Sketches by Boz, illustrative of everyday life and every-day people by Charles Dickens (books to get back into reading txt) 📖

have it up again, and speak familiarly of the inferior performers as Bill Such-a-one, and Ned So-and-so, or tell each other how a new piece called _The Unknown Bandit of the Invisible Cavern_, is in rehearsal; how Mister Palmer is to play _The Unknown Bandit_; how Charley Scarton is to take the part of an English sailor, and fight a broadsword combat with six unknown bandits, at one and the same time (one theatrical sailor is always equal to half a dozen men at least); how Mister Palmer and Charley Scarton are to go through a double hornpipe in fetters in the second act; how the interior of the invisible cavern is to occupy the whole extent of the stage; and other town-surprising theatrical announcements. These gentlemen are the amateurs—the _Richards_, _Shylocks_, _Beverleys_, and _Othellos_—the _Young Dorntons_, _Rovers_, _Captain Absolutes_, and _Charles Surfaces_—a private theatre.

See them at the neighbouring public-house or the theatrical coffee-shop! They are the kings of the place, supposing no real performers to be present; and roll about, hats on one side, and arms a-kimbo, as if they had actually come into possession of eighteen shillings a-week, and a share of a ticket night. If one of them does but know an Astley’s supernumerary he is a happy fellow. The mingled air of envy and admiration with which his companions will regard him, as he converses familiarly with some mouldy-looking man in a fancy neckerchief, whose partially corked eyebrows, and half-rouged face, testify to the fact of his having just left the stage or the circle, sufficiently shows in what high admiration these public characters are held.

With the double view of guarding against the discovery of friends or employers, and enhancing the interest of an assumed character, by attaching a high-sounding name to its representative, these geniuses assume fictitious names, which are not the least amusing part of the play-bill of a private theatre. Belville, Melville, Treville, Berkeley, Randolph, Byron, St. Clair, and so forth, are among the humblest; and the less imposing titles of Jenkins, Walker, Thomson, Barker, Solomons, &c., are completely laid aside. There is something imposing in this, and it is an excellent apology for shabbiness into the bargain. A shrunken, faded coat, a decayed hat, a patched and soiled pair of trousers—nay, even a very dirty shirt (and none of these appearances are very uncommon among the members of the _corps dramatique_), may be worn for the purpose of disguise, and to prevent the remotest chance of recognition. Then it prevents any troublesome inquiries or explanations about employment and pursuits; everybody is a gentleman at large, for the occasion, and there are none of those unpleasant and unnecessary distinctions to which even genius must occasionally succumb elsewhere. As to the ladies (God bless them), they are quite above any formal absurdities; the mere circumstance of your being behind the scenes is a sufficient introduction to their society—for of course they know that none but strictly respectable persons would be admitted into that close fellowship with them, which acting engenders. They place implicit reliance on the manager, no doubt; and as to the manager, he is all affability when he knows you well,—or, in other words, when he has pocketed your money once, and entertains confident hopes of doing so again.

A quarter before eight—there will be a full house to-night—six parties in the boxes, already; four little boys and a woman in the pit; and two fiddles and a flute in the orchestra, who have got through five overtures since seven o’clock (the hour fixed for the commencement of the performances), and have just begun the sixth. There will be plenty of it, though, when it does begin, for there is enough in the bill to last six hours at least.

That gentleman in the white hat and checked shirt, brown coat and brass buttons, lounging behind the stage-box on the O. P. side, is Mr. Horatio St. Julien, alias Jem Larkins. His line is genteel comedy—his father’s, coal and potato. He _does_ Alfred Highflier in the last piece, and very well he’ll do it—at the price. The party of gentlemen in the opposite box, to whom he has just nodded, are friends and supporters of Mr. Beverley (otherwise Loggins), the _Macbeth_ of the night. You observe their attempts to appear easy and gentlemanly, each member of the party, with his feet cocked upon the cushion in front of the box! They let them do these things here, upon the same humane principle which permits poor people’s children to knock double knocks at the door of an empty house—because they can’t do it anywhere else. The two stout men in the centre box, with an opera-glass ostentatiously placed before them, are friends of the proprietor—opulent country managers, as he confidentially informs every individual among the crew behind the curtain—opulent country managers looking out for recruits; a representation which Mr. Nathan, the dresser, who is in the manager’s interest, and has just arrived with the costumes, offers to confirm upon oath if required—corroborative evidence, however, is quite unnecessary, for the gulls believe it at once.

The stout Jewess who has just entered, is the mother of the pale, bony little girl, with the necklace of blue glass beads, sitting by her; she is being brought up to ‘the profession.’ Pantomime is to be her line, and she is coming out to-night, in a hornpipe after the tragedy. The short thin man beside Mr. St. Julien, whose white face is so deeply seared with the small-pox, and whose dirty shirt-front is inlaid with open-work, and embossed with coral studs like ladybirds, is the low comedian and comic singer of the establishment. The remainder of the audience—a tolerably numerous one by this time—are a motley group of dupes and blackguards.

The foot-lights have just made their appearance: the wicks of the six little oil lamps round the only tier of boxes, are being turned up, and the additional light thus afforded serves to show the presence of dirt, and absence of paint, which forms a prominent feature in the audience part of the house. As these preparations, however, announce the speedy commencement of the play, let us take a peep ‘behind,’ previous to the ringing-up.

The little narrow passages beneath the stage are neither especially clean nor too brilliantly lighted; and the absence of any flooring, together with the damp mildewy smell which pervades the place, does not conduce in any great degree to their comfortable appearance. Don’t fall over this plate basket—it’s one of the ‘properties’—the caldron for the witches’ cave; and the three uncouth-looking figures, with broken clothes-props in their hands, who are drinking gin-and-water out of a pint pot, are the weird sisters. This miserable room, lighted by candles in sconces placed at lengthened intervals round the wall, is the dressing-room, common to the gentlemen performers, and the square hole in the ceiling is _the_ trap-door of the stage above. You will observe that the ceiling is ornamented with the beams that support the boards, and tastefully hung with cobwebs.

The characters in the tragedy are all dressed, and their own clothes are scattered in hurried confusion over the wooden dresser which surrounds the room. That snuff-shop-looking figure, in front of the glass, is _Banquo_: and the young lady with the liberal display of legs, who is kindly painting his face with a hare’s foot, is dressed for _Fleance_. The large woman, who is consulting the stage directions in Cumberland’s edition of _Macbeth_, is the _Lady Macbeth_ of the night; she is always selected to play the part, because she is tall and stout, and _looks_ a little like Mrs. Siddons—at a considerable distance. That stupid-looking milksop, with light hair and bow legs—a kind of man whom you can warrant town-made—is fresh caught; he plays _Malcolm_ to-night, just to accustom himself to an audience. He will get on better by degrees; he will play _Othello_ in a month, and in a month more, will very probably be apprehended on a charge of embezzlement. The black-eyed female with whom he is talking so earnestly, is dressed for the ‘gentlewoman.’ It is _her_ first appearance, too—in that character. The boy of fourteen who is having his eyebrows smeared with soap and whitening, is _Duncan_, King of Scotland; and the two dirty men with the corked countenances, in very old green tunics, and dirty drab boots, are the ‘army.’

‘Look sharp below there, gents,’ exclaims the dresser, a red-headed and red-whiskered Jew, calling through the trap, ‘they’re a-going to ring up. The flute says he’ll be blowed if he plays any more, and they’re getting precious noisy in front.’ A general rush immediately takes place to the half-dozen little steep steps leading to the stage, and the heterogeneous group are soon assembled at the side scenes, in breathless anxiety and motley confusion.

‘Now,’ cries the manager, consulting the written list which hangs behind the first P. S, wing, ‘Scene 1, open country—lamps down—thunder and lightning—all ready, White?’ [This is addressed to one of the army.] ‘All ready.’—‘Very well. Scene 2, front chamber. Is the front chamber down?’—‘Yes.’—‘Very well.’—‘Jones’ [to the other army who is up in the flies]. ‘Hallo!’—‘Wind up the open country when we ring up.’—‘I’ll take care.’—‘Scene 3, back perspective with practical bridge. Bridge ready, White? Got the tressels there?’—‘All right.’

‘Very well. Clear the stage,’ cries the manager, hastily packing every member of the company into the little space there is between the wings and the wall, and one wing and another. ‘Places, places. Now then, Witches—Duncan—Malcolm—bleeding officer—where’s the bleeding officer?’—‘Here!’ replies the officer, who has been rose-pinking for the character. ‘Get ready, then; now, White, ring the second music-bell.’ The actors who are to be discovered, are hastily arranged, and the actors who are not to be discovered place themselves, in their anxiety to peep at the house, just where the audience can see them. The bell rings, and the orchestra, in acknowledgment of the call, play three distinct chords. The bell rings—the tragedy (!) opens—and our description closes.


CHAPTER XIV—VAUXHALL-GARDENS BY DAY

There was a time when if a man ventured to wonder how Vauxhall-gardens would look by day, he was hailed with a shout of derision at the absurdity of the idea. Vauxhall by daylight! A porter-pot without porter, the House of Commons without the Speaker, a gas-lamp without the gas—pooh, nonsense, the thing was not to be thought of. It was rumoured, too, in those times, that Vauxhall-gardens by day, were the scene of secret and hidden experiments; that there, carvers were exercised in the mystic art of cutting a moderate-sized ham into slices thin enough to pave the whole of the grounds; that beneath the shade of the tall trees, studious men were constantly engaged in chemical experiments, with the view of discovering how much water a bowl of negus could possibly bear; and that in some retired nooks, appropriated to the study of ornithology, other sage and learned men were, by a process known only to themselves, incessantly employed in reducing fowls to a mere combination of skin and bone.

Vague rumours of this kind, together with many others of a similar nature, cast over Vauxhall-gardens an air of deep mystery; and as there is a great deal in the mysterious, there is no doubt that to a good many people, at all events, the pleasure they afforded was not a little enhanced by this very circumstance.

Of this class of people we confess to having made one. We loved to wander among these illuminated groves, thinking of the patient and laborious researches which