Their Majesties' Servants. Annals of the English Stage (Volume 3 of 3). Doran John
to mark the unrestrained enjoyment of the royal family at the theatre. If George III. roared at the oft-repeated tricks of the clown, little Queen Charlotte shook with silent laughter at the intelligible action of the great comic performers. Once, when Foote, caricaturing an over-dressed lady, with a head-tire a yard in height, and nearly that in breadth, accidentally let fall the whole scaffolding of finery, and stood bare-polled upon the stage, the Queen's laughter was then audible through the house. Perhaps it was all the higher as she herself wore a modest and becoming adornment for the head. Indeed, she was proud only of her beautiful arms, and these the plain-featured lady contrived to display to the lieges assembled, with a dexterity worthy of the most finished coquette.
There was great homeliness, so to speak, in this intercourse between royal and lay folk, in those days, and much familiarity. The young Princes were often behind the scenes. On one of these occasions, the "sailor-prince," the Duke of Clarence, saw Bannister approach, dressed for Ben, in "Love for Love." The actor wore a coloured kerchief round his neck. "That will never do for a man-of-war's man," said the Prince; who, forthwith, ordered a black kerchief to be sent for, which, putting round the pseudo-sailor's neck, he tied the ends into the nautical slip-knot, and pronounced the thing complete.
The royal patronage and presence did not always give rise to hilarity. Tragedy sometimes attended it. I can remember nothing more painful in its way than a scene, at the Haymarket, on the third of February 1794. The King and Queen had commanded three pieces, by Prince Hoare – "My Grandmother," "No Song, No Supper," and the "Prize." Fifteen lives were lost that night in the precipitate plunge down the old pit-stairs, as the little green doors were opened to the loyal and eager crowd. Whether those who rushed over the fallen bodies were conscious of the extent of the catastrophe, cannot be determined; but the royal family were kept in ignorance of it, from their arrival till the moment they were about to depart. While they had been laughing to the utmost, many a tear had been flowing for the dead, many a groan uttered by the wounded who had struggled so frightfully to share in the joyousness of that evening, and the King's own two heralds, York and Somerset, were lying crushed to death among the slain.
On another occasion, tragic enough in the character of a chief incident, the conduct of the simple-minded King rose to the dignity of heroism. I allude to the night of the 11th of May6 1800, at Drury Lane, when George III. had commanded Cibber's comedy, "She Would and She Would Not." He had preceded the other members of the royal family, and was standing alone at the front of the box, when Hatfield fired a pistol at him from below. The excitement, the dragging of the assassin over the orchestra, the shouts of the audience, the fear that other would-be regicides might be there, moved everybody but the King, who calmly kept his position, and, as usual, looked round the house through his monocular opera-glass. The Marquis of Salisbury, very much disconcerted and alarmed, if not for himself, at least for the King, urged the latter to withdraw. "Sir," said George III., "you discompose me as well as yourself; I shall not stir one step." He was a right brave man in this act and observation; and while the comedy was got through confusedly, the avenues to the stage crowded by people eager to see the assailant, the audience breaking spasmodically into cries in behalf of the King, and the Queen and Princesses in tears throughout the evening, George III. alone was calm, cheerful, self-possessed, and bravely undemonstrative.
Before we leave these august personages, let us take one glance at them, as they sit among the audience, "in State."7
When their Majesties, with the Prince of Wales, the Princess Royal, and the Princess Augusta, went thus, in state, on October 8, 1783, to see Mrs. Siddons play Isabella, there was much quaint grandeur employed to do them honour. The sovereign and his wife sat under a dome covered with crimson velvet and gold; the heir to the throne sat under another of blue velvet and silver; and the young ladies under a third of blue satin and silver fringe. My readers may desire to know how royalty was attired when it went to the play in state some fourscore years ago. There was some singularity about it. George III. wore "a plain suit of Quaker-coloured clothes with gold buttons. The Queen a white satin robe, with a head-dress which was ornamented by a great number of diamonds. The Princess Royal was dressed in a white and blue figured silk, and Princess Augusta in a rose-coloured and white silk of the same pattern as her sister's, having both their head-dresses richly ornamented with diamonds. His Royal Highness the Prince of Wales had a suit of dark blue Geneva velvet, richly trimmed with gold lace." The handsome young fellow, as he was then, must have looked superbly, and in strong contrast with his sire, – King in Quaker-coloured suit, and Prince in blue Genoa velvet.
George III. was not always lucky in his Thursday-night commands, and people laughed, when, after the solemn funeral of his uncle, the Duke of Cumberland, he ordered "Much Ado about Nothing" to be played in his presence. For Shakspeare he had less regard than his father. Prince Frederick once suggested that the whole of Shakspeare's plays should be represented, under his patronage – at the rate of a play a week, but difficulties supervened, and the suggestion made no progress.
Let us turn from these royal to less noble folk. We find, on a July night of 1761, Mr. Walpole at Drury Lane, to witness the performance of Bentley's "Wishes." He has left a pleasant sketch of the audience-side of the house, whither he went "actually feeling for Mr. Bentley, and full of the emotions he must be suffering." But – "what do you think in a house crowded was the first thing I saw? Mr. and Madame Bentley perched up in the front boxes, and acting audience at his own play! No, all the impudences of false patriotism never came up to it! Did one ever hear of an author who had courage to see his own first night in public! I don't believe Fielding or Foote himself ever did. And this was the modest, bashful Mr. Bentley, that died at the thought of being known for an author, even by his own acquaintance. In the stage-box was Lady Bute, Lord Halifax, and Lord Melcombe. I must say the two last entertained the audience as much as the play. Lord Halifax was prompter, and called out to the actor every minute to speak louder. The other went backwards and forwards behind the scenes, fetched the actors into the box, and was busier than Harlequin. The curious prologue was not spoken, the whole very ill acted. It turned out just what I remembered it; the good parts extremely good, the rest very flat and vulgar; the genteel dialogue, I believe, might be written by Mrs. Hannah. The audience were extremely fair; the first act they bore with patience, though it promised very ill; the second is admirable, and was much applauded; so was the third; the fourth woeful; the beginning of the fifth it seemed expiring, but was revived by a delightful burlesque of the ancient chorus, which was followed by two dismal scenes, at which people yawned, but were awakened on a sudden, by Harlequin's being drawn up to a gibbet, nobody knew why or wherefore,8– at last they were suffered to finish the play, but nobody attended to the conclusion. Modesty and his lady sat all the while with the utmost indifference. I suppose Lord Melcombe had fallen asleep before they came to this scene." The piece was condemned, and the author was the first to recognise the fitness of such a fate. His nephew, Cumberland, sat on one side of him, and when Harlequin was hanged in the sight of the audience, as the fulfilment of the last of the "Three Wishes," Bentley whispered into his complacent kinsman's ear: "If they don't damn this, they deserve to be damned themselves!" The piece lingered for a few nights, and an unsuccessful attempt was made to revive it in 1782. So ended the (not first) experiment of introducing a witty-speaking Harlequin, in place of the dumb hero of pantomime.
At the period when this play was first acted, Garrick and his fellows laboured under a serious disadvantage, when attempting to give full effect to stage illusions, – I allude to the crowding of the stage by a privileged part of the public. In spite of this, Garrick could render perfect and seemingly real, on the same evening, the frantic sorrows of old Lear, and the youthful joyousness of Master Johnny, in the "School Boy." In Dublin, there was often more annoyance than what resulted from mere crowding. Garrick was once playing Lear there, to the Cordelia of Mrs. Woffington, when one Irish gentleman, who was present, actually advanced, put his arm round Cordelia's waist, and thus held her, while she answered with loving words to her father's reproaches. Our sparks never went so far as this, in face of the public, but their intrusion annoyed the great actor. Such annoyance was not felt by his colleagues, and when Garrick resolved once and for ever, in 1762, to keep the public from the stage, there was an outcry on the part of the players, who declared that on benefit nights, when seats and boxes, at advanced
6
Should be 15th May.
7
See the
8
Dr. Doran omits "this raised a prodigious and continued hiss, Harlequin all the while suspended in the air."