Powell was threatening to break every bone in his skin. In his dresser's opinion the actor was a man likely to keep his word. With a cry of "Here I am, master!" Warren sprang up, clothed in sable draperies which were fastened to the handles of his bier. The house roared with surprise and laughter. Enc.u.mbered by his charnel-house trappings, the dead Lothario precipitately fled from the stage. The play, of course, ended abruptly. For once the sombre tragedy of "The Fair Penitent" was permitted a mirthful conclusion.

Whenever unusual physical exertion is required of a player, a perilous fall, or a desperate leap, a trained gymnast is usually engaged as double to accomplish this portion of the performance. When in the stage versions of "Kenilworth," Sir Richard Varney, in lieu of Amy Robsart, is seen to descend through the treacherous trap and incur a fall of many feet, we may be sure that it is not the genuine Varney, but his double who undergoes this severe fate. The name of the double is not recorded in the playbill, however, and he wins little fame, let him acquit himself as skilfully as he may. Occasionally, however, doubles of this kind are found to emerge from obscurity and establish a reputation of their own. In 1820, a pantomime, dealing with the fairly tale of "Jack and the Beanstalk," was produced at Drury Lane.

The part of the hero was allotted to little Miss Povey, who declined, however, to undertake Jack's feat of climbing the famous beanstalk, a formidable structure reaching from the stage to the roof of the theatre. It became necessary to secure a subst.i.tute who should present some resemblance to the small and slight figure of the young actress, and yet be sufficiently strong and courageous to undertake the task she demurred to. The matter was one of some difficulty, and for some time no competent double was forthcoming. One morning, however, Winston, the stage-manager, descried a little active boy, acting as waterman's a.s.sistant, at the hackney-coach stand in Bedford Street, Covent Garden. He was carried to the theatre and his abilities put to the test at a rehearsal of the pantomime. His performance was p.r.o.nounced satisfactory. He nightly appeared during the run of "Jack and the Beanstalk" as the climbing double of Miss Povey. Subsequently, he became one of the pupils of the clown. The boy said he believed his name was Sullivan. Years afterwards he was known to fame as Monsieur Silvain, ballet-master, and princ.i.p.al dancer of the Academic Royale, Paris, an artist of distinction, and a most respectable member of society.

Mrs. Mowatt, the American actress, has recorded in her Memoirs a curious instance of a double being employed in connection with a dummy to secure a theatrical illusion of a special kind. The play produced at the Olympic Theatre some twenty years ago, was an English version of the "Ariane" of Thomas Corneille. In the original, Ariadne, upon the discovery of the perfidy of Theseus, falls upon a sword and expires. This catastrophe was altered in the adaptation, and a startling effect produced by the leaping of the heroine from a rock, and her plunging into the sea, while the ship of Theseus is seen departing in the distance. It was found necessary that three Ariadnes, similarly costumed, and identical in appearance, should lend their aid to accomplish this thrilling termination. Mrs. Mowatt, as Ariadne the first, paced the sh.o.r.e, and received the agonising intelligence of the desertion of Theseus. A ballet-girl, as Ariadne the second, climbed the rocks of the Island of Naxos, reaching the highest peak to catch the last glimpse of the vanishing vessel. The third Ariadne was a most lifelike lay figure, which, on a given signal, was hurled from the cliff, and seen to fall into the abyss below.

The greatest difficulty seems to have been experienced at rehearsal in persuading Ariadne the second even to walk up the steep rocks of Naxos. The poor ballet-girl had been chosen for this duty less because of her courage than on account of an accidental resemblance she bore to Mrs. Mowatt. "She stopped and shrieked halfway, protested she was dizzy, and might fall, and would not advance a step farther. After about half-an-hour's delay, during which the poor girl was encouraged, coaxed, and scolded abundantly, she allowed the carpenter, who had planned the rocky pathway, to lead her carefully up and down the declivity, and finally rushed up alone." At a certain cue she was required to fall upon her face, concealed from the audience by an intercepting rock, and then the lay figure took its flight through the air.

The success of the performance appears to have been complete. The subst.i.tution of the double for Ariadne, and the dummy for the double, even puzzled spectators who were provided with powerful opera-gla.s.ses.

"The illusion was so perfect," Mrs. Mowatt writes, "that on the first night of the representation, when Ariadne leaped from the rock, a man started up in the pit, exclaiming in a tone of genuine horror: 'Good G.o.d! she is killed!'" How this exclamation must have rejoiced the heart of the stage-manager! For one would rather not consider the possibility of the "man in the pit" having been placed there by that functionary with due instructions as to when and what he was to exclaim.

It is a sort of doubling when, in consequence of the illness or absence of a performer, his part is read by some other member of the company. In this way curious experiments have sometimes been made upon public patience. At Dublin, in 1743, Addison's tragedy was announced for representation, with Sheridan, the actor, in the character of Cato. Sheridan, however, suddenly declined to appear, the costume he had usually a.s.sumed in his performance of Cato being absent from the wardrobe. In this emergency, Theophilus Cibber submitted a proposition to the audience that, in addition to appearing as Syphax in the play, he should read the part Mr. Sheridan ought to have filled. The offer was accepted, the performance ensued, and apparently excited no opposition. Sheridan was much incensed, however, and published an address to the public. Cibber replied. Sheridan issued a second address, to which Cibber again responded. Their correspondence was subsequently reprinted in a pamphlet ent.i.tled "Sock and Buskin." But the fact remained that "Cato" had been represented with the chief part not acted, but read by a player who had other duties to fulfil in the tragedy. One is reminded of the old-established story of the play of "Hamlet" being performed with the omission of the character of the Prince of Denmark; a tradition, or a jest, which has long been attributed to Joe Miller, or some similar compiler of facetiae. It would seem, however, that even this absurd legend can boast some foundation of fact. At any rate, Mr. Parke, the respectable oboist of the Opera House, who published his Musical Memoirs in 1830, is found gravely recording of one Cubit, a subordinate actor and singer of Covent Garden Theatre, that once, "when during one of his summer engagements at a provincial theatre, he was announced to perform the character of Hamlet, he was seized with a sudden and serious illness in his dressing-room, just before the play was going to begin; whereupon the manager, having 'no more cats than would catch mice,'

was constrained to request the audience to suffer them to go through with the play, omitting the character of Hamlet; which, being complied with, it was afterwards considered by the bulk of the audience to be a great improvement." Mr. Parke proceeds to record, by way, perhaps, of fortifying his story: "Although this may appear ridiculous and improbable, an occurrence of a similar kind took place several years afterwards at Covent Garden Theatre, when Cooke, the popular actor, having got drunk, the favourite afterpiece of 'Love a la Mode' was performed before a London audience (he being absent) without the princ.i.p.al character, Sir Archy MacSarcasm."

CHAPTER XXVII.

BENEFITS.

Philip Henslowe, who, late in the sixteenth century, was proprietor of the old Rose Theatre, which stood a little west of the foot of London Bridge, at Bankside, combined with his managerial duties the occupation of p.a.w.nbroker, and was employed, moreover, as a kind of commission agent, or middleman, between dramatic authors and actors.

It probably seemed as natural to the manager to engage in these different employments as to require his players to "double" or "treble" parts in plays possessed of an unusually long list of _dramatis personae_. He had married Agnes Woodward, a widow, whose daughter, Joan, became the first wife of Edward Alleyn, the actor, the founder of Dulwich College. Henslowe had been the servant of Mrs.

Woodward, and by his union with her he acquired considerable property.

Forthwith he const.i.tuted himself "a banker of the poor"--to use the modern euphonious synonym for p.a.w.nbroker--and advanced money for all needing it who were able to deposit with him plate, rings, jewels, wearing apparel, or other chattels of value. The playwrights of the time constantly obtained loans from him, not always that he might secure their compositions for his theatre, but often to relieve their immediate wants; and it is plain that he constantly availed himself of their necessitous condition to effect bargains with them very advantageous to his own interests. Robert Daborne, the dramatist, for instance, appears to have been particularly impecunious, and he was, moreover, afflicted with a pending lawsuit; the sums he obtained for his plays from the manager were therefore very disproportionate and uncertain. His letters to Henslowe are urgent in solicitations for payment on account of work in hand; he was often obliged to send his ma.n.u.scripts piecemeal to the manager, and on one occasion supplied a rough draft of the last scene of a play in order to obtain a few shillings in advance. The amounts paid for new plays at this time were very low. Before 1600 Henslowe never gave more than 8 for a play, but after that date there was a considerable rise in prices. In 1613 Daborne received 20 for his tragedy of "Machiavell and the Devil." In the same year, however, for another play, "The Bellman of London," he was content to take 12 and "the overplus of the second day." He had demanded 20 in the first instance, but being in great stress for money, had reduced his terms, beseeching Henslowe "to forsake him not in his extremity." Daborne's letters of entreaty indeed expose his poverty in a most pathetic manner, while occasionally they betray amusingly his vanity as an author. In one of his appeals to the manager, he writes: "I did think I deserved as much money as Mr.

Ma.s.singer;" but this estimation of himself and his writings has not been confirmed by later ages.

The "overplus of the second day" was probably, as a rule, not very considerable, seeing that a payment of 20 down was regarded as a higher rate of remuneration than 12 and "the overplus," whatever it might produce, in addition. Daborne's needs, however, may have induced him to prize unduly "the bird in the hand." Still his brother-authors held similar views on the subject. They, too, disliked the overplus system, while the managers as resolutely favoured it. So that, apart from the consideration that poverty clings to certainty because it cannot afford speculation, and that, to the literary character especially, a present payment of a specified sum is always more precious than possible undefined profits in the future, we may conclude that the overplus system generally told to the advantage of the managers. In the end the labourers had to yield to the capitalists; indeed, they could make little stand against them.

Authors have never manifested much faculty for harmonious combination, and a literary strike was no more conceivable then than now. In time a chance of the overplus became hardly separable from the method of paying dramatists. It was thought, perhaps, that better works would be produced by the writers who were made in some sort dependent for profit upon the success of their plays and partners in the ventures of the managers. In such wise the loss sustained from the condemnation of a play at its first representation would not fall solely upon the manager; the author would at least be a fellow-sufferer. Gradually the chance of the overplus was deferred from the second to the third performance. The system no doubt varied according to the position of the dramatist, who, if he were a successful writer, could make his own terms, so far as the selection of the overplus night was concerned.

Sir John Denham, in the prologue to his tragedy, "The Sophy," acted at Blackfriars about 1642, speaks of the second _or_ third day's overplus as belonging to the poet:

Gentlemen, if you dislike the play, Pray make no words on't till the second day Or third be pa.s.sed.

After the Restoration it became a settled practice that what was then called "the author's night" should be the third performance of his play; and the dramatist in time received further profit from subsequent representations.

Then grant 'em generous terms who dare to write, Since now that seems as dangerous as to fight; If we must yield yet ere the day be fixt, Let us hold out the third, and, if we may, the sixth.

_Prologue, "The Twin Rivals," Farquhar, produced 1702._

"In Dryden's time," writes Dr. Johnson, explaining that with all his diligence in play-writing the poet could not greatly improve his fortune,[2] "the drama was very far from that universal approbation which it has now obtained. The playhouse was abhorred by the Puritans, and avoided by those who desired the character of seriousness or decency. A grave lawyer would have debased his dignity, and a young trader would have impaired his credit by appearing in those mansions of dissolute licentiousness. The profits of the theatre, when so many cla.s.ses of the people were deducted from the audience, were not great, and the poet had, for a long time, but a single night. The first that had two nights was Southern; and the first that had three was Rowe. There were, indeed, in those days, arts of improving a poet's profit, which Dryden forbore to practise; but a play seldom produced him more than a hundred pounds by the acc.u.mulated gain of the third night, the dedication, and the copy."

[2] He had, it was alleged, entered into a contract to furnish four plays in each year.

These "arts of improving a poet's profit" consisted in the canva.s.sing his friends and patrons, distributing tickets, and soliciting favour in all quarters. By his address in these matters, Southern's tragedy, "The Spartan Dame," produced him 500; indeed, he is said to have profited more by his writings for the stage than any of his contemporaries. Malone states that Addison was the first to abandon the undignified custom of appealing personally to the public for support. But it has been pointed out that this is an error. Addison gave the profits of "Cato" to the managers, and was not required therefore to appeal on his own behalf to the public. Goldsmith's "Good-natured Man," it may be noted, was played ten consecutive nights, and the third, sixth, and ninth performances were advertised as "appropriated to the author." These three nights produced him 400, and he received 100 more from Griffin, the publisher, for the publication of the play--the entire receipts being immediately, with characteristic promptness, spent in the purchase of the lease of his chambers in Brick Court, Middle Temple, and in handsome furniture, consisting of "Wilton carpets, blue moreen mahogany sofas, blue moreen curtains, chairs corresponding, chimney-gla.s.ses, Pembroke and card tables, and tasteful book-shelves." According to Malone, one hundred guineas remained for many years, dating from 1726, the standard price paid by the publishers for a new play.

In addition to these "authors' nights," performances were occasionally given for the benefit of an author suffering from adverse circ.u.mstances. Thus, in 1733, a performance was organised at the Haymarket Theatre for the benefit of Mr. Dennis, the critic and dramatist. "The Provoked Husband" was represented, and Pope so far laid aside his resentment against his old antagonist as to supply a prologue for the occasion. Nevertheless, it was noticed that the poet had not been able to resist the temptation of covertly sneering at the superannuated author, and certain of the lines in the prologue were found susceptible of a satirical application. Happily, poor Dennis, protected by his vanity or the decay of his intelligence, perceived nothing of this. Indeed, the poor old critic survived the benefit but twenty days, dying in the seventy-seventh year of his age. Other benefit performances on behalf of distressed men of letters, or their families, have frequently been given, even in quite recent times; but these are not to be confounded with the "authors' nights," as they were originally understood. "Authors' nights," strictly so called, have disappeared of late years. Modern dramatists are content to make private arrangements in regard to their works with the managers, and do not now publicly advance their personal claims upon the general consideration. They may profit by an "overplus," or be paid by the length of a "run" of their plays, or may sell them out-right at once for a stipulated sum. The public have no knowledge of, and no concern in, the conditions of their method of transacting business. But from the old overplus system of the Elizabethan stage resulted those special performances called "benefits," still known to the modern playgoer, though now connected in his mind almost altogether with actors, and in no degree with authors. Nevertheless, it was for authors that benefits were originally inst.i.tuted, in opposition, as we have seen, to their wishes, and solely to suit the convenience and forward the interests of managers such as Mr. Henslowe.

Certainly in Shakespeare's time the actors knew nothing of benefits.

They obtained the best price they could for their services, and the risk of profit or loss upon the performance was wholly the affair of the manager. Indeed, it was long after the time when the chance of an overplus had become systematised as a means of paying authors, that it occurred to anyone that actors might also be remunerated in a similar way. In olden days the actor's profession was not favourably regarded by the general public; his social position was particularly insecure; he was looked upon as of close kin to the rogue and the vagabond, and with degrading possibilities in connection with the stocks and whipping-post never wholly remote from his professional career. An Elizabethan player, presuming to submit his personal claims and merits to the consideration of the audience, with a view to his own individual profit, apart from the general company of which he was a member and the manager whom he served, would probably have been deemed guilty of a most unpardonable impertinence. Gradually, however, the status of the actor improved; people began to concede that he was not necessarily or invariably a mountebank, and that certain of the qualities and dignities of an art might attach now and then to his achievements. The famous Mrs. Barry was, according to Cibber, "the first person whose merit was distinguished by the indulgence of having an annual benefit play, which was granted to her alone," he proceeds, "if I mistake not, first in King James II.'s time, and which became not common to others until the division of the company, after the death of King William's Queen Mary." However, in the preceding reign, in the year 1681, it appears by an agreement made between Davenant, Betterton, and others, that Charles Hart and Edward Kynaston were to be paid "five shillings apiece for every day there shall be any tragedies or comedies or other representations at the Duke's Theatre, in Salisbury Court, or wherever the company shall act during the respective lives of the said Charles Hart and Edward Kynaston, excepting the days the young men or young women play for their own profit only." Benefits would certainly seem to be here referred to, unless we are to understand the performances to be of a commonwealth kind, carried on by the players at their own risk, and independently of the managers. Still, to King James's admiring patronage of Mrs.

Barry, the benefit system, as it is at present known to us, has been generally ascribed; and clearly the monarch's memory deserves to be cherished on this account by our players. He can ill afford to forego the smallest claim to esteem, and undoubtedly he entertained a friendly regard for the stage and its professors. Indeed, the Stuarts generally were well disposed towards the arts, and a decidedly playgoing family.

For some years, however, actors' benefits did not extend beyond the case of Mrs. Barry. But in 1695 the patentees of the theatres were so unfortunately situated that they could not satisfy the claims of their actors, and were compelled to pay them "half in good words and half in ready money." Under these circ.u.mstances certain of the players compounded for the arrears of salary due to them by taking the risk of benefit performances. After a season or two these benefits were found to be so advantageous to the actors that they were expressly stipulated for in their agreements with the managers. On the other hand, the managers, jealous of the advantages secured in this wise by the players, took care to charge very fully for the expenses of the house, which were of course deducted from the gross receipts of the benefit-night, and further sought to levy a percentage upon the profits obtained by the actors. In 1702 the ordinary charge for house expenses, on the occasion of a benefit at Drury Lane, was about 34.

In Garrick's time the charge rose to 64, and was afterwards advanced considerably. Still the actors had special sources of profit. Their admirers and patrons were not content to pay merely the ordinary prices of admission, but bought their tickets at advanced rates, and often sent presents of money in addition. Thus Betterton--whose salary, by-the-bye, was only 4 per week--took a benefit in 1709, when he received 76 for two-thirds of the receipts upon the ordinary scale--one-third being deducted by the manager for expenses--and a further sum of 450 for the extra payments and presents of his friends. The boxes and pit were "laid together," as it was called, and half-a-guinea was charged for admission. "One lady gave him ten guineas, some two, and most one guinea. Further, he delivered tickets for more persons than the boxes, pit, and stage could hold, and it was thought that he cleared 450 at least over and above the 76."

Certainly the great actor enjoyed on this occasion of his benefit what is popularly known as "a b.u.mper."[3]

[3] Macready, on the occasion of his taking a benefit, invariably refused to receive any payment in excess of the ordinary charges for admission to the theatre, and was wont, with a polite note of thanks, to return the balance to those who, as he judged, had overpaid him for their tickets.

The system of actors' benefits having thus become thoroughly established, was soon extended and made applicable to other purposes, for the most part of a charitable kind. Thus, in 1711, a benefit performance was given in aid of Mrs. Betterton, the widow of the late famous tragedian, who had herself been an actress, but had for some time ceased to appear on the stage owing to age and other infirmities.

The "Tatler," after an account of Betterton's funeral, describes feelingly the situation of his widow: "The mention I have here made of Mr. Betterton, for whom I had, as long as I have known anything, a very great esteem and grat.i.tude, for the pleasure he gave me, can do him no good; but it may possibly be of service to the unhappy woman he has left behind him, to have it known that this great tragedian was never in a scene half so moving as the circ.u.mstances of his affairs created at his departure. His wife, after a cohabitation of forty years in the strictest amity, has long pined away with a sense of his decay, as well in his person as in his little fortune; and in proportion to that she has herself decayed both in health and reason.

Her husband's death, added to her age and infirmities, would certainly have terminated her life, but that the greatness of her distress has been her relief by her present deprivation of her senses. This absence of her reason is her best defence against age, sorrow, poverty, and sickness."[4] Indeed, Steele constantly testifies his fondness for the theatre and kindly feeling towards the players, by calling attention to the benefit performances, and bespeaking the public favour for them, adding much curious mention and humorous criticism of the comedians who were especially the objects of his admiration--Pinkethman, Bullock, Underbill, Dogget, and others.

[4] The "Tatler," No. 167, May 4, 1710.

Other benefits, however, less urgently laid claim to the goodwill of the public. At the theatre in Lincoln's Inn Fields, in the year 1726, a performance was announced "for the benefit of an author whose play is deferred till next season." How far the efforts of this anonymous gentleman to raise money upon a sort of contingent reversion of literary distinction were encouraged by the playgoers, or whether his play ever really saw the light of the stage-lamps, can hardly now be discovered. By-and-by performances are given on behalf of objects wholly unconnected with players or playwrights. In 1742 a representation was advertised, "For the entertainment of the Grand Master of the Ancient and Honourable Society of Free and Accepted Masons--for the benefit of a brother who has had great misfortunes." A season or two later there was a benefit at Drury Lane "for a gentleman under misfortunes," when Oth.e.l.lo was played by an anonymous actor, afterwards to be known to fame as Mr. Samuel Foote. In subsequent years benefits were given "for the sufferers by a late fire;" on behalf of the soldiers who had fought against the Pretender in the year '45; for "Mrs. Elizabeth Forster, the granddaughter of Milton, and his only surviving descendant,"[5] when "Comus" was performed, and a new prologue, written by Dr. Johnson, was spoken by Garrick; for "the Lying-in Hospital in Brownlow Street;" while in the success of the production of Dr. Young's tragedy of "The Brothers," played at Drury Lane in 1753, the Society for the Propagation of the Gospel was directly concerned--the author having announced that the profits would be given in aid of that charity. Nevertheless, the receipts disappointed expectation; whereupon the author generously, out of his own resources, made up the sum of 1000. A special epilogue was written for the occasion by Mallet at Garrick's request; but this was so coa.r.s.ely worded, and so broadly delivered by Mrs. Clive, that Dr.

Young took offence, and would not suffer the lines to be printed with his play.

[5] The lady is said to have been so little acquainted with diversion or gaiety, that she did not know what was intended when a benefit was offered her. Praiseworthy efforts were made in her interest, but the performance only produced 130.

Among the curiosities of benefits may be recorded a performance that took place at Drury Lane in 1744 on behalf of Dr. Clancy, the author of one or two plays, who published his memoirs in Dublin in 1750. Dr.

Clancy was blind, and the playbill was headed with the line from Milton, "The day returns, but not to me returns." The play was "Oedipus," and the part of Tiresias, the blind prophet, was undertaken by Dr. Clancy. The advertis.e.m.e.nts expressed a hope that "as this will be the first instance of any person labouring under so heavy a deprivation performing on the stage, the novelty as well as the unhappiness of his case will engage the favour and protection of a British audience." The performance, which must certainly have been of a painful kind, attracted a very numerous audience: and the fact may be regarded as proof that an appet.i.te for what is now designated "the sensational" was not wholly unknown to the playgoers of the last century. It does not appear that Dr. Clancy's representation of the blind prophet was repeated, nor is it stated that as an histrionic effort it was particularly distinguished. It was enough perhaps that the part was played by a man who was really blind, instead of by one merely simulating blindness. Ultimately Dr. Clancy's case moved the pity of George II., and he was awarded during his life a pension of 40 a year from the privy purse.

Other authors have from time to time appeared on the stage to speak prologues, or to sustain complete characters; for instance, Tom Durfey, Otway, Farquhar, Savage, Murphy, and, to jump to later days, Sheridan Knowles. Their appearances, however, cannot be simply connected with benefits. In many cases they, no doubt, contemplated the adoption of the stage as a profession, though, as a rule, it must be said success was denied them in such respect. They played on their benefit-nights, of course, but their performances were not limited to those occasions.

It is not to be supposed that a benefit could be taken by an actor, or, at an earlier date, by an author, without his incurring much trouble in regard to preliminary arrangements. The mere issue of a list of entertainments, however attractive, was by no means sufficient. He was required to call at the houses of his patrons and friends, personally to solicit their support on the occasion, and to pay his respects to them. Any failure of attention on his part in this matter he was bound to make the subject of public explanation and apology. It must be remembered that the playgoers of a century ago were rather a family than a people. They were limited in number, returned to the theatre night after night, naturally demanding that constant change of programme which so distinguished the old stage, and has been so completely omitted from modern theatrical arrangements, and were almost personally known to the actors. This, of course, only refers to the visitors to the pit and boxes; the galleries were always presumed to be occupied by footmen and apprentices, and persons of no consideration whatever, while stalls were not yet in existence.

Strangers from the country were few--those from foreign parts fewer still. The theatre was regarded, as it were, from a household point of view; was in some sort supplementary to a man's home, and he therefore considered himself ent.i.tled to be heard and to take a personal interest in regard to its concerns and proceedings. Necessarily this feeling diminished as London grew in size and the audience increased in numbers, and finally became impossible. An actor knew at last his admirers only in the ma.s.s; while they lost inevitably all individual and private interest in his success. But long after the London players had ceased to make calls and to solicit patronage for their benefits, the practice still obtained in the provinces, and could on no account be abandoned. Thus, in early life, when a member of the country company of which her father, Roger Kemble, was manager, the great Mrs. Siddons has been seen, as a contemporary writer describes, "walking up and down both sides of a street in a provincial town, dressed in a red woollen cloak, such as was formerly worn by menial servants, and knocking at each door to deliver the playbill of her benefit." And to come to a later instance, the reader may bear in mind that before that ornament of Mr. Crummles's company, Miss Snevellici, took her benefit or "bespeak" at the Portsmouth Theatre, she, in company with Nicholas Nickleby, and, for propriety's sake, the Infant Phenomenon, canva.s.sed her patrons in the town, and sold tickets to Mr.

and Mrs. Curdle, Mrs. Borum, and others.

In pursuance of this principle, we find a notice in the bill for Mr.

Bickerstaff's benefit, at Drury Lane, in May, 1723: "Bickerstaff being confined to his bed by his lameness, and his wife lying now dead, has n.o.body to wait on the quality and his friends for him, but hopes they'll favour him with their appearance." And when, just before Mr.

Ryan's benefit at Covent Garden in 1735, he had been attacked by a footpad and seriously injured--several of his teeth having been shot out, and his face and jawbone much shattered--he addressed a letter in _The Daily Post_ to his friends, in which he stated the uncertainty of his being ever able to appear on the stage again, and expressed his hopes "that they would excuse his not making a personal application to them." So again, on the occasion of Mr. Chapman's benefit, in 1739, there appears in the playbill an announcement: "N.B.--I being in danger of losing one of my eyes, and advised to keep it from the air, therefore stir not out to attend my business at the theatre. On this melancholy occasion I hope my friends will be so indulgent as to send for tickets to my house, the corner of Bow Street, Covent Garden, which favour will be gratefully acknowledged by their obedient, humble servant, THOMAS CHAPMAN." The excuses set forth in these announcements appear to be very sufficient, and no doubt were so regarded by the patrons in each case, while at the same time they demonstrate the conduct required ordinarily of persons anxious for public support on the occasion of their benefits. Excuses of a lighter kind, however, seem frequently to have been held adequate by the players. Mr.

Sheridan, the actor, notifies in 1745 that, "as his benefit was not appointed till last Friday, he humbly hopes that such ladies and gentlemen as he shall omit to wait on will impute it rather to a want of time than to a want of respect and knowledge of his duty." And Mr.

Yates, who about the same time had migrated from the West-end stage to the humbler theatre in Goodman's Fields, and announced Fielding's "Miser" for his benefit--"the part of Lovegold to be attempted by Mr.

Yates after the manner of the late Mr. Griffin"--apologises "for not waiting on ladies and gentlemen, as he is not acquainted with that part of the town." Whether this somewhat lofty plea of ignorance of their neighbourhood, however, affected unfavourably the actor's claims upon the denizens of Goodman's Fields, cannot now be ascertained. In time notices of this kind disappeared altogether from the playbills.

At the present day an actor, of course, does his best to conciliate patronage, and in his own immediate circle of friends some little canva.s.sing probably takes place to promote the sale of tickets; but these matters are arranged privately, and the general public is relieved from the calls of actors and their personal appeals for support. Indeed, the old system is now in a great degree reversed, and the actor's place of abode is often stated in his advertis.e.m.e.nts in order that the public may call upon him to obtain tickets for his benefit, if they prefer that course to purchasing them in the usual way at the box-office of the theatre. In the case of actresses this plan has often been found efficacious in diminishing the exuberant ardour of certain youthful supporters of the stage, by enabling them to discover that the fair performer who had peculiarly stirred their dramatic sympathies, was hardly seen to such advantage by daylight, in the seclusion of her private dwelling, as when under the glare of gas, with distance lending enchantment to rouge and pearl-powder, and casting an accommodating veil over divers physical deficiencies and unavoidable deteriorations.

As benefits became common, and they were relegated to the close of the season, when the general appet.i.te for theatrical entertainments may be presumed to be tolerably satiated, the actors found it very necessary to put forward performances of an unusual kind to attract patronage and stimulate the curiosity of the public. It was understood that on these occasions criticism was suspended, and great licence was permissible. A benefit came to be a kind of dramatic carnival. Any and everything was held to be lawful, and efforts of an experimental kind were almost demanded--certainly excused under the circ.u.mstances. The player who usually appeared wearing the buskin now a.s.sumed the sock, and the established comedian ventured upon a flight into the regions of tragedy. Novelty of some sort was indispensable, and the audience, if they might not wholly approve, were yet expected to forbear condemning. The comic actors especially availed themselves of their privileges, and on the strength of their popularity--the comedian always establishing more intimate and friendly relations between himself and his audience than are permitted to the tragedian--indulged in very strange vagaries. Mr. Spiller, on the occasion of his benefit at the theatre in Lincoln's Inn Fields in 1720, issued an advertis.e.m.e.nt: "Whereas I, James Spiller, of Gloucestershire, having received an invitation from Hildebrand Bullock, of Liquorpond Street, London, to exercise the usual weapons of the n.o.ble science of defence, will not fail to meet this bold invader, desiring a full stage, blunt weapons, and from him much favour." At another time the same actor announced his benefit in a kind of mock electioneering address, requesting the vote and interest of the public on the ground of his being "a person well affected to the establishment of the theatre." To recite an epilogue while seated on the back of an a.s.s was a favourite expedient of the comedians of the early Georgian period, while the introduction of comic songs and mimicry--such as the scene of "The Drunken Man," and the song of "The Four-and-Twenty Stock-Jobbers,"

which Mr. Harper performed on his benefit-night in 1720--was found to be a very attractive measure. Authors who were on friendly terms with the actors, or had reason to be grateful to them, frequently gave them short pieces or wrote special epilogues for their benefits. Sheridan's farce, "St. Patrick's Day, or the Scheming Lieutenant," was a present to Clinch, the actor, and first produced on his benefit-night in 1775.

Goldsmith felt himself so obliged to Quick and Lee Lewes, who had been the original Tony Lumpkin and Young Marlow in "She Stoops to Conquer," that for the one he adapted a farce from Sedley's translation of "Le Grondeur," and supplied the other with an occasional epilogue, written in his pleasantest manner. When Shuter selected "The Good-natured Man" for his benefit, the gratified author, in a fit of extravagant kindness, sent the actor ten guineas--possibly the last he had at the time--for a box ticket.

On the occasion of his first benefit in London, Garrick furnished his patrons with a remarkable proof of his versatility, for he represented extreme age in "King Lear," and extreme youth in the comedy of "The Schoolboy." At his second benefit he again contrasted his efforts in tragedy and comedy by appearing as Hastings in "Jane Sh.o.r.e," and Sharp in the farce of "The Lying Valet." Kean, for his benefit, danced as harlequin, gave imitations of contemporary performers, and sang the song of "Tom Tug" after the manner of Mr. Incledon. Other actors of very inferior capacity made similar experiments, the fact that the performance was "for a benefit," and "for one night only," being esteemed in every case a sufficient justification of any eccentricity.

It would be hopeless to attempt any detailed account of the many strange deeds done for the sake of benefits. Actresses have encroached upon the repertory of their male playfellows, as when Mrs. Woffington appeared as Lothario, Mrs. Abington as Scrub, Mrs. Siddons as Hamlet, and when portly Mrs. Webb attempted the character of Falstaff. Actors have laid hands on characters which usually were deemed the exclusive property of the actresses--as when Mr. Dowton resigned his favourite part of Sir Anthony Absolute and donned the guise of Mrs. Malaprop.

The Kembles have sought to make their solemn airs and sepulchral tones available in the reckless scenes and hilarious utterances of farce--and exuberant comedians of the Keeley and Liston pattern have ventured to tincture with whimsicality the woes of tragedy. To draw a crowded house and bring money to the treasury was the only aim.

Benefits, in fact, followed the argument of the old drinking song--merriment at all costs to-night, and sobriety, somehow, on the morrow--until the benefit season came round again, and then--_da capo!_