introducing rather too awful a suggestion, though the intention was, no doubt, reverent. It must be admitted by all whose memories wander back to that performance, that the vision of this “Church Scene” rises before them with an almost pathetic significance, owing in some part to the touching, sympathetic acting of Miss Millward. By this emphasizing of the state and publicity of the scene, the crowds and rich dresses and ecclesiastical robes, the “distressful” character of such a trial for a young bride was brought out in a very striking way.
All eyes, as it may be conceived, were drawn to the figures of Benedick and Beatrice, as portrayed by Irving and Ellen Terry. Their scenes were followed with a delighted interest, and their gay encounters of wit and flirtation gave unalloyed pleasure. Irving threw a Malvolian gravity over the character, alternated by a certain jocoseness.