I'd settle the business with one sweep—a clean one!
THE COURT JESTERS.
Thanks to Messrs. SIMS and RALEIGH and the Court Company for a good hearty laugh, and many of them at their new three-act farcical comedy, The Guardsman. It Raleigh is good, and Sims likely to be in for a long run. Therefore, congratulations to Mr. CHUDLEIGH, who is in the proud position of "Sole Lessee and Manager," of the Court. Odd, as a correspondent remarked in a letter to Mr. Punch last week, is the coincidental resemblance of the master-motive of the plot to that of Incognita at the Lyric; viz., the young man refusing to marry the girl with whom he is really in love, because he is in love with the very same young lady without knowing her name or anything about her. But hath not the old Spanish Comedy-writer, GONZALES, used it three times? hath not his fellow-countryman, VEGA MORVEGA, used it in his now obsolete play of The Distressed Mother? and hath not VODENDOL, the Norwegian dramatist, absolutely nauseated us with it, not to mention its constant use by that imitation of GOLDONI, Count ERFITO D'ALUMINIO? And to come nearer home, did not the German—but why pursue the "motive" until you run it to earth, and even then it won't be killed, but will be flourishing thousands of years hence, when the New Zealand playwright among the ruins of London shall take up his note-book and commence a scenario on the old, but to him, quite original idea.
Then, in the last Act of The Guardsman, if we have a French room with half-a-dozen doors, leading to half-a-dozen different places, with which arrangement not a few of us are familiar in pieces brought over fresh from the Palais Royal, and occurring in farces of which Bébé, Anglicè Betsey, at the Gymnase and Criterion is a type, shall we complain? Shall we not rather laugh heartily over the good old game of Hide-and-Seek, which on the stage is invariably the cause of much amusement to one person for whom, at all events, I can answer? What does it matter if to some it recalls a few farcical comedies all excellent material? Not a bit! I gather from the genuine laughter and applause of the crowded house at the Court, that this amuses and will continue to amuse some hundreds nightly, as long as it is all done so well, and at such high pressure, as it is now in The Guardsman. The First Act is good; the Second is the best; but the Third is like the last figure in an after-supper early-in-the-morning Lancers, ending in a whirligig galop, when everything is fast and furious, and just the tune and its measure taken prestissimo and fortissimo keep the couples going till everybody is breathless and exhausted.
WEEDON GROSSMITH is excellent. In brief, he plays the part of a thorough donkey, who wishes to appear "horsey." ARTHUR CECIL is admirable as the Ex-Judge of the Divorce Court—suggesting the idea of a gay old gentleman, who is still a bit of a dog—but a dog who has had his day. If this is not his character, how is it he is on such friendly terms with the Modiste, carefully played, and with great spirit too, by Miss AGNES THOMAS? Mr. ELLIOT is all go and bustle; if he were not so, pop would go the piece. The makeup of Mr. LITTLE for the old Captain is uncommonly good; it is a small part, but, with a LITTLE in it, it is big. Mr. NAMBY, as the Irishman, Miles, first-rate; quite Miles gloriosus. But I can't go on with praise, they're all so good, and ELLALINE TERRISS charming. Miss CAROLINE HILL, fresher than the proverbial paint, makes a rattling part of Lady Jones, and, as the motto of this Company is that of Racing Eights, "Swing, swing together!"—which might, in another sense, have been the refrain sung by a brazen band of Highwaymen in the good old times—it is likely that they'll keep the Court-Boat going the pace, with the tide of popular favour, for many months to come.
As a Postscript, I may add a letter on the subject addressed to Mr. Punch.