The Headmaster’s servant, it should be added, was entrusted with the duty of seeing that no Colleger got out at night. Strict fidelity to this duty made him highly unpopular, for he would never consent to be bribed. Principal and only locker-up and gaoler to the boys, birch collector, and rod distributor, he was generally known by the mythological appellation of Cerberus.
Life in Long Chamber, like most unpleasant ordeals, had its alleviations. Once a year, for instance, there was an impromptu masquerade, concluded by a march round, for which Jobey Joel, an Eton character who survived till a few years ago, supplied the music, and, extraordinary as it may seem, theatricals flourished unchecked. Such performances dated back to the early eighteenth century, since which time they had been given with the full knowledge of the authorities. In 1762, it is true, Dr. Barnard, who was then Headmaster, had tried to stop them, bursting in upon a representation of Cato, and, much to his disgust, finding that a long wig which he tore from one of the actor’s heads belonged to the Vice-Provost; but no drastic measures were taken, and theatricals continued to take place as before. Out of Long Chamber, however, the drama was tabooed. Both Drs. Keate and Hawtrey connived at the performances in Long Chamber, the latter especially ignoring all theatrical preparations even when they were right under his nose. Favourite pieces were A Midsummer Night’s Dream, High Life below Stairs, and Orlando Furioso. For the purposes of this last play, Anson—a powerful Colleger—once actually smuggled a donkey into College, where it was stabled and fed till brought out to carry Bombastes. The last play ever given in Long Chamber was A Night in China, written by a Colleger named King, and played in 1845. After this, however, some Collegers, amongst whom was Frank Tarver, afterwards well known to several generations of Etonians as French Master, indulged in theatricals at the back of Turnock’s tailor’s shop in the town.
MR. BOURCHIER’S ETON DAYS
Eton has furnished some capital recruits to the London stage—Charles Kean, the brothers Hawtrey, Mr. Willie Elliot, and others, including that excellent actor, Mr. Arthur Bourchier, who even as an Eton boy was celebrated for his dramatic zeal. About 1882, with Bogle Smith, Collet, Gilmor, and a few more, he organised the “Eton Strollers,” the prologue for whose first play was written by the Hon. Arthur Bligh, a boy of considerable literary and poetic taste, who, in collaboration with Bourchier, wrote a drama which was sent to Irving for production. “Do these boys play cricket?” inquired the great actor when he received the manuscript; as a matter of fact both were very fair cricketers, Bourchier being a good wicket-keep.
Mr. Bourchier’s first theatrical entrepreneur was Lord Kenyon, in whose room at Cameron’s he made his début in Uncle’s Will, in which he acted with Johnson and Berkeley-Levett. When Mr. Cameron, who was not sympathetic to theatricals, left Eton, Bourchier went to the Rev. T. Dalton’s, where his aspirations received far greater encouragement; indeed his Housemaster became imbued with such enthusiasm for theatricals that a colleague once chaffingly inquired of him, “Is it true that young Bourchier is going to bring you out on the Music Hall stage?” Regular performances were now given in Pupil Room, for which a small charge—generally a penny a seat—was made, the proceeds going to the Eton Mission, for the benefit of which the whole company, including Mr. Dalton (who gave a humorous recitation), gave an entertainment at Hackney Wick.
The exigences of the drama, however, occasionally clashed with discipline. When, for instance, in Still Waters Run Deep, after the lines, “Do you smoke?” “Yes, I’ll have a cigar,” two of the actors lit up, Mr. Dalton from his place amongst the audience shouted out, “No, you don’t,” and was only appeased by an examination of the cigars, which proved to be dummies. On another occasion when a careless or mischievous Lower boy had manufactured snow for the duel scene in the Corsican Brothers by tearing up a pile of “extra-works” which had been lying on Mr. Dalton’s desk for correction, the latter became so scandalised at seeing the duellists enveloped in a “cloud of equations” that, after ejaculating, “One minute! This performance now ceases,” he set actors and audience to the uncongenial task of putting the pieces together. The most ambitious effort of the company was an elaborate performance of The Merchant of Venice, in which Reggie Lucas ([see Chapter X].) took part.
Bourchier was celebrated for his imitations of Masters, about the most amusing of which was an impersonation of a certain squeaky-voiced tutor after he had been cut over by an imaginary cricket ball. As luck would have it, the latter, whilst playing in an eleven of Masters against boys, one of whom was Bourchier, did happen to sustain a painful injury, with the result that he proceeded to give an almost exact reproduction of himself as portrayed by his imitator, who could not help being convulsed with laughter as he led the sufferer off the ground. Later on, the victim, who, of course, had no idea of the real cause of this merriment, said to a colleague, “What hurt me more than the pain was the brutality of the boy Bourchier.”
“UNDER THE CLOCK”
In course of time Bourchier formed his imitations into a sketch, entitled Under the Clock, which depicted a number of Eton Masters at Lord’s, and before he left the late Mr. R. A. H. Mitchell arranged that this should be heard by the individuals concerned, whom he posted behind trees in Poet’s Walk whilst the author gave his performance close by. They were all very much amused, and when it was over came forward to congratulate the youthful aspirant to dramatic fame, whom they shook warmly by the hand and wished him all success in his future career.
To return to the story of College—the pleasures as well as the trials of Long Chamber came to an end in 1845, for in September of that year the new buildings were opened and the old days of College became mere memories of an obsolete age. The discomforts and hardships of Long Chamber were then forgotten by most of the boys who had slept there. In spite of the far better conditions they chafed at the lack of freedom and the end of “Fire-place” with its suppers and choruses. The Chamber itself, though not pulled down, was entirely remodelled, cubicles for a limited number of boys being constructed and the whole place made habitable and clean.