jockeys, tavern-keepers, dog-fighters, and other friends of the drama; and the whole was brought up by the heterogeneous rabble which the progressive affair had, from pillar to post, enlisted in its service. It was about this time that Stanfield and Roberts were adding to the glories of the theatre by their fine scenery. Indeed, the line of scene-painters at this house has been remarkable, and some of the old stock-scenes are still used. The work of Beverley and others is remarkable for the colouring, rich, sober, and subdued, and throwing out the more brilliant figures of the actors with good effect. Even with age, and somewhat faded, they seem to gain in mellowness like old tapestry or furniture. In 1823, Macready made his appearance at the theatre he was later to direct. He chose the artificial dramas of Sheridan Knowles, "Virginius" and "Caius Gracchus." We wonder now at the enthusiasm with which these performances once were greeted. The extraordinary sensitiveness of this actor, and his disagreeable temper, revealed with much extenuation in his diaries, was exhibited later in connection with another play of Knowles's, "William Tell." Raymond tells us what occurred: The fifth act was in rehearsal on the morning previous to representation, when Macready abruptly quitted the theatre, declaring the play was not in a state for acting, and that he consequently should not play the part. The consternation of the manager may be imagined. A messenger, with a letter from Elliston, was despatched to Macready at his residence, Hampstead Heath, but he returned with the forbidding reply that Mr. Macready still positively refused to play on the ensuing evening. But the production of the play for the 11th was still a vital question with the lessee; one effort more was resolved on, and Elliston determined on going himself to Hampstead. Efforts were yet stirring until five o'clock, but in vain. At length, however, Calcraft, in most impressive VOL. II. language, begged the trial of the play as a personal favour, pleading the serious exigencies of the establishment. Macready yielded, the play was acted, and no drama on a first representation had ever been more triumphant. Having engaged Kean, the well-known Cox scandal unluckily followed. It seems difficult to keep pace with the extravagances of this pair-tragedian and comedian. Kean was dining at the Theatrical Fund Dinner, the Duke of Clarence in the chair, when the infuriated Alderman Cox tried to come and deal vengeance on the man who had injured him. The actor drew a pistol from beneath his coat! When Young was engaged to act with him, Kean addressed this protest: Your treasurer has written to me, by which I find Mr. Young is engaged for thirty nights to act with me. Now this is what I call an impudent proceeding. The throne is mine!-mine! I say no one shall come near it; and I will maintain it even at the expense of expatriation. To whatever quarter of the globe I may sail, all shall acknowledge me the first English actor. These two great performers, however, met, but with a jealous dislike on one side and a cold dignity and restraint on the other. Young, it was agreed, had the victory, and the more famous actor declined to continue playing with him.* * I possess the following curious notice: TO THE THEATRICAL WORLD AND THE CURIOUS GENERALLY, THE BEDSTEAD on which EDMUND KEAN, THE TRAGEDIAN, This relic, once the property of the greatest genius that ever WILL BE RAFFLED FOR BY 40 MEMBERS, AT 5s. EACH, AT MR. PHILLIPS', Swan Tavern and Lord Dover Hotel, On TUESDAY EVENING NEXT, the 16th inst. At Seven o'clock to the Minute. THE PROPRIETOR AND WINNER TO SPEND HALF-A-GUINEA EACH. The Bedstead can be seen on application at the Bar, by Tickets, Sixpence each, which may be had in Refreshments. CHAPTER IV. THE FALL OF ELLISTON. AFTER the season of 1822 had closed-not a successful one— the heedless manager determined to remodel his theatre on the most wholesale scale. When it is considered that the outlay was 22,000l., and the whole completed within eight weeks, the extent of the operations may be conceived. Vast as Drury Lane appears now, it will be seen how much larger it was before these changes were made. A model of the intended improvements was sent to the King, and the work of demolition was at once begun. Within a few days the whole interior of the building was one mass of rubbish, the walls being laid bare to the very back of the boxes. The reconstruction of the theatre was from the designs of Mr. Beazley. The parapet of the new boxes was brought forward five feet, contracting the pit, consequently, to the same limits. The entire ceiling was lowered some fourteen feet, an operation which excited great interest and some apprehension. The work was, however, most successfully accomplished. The saloon, to its full extent, was lined with looking-glass, the pilasters representing Sienna marble. Some years before the present clumsy portico had been added, but for this design he was scarcely responsible. He had originally designed a handsome architectural one. With this may be contrasted the recent remodelling of the Lyceum, when the whole interior was "put on crutches," walls levelled and underpinned, and the accommodation largely extended, which was all done within a few weeks, the work going on night and day, with two "shifts" of workmen. To commemorate the almost incredible expedition with which the work had been accomplished, a brass plate was deposited in the centre of the pit, bearing the following inscription: GEORGE IV. KING. THEATRE ROYAL, DRURY LANE. The interior of this National Theatre was entirely pulled down and rebuilt in the space of fifty-eight days, and reopened on the 12th of October, 1822, BY ROBERT WILLIAM ELLISTON, Esq. The manager, though all the while he was showing symptoms of something like mental aberration, was adroit enough to make some lucky hits. He brought out Weber's masterpiece, "Der Freischütz," not in a maimed and mangled form, as at the rival house; he engaged Catalani; and finally produced a spectacular piece, the reputation of which has become historical, "The Cataract of the Ganges,"* in which a daring lady rode her steed up a cataract. The Italian singer's engagement was a failure.† * This strange piece was revived at the same theatre in the season 1874-75, under Mr. Chatterton's management, when Mr. Webster, who had played in the original caste, took a part. It was found stale and uninteresting. It was difficult to believe that it had drawn astonished and delighted crowds. It was the work of Moncrieff, author of "Tom and Jerry." + One night her share of the receipts was 91.! When this gifted lady sang But the tide had begun to turn, the extravagant oddities of the manager began to be noted, and were injuring the house. He brought "glass-blowers" on the stage, and his allowing Kean to appear excited much unpopularity as well as confusion. Mr. Douglas Kinnaird wrote to him that the actor was lost "if suffered again to be thrust upon the stage and make speeches." The most extraordinary scene of all took place on the occasion of the King's second visit to the theatre. Enormous crowds attended, and there was much excitement, which His Majesty attributed unreasonably to his own unpopularity. The late Lord William Lennox was present at all that followed, and corroborates what Mr. Raymond, who also witnessed it, relates: The Chamberlain at once perceived the King's feeling, and instantly requested his vice-official, Lord Graham, to at once see the manager, that the uproar might be appeased by explanation. Lord Graham now hastened to the stage, where, meeting Elliston in full costume, and totally forgetting he was accosting a crowned head, exclaimed: "Mr. Elliston, this is disgraceful! You should have prevented this excess. The King is vexed, and will never again come to Drury Lane." Elliston now entered grandiloquently into the nature of his grievance; but his friend soon perceiving that wine had "God save the King," a card was invariably transcribed for her, of this kind: Oh Lord avar God Arais schaeter Is enemis and Mece them fol Confond tear Politekse frosstre Their nevise trix On George avar hopes Kin. |