A History of Pantomime

by R. J. Broadbent

"It is a pity (observes Dickens, in 'The Theatre') that the knowledge of it (Pantomime) cannot be more extended among our modern actors and actresses, so few of whom understand anything about the effectiveness of appropriate gesture. A few lessons in the business of Harlequin would teach many a young man, for instance, the simple lesson that arms may be moved with advantage from the shoulder as well as from the elbow; and so we should get rid of one of the awkwardest, ugliest, and commonest of modern stage tricks. And there would be nothing derogatory in the study. Many of our most distinguished actors have graduated in Pantomime."

Mr. Davenport Adams, writing in "The Theatre," for January, 1882, on the decline of Pantomime, says:—

"We may say of present-day Pantomime that the trail of the music-hall is over it all. I admit the extreme ability of certain music-hall comedians. I object, however, altogether, to the intrusion of such artists into the domain of Pantomime, and I do so because they, and others not so able, bring with them, so to speak, an atmosphere which it is sad to see imported into the theatre. They bring with them, not only their songs, which, when offensive in their wording, are sometimes made doubly dangerous by their tunefulness; not only their dances, which are usually vulgar, when they are not inane, but their style and manner and 'gags,' which are generally the most deplorable of all. The objection to music-hall artists on the stage is, not only that they take the bread out of the mouths of 'the profession,' which is a minor consideration for the public, but that they have the effect of familiarising general audiences, and children especially, with a style and a kind of singing, dancing, and 'business' which, however it may be relished by a certain class of the population, ought steadily to be confined to its original habitat. The managers are, of course, very much to blame, for it is by their permission, if not by their desire, that youthful ears are regaled with 'W'st, w'st, w'st,' and similar elegant compositions. Such songs as these would not be tolerated by paterfamilias in his drawing-room, yet, when he takes his children to the Pantomime, they are the most prominent portion of the entertainment."

In the last century, Pantomimes, in the form so dear to our forefathers, sometimes twice yearly—at Easter and Christmas—were given. The comic and other scenes were in that true sense of the word humorous and funny. The reason was not far to seek, as they were all played by actors. The music-hall had not, as far as Pantomime was concerned, made such inroads as at the present time it has done into the dramatic profession. Clown, to pater and materfamilias, and others, was a source of genuine enjoyment; and though they may have passed the sere and yellow leaf of age, the laughs and hearty merriment of their grand-children gathered around them made them think of other days, when they were young themselves. Picture them all, dear reader, sitting in the Family Circle—now termed the Dress Circle—a happy party with smiling and contented faces, laughing at some genuine acting—Pantomime though it be—no double entendre songs, and nothing to be ashamed of.

To the young a visit to the Pantomime was invariably a yearly occurrence to be joyfully remembered till the next Boxing Day came round again. Do they, or can they, understand Pantomime in its present form? I very much doubt it.

When towards the close of the 'fifties, and the double plot was abandoned, the character of Harlequin began to be played by women, the origin of what is now known as the "principal boy," and some acrobatic turns, or other speciality business, began to be introduced during the course of the Pantomime, which greatly discounted the efforts of Harlequin and Clown.

Another competitor that took up the running to the abolition of Clown and his companions, was the music-hall, which began introducing Pantomimes and ballets. The first to do this, some years ago, was the Canterbury, other halls soon following suit.

The managers of the theatres took up arms, with the result that various decisions, chiefly averse to the music-halls, were obtained. A decision of the Court of Common Pleas left the music-halls in a position to give ballets with costume and scenic effects without any such control or precautions as was exercised in theatres under the Lord Chamberlain's authority. The duration of the litigation was all owing to the vague definition "Stageplays in the 6 and 7 Vict. c. 68," and of "Music, dancing and public entertainments in the Act 25, Geo. II., c. 30."

Of present-day Pantomime, with the immense sums spent annually on its gorgeous spectacular display and costly dresses, there is no necessity for me here to dilate upon, as it is a subject that is well known to us all. All that is beautiful about it is due principally to the scenic artists and the costumiers. The best parts are, as a general rule, allotted to music-hall "stars," whose names will draw the most money. And the followers of Thespis have, until the reign of King Pantomime is over, to take oftentimes second-class places in the Pantomimic form of entertainment of the present day.

In the old days everyone looked forward to the performances of Clown and his companions; but little by little their business went, until finally this has dwindled down to about one or two scenes—which, in some few instances is still retained.