Chapter XXV · THE DRAMA.

The theatres — Dorset Gardens — Its demolition — Performances — Lincoln's Inn Fields — Theatre Royal, Drury Lane — Its company — Mrs. Tofts — The Queen's Theatre, Haymarket — Its foundation stone — Its operas — Pinkethman's theatre at Greenwich — The Queen and the Stage — Her reforms — Strolling players — Behaviour at the theatre — Orange wenches — Stage properties — Actors — Betterton — Verbruggen — Cave Underhill — Estcourt — Dogget — Colley Cibber — Wilks — Booth — Pinkethman — Minor actors — Actresses — Mrs. Barry — Mrs. Bracegirdle — Mrs. Oldfield — Mrs. Verbruggen — The ballet.

The drama was fairly supported in Queen Anne's time, although there were never more than three theatres open at once, and generally only two. It was not an age for either striking actors or immortal plays; but, as to the former, they were hard-working, and some of them have left a name behind them renowned in the history of the stage; and, for the latter, they were, although somewhat coarse in humour, not so licentious as the plays of the three preceding reigns. It is impossible, within the limits of this book, to do more than generalise on the drama of that day—its history has materials in it for a book to itself.

There were four theatres: Dorset Gardens, Lincoln's Inn Fields, Drury Lane, and the Queen's Theatre, Haymarket.

'Being the last time of Acting till after May Fair.

At the Theatre in Dorset Gardens, this day being Friday the 30th of April will be presented A Farce call'd, The Cheats of Scapin. And a Comedy of two Acts only, call'd, The Comical Rivals, or the School Boy. With several Italian Sonatas by Signior Gasperini and others. And the Devonshire Girl, being now upon her Return to the City of Exeter, will perform three several Dances, particularly her last new Entry in imitation of Mademoiselle Subligni, and the Whip of Dunboyne by Mr. Claxton her Master, being the last time of their Performance till Winter. And at the desire of several Persons of Quality (hearing that Mr. Pinkeman hath hired the two famous French Girls lately arriv'd from the Emperor's Court) They will perform several Dances on the Rope upon the Stage, being improv'd to that Degree, far exceeding all others in that Art. And their Father presents you with the Newest Humours of Harlequin as performed by him before the Grand Signior at Constantinople. Also the Famous Mr. Evans lately arriv'd from Vienna, will shew you Wonders of another kind, Vaulting on the Manag'd Horse, being the greatest Master of that Kind in the World. To begin at Five so that all may be done by Nine a Clock.'

In the Daily Courant May 13, 1703, there was an attempt to revive it, but it was unsuccessful. 'The Queen's Theatre in Dorset Garden is now fitting up for a new Opera; and the great Preparations that are made to forward it and bring it upon the Stage by the beginning of June, adds to every body's Expectation, who promise themselves mighty Satisfaction from so well order'd and regular an Undertaking as this is said to be, both in the Beauties of the Scenes, and Varieties of Entertainments in the Musick and Dances.'

But all attempts to galvanise it into life failed, and in the Daily Courant of June 1, 1709, we read, 'The Play House at Dorset Stairs is now pulling down, where there is to be sold old Timber fit for Building or Repairs, Old Boards, Bricks, Glass'd Pantiles and Plain Tiles, also Fire Wood, at very reasonable rates.'

Lincoln's Inn Fields was another theatre which had very varying fortunes during this reign. In 1705, when the company left for their new home in the Haymarket, it was to let. Betterton took it for a night for his benefit on March 3 of that year, and Cave Underhill for his on March 31. It was not re-opened till Sept. 12, 1706, and was played in only six nights that year. It was rebuilt by Rich, but was not again acted in during Queen Anne's reign.

Dorset Gardens and Lincoln's Inn Fields theatres were the dramatic failures; the 'Theatre Royal in Drury Lane,' as it was called, was an exception, and stood its ground fairly during the Queen's reign. It was built by Killigrew, at a cost of £1,500, on the site of a plot of ground called the 'Riding Yard,' which was obtained on lease from the Duke of Bedford, and opened in 1663. The actors there were called Her Majesty's servants, and had the right to dress in scarlet, the royal livery.

That the ordinary prices, which they never advertised, were much lower than these, is shown by an advertisement in the following year. 'And by reason of the extraordinary Charge in the Decoration of it, the Prices will be rais'd. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s.'

Before quitting this short notice of Drury Lane Theatre reference must be made to an incident in which Mrs. Tofts the singer was interested. 'Ann Barwick having occasioned a Disturbance at the Theatre Royal in Drury Lane on Saturday Night last the 5th of February, and being thereupon taken into Custody, Mrs. Tofts, in Vindication of her own Innocency, sent a Letter to Mr. Rich, Master of the said Theatre, which is as followeth.

Sir, I was very much surpriz'd when I was inform'd, that Ann Barwick, who was lately my Servant, had committed a Rudeness last night at the Play-house, by throwing of Oranges, and hissing when Mrs. l'Epine the Italian Gentlewoman Sung. I hope no one can think that it was in the least with my Privity, as I assure you it was not. I abhor such Practises, and I hope that you will cause her to be prosecuted, that she may be punish'd as she deserves.

I am, Sir, Your humble Servant, Katharine Tofts.

Misson gives a description of its interior, which, from his invariable truthfulness, can be relied on. 'The Pit is an Amphitheater, fill'd with Benches without Back boards, and adorn'd and cover'd with green Cloth. Men of Quality, particularly the younger Sort, some Ladies of Reputation and Vertue, and abundance of Damsels that hunt for Prey, Sit all together in this place, Higgledy piggledy, chatter, toy, play, hear, hear not. Farther up, against the Wall, under the first Gallery, and just opposite to the Stage, rises another Amphitheater, which is taken up by Persons of the best Quality, among whom are generally very few Men. The Galleries, whereof there are only two rows, are filled with none but ordinary People, particularly the Upper One.'

The outside was imposing: an arcade, as now, ran along the front of the building, the length of which was relieved by a dome in the centre, and on the balustraded parapet were eight statues on pedestals. But, if Cibber is to be trusted, the inside was so badly constructed acoustically that 'scarce one Word in ten could be distinctly heard in it,' and the consequence was that the roof had to be remodelled and made flat.

Vanbrugh and Congreve opened this theatre on Easter Monday, April 9, 1705, and Mrs. Bracegirdle spoke a prologue, written by Dr. Garth, in which are the lines, alluding to the Haymarket:—

It is singular that neither of these authorities are correct, and luckily we have the advertisements left to guide us. It is, however, somewhat strange that there should have been no public announcement in the newspapers of its opening; but the first advertisement published is in the Daily Courant, April 14, 1705: 'At the Queen's Theatre in the Haymarket, this present Saturday being the 14th of April, will be reviv'd, The Indian Emperor, or the Conquest of Mexico by the Spaniards. The Part of Cortez to be perform'd by Mr. Powel; with Entertainments of Dancing, as also Singing by the new Italian Boy. By Her Majesty's Sworn Servants.'

The next play was 'The Merry Wives of Windsor,' on April 23; on the 27th 'The Gamester'; and Downes says 'The Confederacy' was playing long after.

Congreve soon gave up his share, and Sir John Vanbrugh was also glad to get rid of this 'bad egg': so after Jan. 10, 1708, it was transferred to Owen MacSwiney for operatic performances, one of which we have just mentioned.

Pinkethman, the indefatigable, had a theatre at Greenwich, which he worked during the summer months, though the exact time is unknown. In an advertisement of his moving picture (Daily Courant, May 9, 1709) he says it may be seen 'next Door to his New Play House, where variety of Plays are Acted every Day as in London.' He could not long have started, as in the Tatler (No. 4, April 18, 1709) it says, 'We hear Mr. Penkethman has removed his ingenious Company of Strollers to Greenwich. But other letters from Deptford say, the company is only making thither, and not yet settled; but that several Heathen Gods and Goddesses, which are to descend in machines, landed at the King's Head Stairs last Saturday. Venus and Cupid went on foot from thence to Greenwich; Mars got drunk in the town, and broke his Landlord's head, for which he sat in the Stocks the whole Evening; but Mr. Penkethman giving Security that he should do nothing this ensuing Summer, he was set at liberty. The most melancholy part of all was, that Diana was taken, and committed by Justice Wrathful; which has, it seems, put a stop to the Diversions of the Theatre at Blackheath. But there goes down another Diana and a Patient Grissel next tide from Billingsgate.'

But though she would not go to the theatres, she heartily took their reformation in hand, as the following proclamation shows:—

'Anne R.

'Whereas. We have already given Orders to the Master of Our Revels, and also to Both the Companies of Comedians, Acting in Drury Lane, and Lincolns Inn Fields, to take Special Care, that Nothing be Acted in either of the Theatres contrary to Religion or Good Manners, upon Pain of our High Displeasure, and of being Silenc'd from further Acting; And being further desirous to Reform all other Indecencies, and Abuses of the Stage, which have Occasion'd great Disorders, and Justly give Offence; Our Will and Pleasure therefore is, and We do hereby strictly Command, That no Person of what Quality soever, Presume to go Behind the Scenes, or come upon the Stage, either before, or during the Acting of any Play. That no Woman be Allow'd or Presume to wear a Vizard Mask in either of the Theatres. And that no Person come into either House without Paying the Prices Establish'd for their Respective Places.

'All which Orders We strictly Command all Managers, Sharers, and Actors of the said Companies, to see exactly Observ'd, and Obey'd. And We Require and Command all Our Constables, and others appointed to Attend the Theatres, to be Aiding and Assisting to them therein. And if any Persons whatsoever shall disobey this Our Known Pleasure and Command, We shall Proceed against them as Contemners of Our Royal Authority, and Disturbers of the Publick Peace.

'Given at our Court at St. James's the 17th Day of January.

'In the Second Year of our Reign.'

Luttrell, writing on January 20, 1704, says: 'This day, the lords ordered thanks to the Queen for restraining the play houses from immorality.'

That these proclamations were not strictly attended to is evidenced by the notices scattered over the newspaper advertisements, till 1712, that no Persons were allowed on the stage, or behind the scenes, by her Majesty's command; but, after this last proclamation, the practice seems to have been stopped.

'No person to be admitted to keep Places in the Pit' seems a singular order, were it not explicable by the fact that people used to send their footmen to keep places for them until their arrival, and that the manners of these gentry gave great offence to the habitués of the pit. The proper place for the footmen was the upper gallery, which was allowed to them free, supposing they were in attendance on their masters. We have seen Pinkethman's power over them, but their behaviour generally was rough and noisy. In the Female Tatler, Dec. 9, 1709, is this notice: 'Dropt near the Play house, in the Haymarket, a bundle of Horsewhips, designed to belabour the Footmen in the Upper Gallery, who almost every Night this Winter, have made such an intolerable Disturbance, that the Players could not be heard, and their Masters were obliged to hiss them into silence. Whoever has taken up the said Whips, is desired to leave 'em with my Lord Rake's Porter, several Noblemen resolving to exercise 'em on their Backs, the next Frosty Morning.'

Such then was the appearance in front of the stage; and, to thoroughly realise the scene, we must remember, en passant, that necessary individual the 'Candle Snuffer,' and those bold young women, whose class Nell Gwynne made famous, the 'Orange Wenches.'

Four or five hours in such theatres were almost insupportable without some slight refreshment, and this was supplied by these girls, who continually circulated throughout the audience. Their class is sufficiently alluded to in a passage in the Spectator, No. 141: 'A Poet sacrifices the best Part of his Audience to the Worst; and as one would think neglects the Boxes, to write to the Orange Wenches.' They seem to have fulfilled other duties besides supplying refreshment:—

The properties of a theatre have always been a fair whetstone for men to sharpen their humour on, and the writers of the time of Queen Anne were not behindhand in this respect. When Drury Lane was closed by order, in 1709, the Tatler (No. 42) made very merry over the miscellaneous effects:—

'Three Bottles and a half of lightning.

'One Shower of Snow in the whitest French Paper.

'Two Showers of a browner sort.

'A Sea, consisting of a dozen large waves; the tenth bigger than ordinary, and a little damaged.

'A dozen and a half of Clouds, trimmed with black, and well conditioned.

'A Mustard bowl to make Thunder with.

'The Complexion of a Murderer in a Bandbox; consisting of a large piece of burnt Cork, and a Coal black Peruke,' etc.

At the death of Peer, the property man at this theatre, the Guardian extracted much fun from a catalogue of articles under his care.

Rowe goes into poetry on the same subject—thus:—

Room must be found for one little anecdote which Aston tells of him. 'Mr. Betterton had a small Farm near Reading, in the County of Berks; and a Countryman came, in the Time of Bartholomew Fair, to pay his Rent. Mr. Betterton took him to the Fair, and going to one Crawley's Puppet Shew, offer'd Two Shillings for himself and Roger, his Tenant.—No, no, Sir, said Crawley; we never take Money of one Another. This affronted Mr. Betterton, who threw down the Money, and they entered.'

Leigh was another old actor who died in this reign.

The name of Dogget is, perhaps, as well known to us as any actor of the time. An Irishman by birth, he came to England and joined a travelling troupe; afterwards being good enough to play at both Drury Lane and Lincoln's Inn Fields. In fact, he was joint manager of the former with Wilks and Cibber, but gave it up in 1713, because Booth was forced on him as a co-partner; and he never returned to the theatre, either as a regular actor or as manager. It must have been a blow to him, for he was fond of money, and was then reputed to have been worth £1,000 per annum. He was not particular: he put his pride in his pocket, and had a booth at Bartholomew Fair, the same as Pinkethman or Mills. He died at Eltham, in Kent, Sept. 22, 1721, and left in his will the memorable Coat and Badge to be raced for, annually, on the anniversary of the accession of George the First, to show his attachment to the Whig party and the House of Brunswick. Downes says of him, 'On the Stage, he's very Aspectabund, wearing Farce in his Face; his Thoughts deliberately framing his Utterance Congruous to his Looks; He is the only Comick Original now extant.' Tony Aston says 'he was a little, lively spract Man.... a Man of very good Sense, but illiterate; for he wrote me Word thus—Sir, I will give you a hole, instead of (whole) Share. He dress'd neat, and something fine, in a plain Cloth Coat, and a Brocaded Waistcoat.'

Ramble. But prithee look on this side; there's Cibber, a poet and fine Actor.

Critick. And one that's always repining at the success of others, and upon the stage makes all his fellow actors uneasy.

Ramble. Ay, but Powell——

Critick. Is an idle fellow, that neither minds his business, nor lives quietly in any community—

is a fair criticism on that actor, who, had he been but as steady or painstaking, might have rivalled Wilks; but he was a drunken, dissipated dog, a careless study, with a bad memory; pursued by bailiffs, he sometimes walked with his sword drawn—once making an unfortunate 'officer' retreat to the other side of the road, where he called out, 'We don't want you now, Mr. Powel.' Died Dec. 14, 1715.

Booth was the Aristo of the profession. He was not only nearly related to the Earl of Warrington, but in 1704 he married a daughter of Sir William Barkham, Bart., of Norfolk. A scholar of the great and terrible Dr. Busby, he shone in acting in the Latin plays at Westminster. He was intended for the Church, but he caught stage fever, ran away from school at the age of 17, and joined the theatre at Dublin. When he came to London he became a pupil of Betterton's, and profited by his master's instructions. He was joint patentee in Drury Lane, but he left the stage at the early age of 46. Died 1733.

Of the minor actors Pinkethman stands first. He was low comedy, and his great ambition was to please the gods. We have heard a good deal about him in this book in his various characters as caterer for the amusement of the public. Gildon, of course, can say nothing good of him.

Sullen. But Penkethman the flower of——

Critick. Bartholomew Fair, and the idol of the rabble; a fellow that over does everything, and spoils many a part with his own stuff.

The mention of Crab-tree seems to suggest that Pinkethman had been thrashed at some period of his career, as does a passage in another Tatler (No. 42), describing the theatrical properties at Drury Lane: 'Three oak Cudgels, with one of Crab-tree; all bought for the Use of Mr. Pinkethman.'

That he must have been a fair actor is testified by the fact that he played in two out of the four performances at St. James's.

He seems to have retired from the stage after his benefit on May 23, 1724, and he died in 1740.

Anyhow, never was there a period that could show four such actresses as Mrs. Barry, Mrs. Bracegirdle, Mrs. Oldfield, and Mrs. Verbruggen.

And D'Urfey, in his 'Don Quixote,' sings of her:—

She was wonderfully charitable, and would go daily about the slums of Clare Market relieving the necessitous; and woe be to anyone who should have dared to molest her—his fate would have been speedy. She retired from the stage in 1707, but did not die till 1748. Her personal description is: 'She was of a lovely Height, with dark-brown Hair and Eye brows, black sparkling Eyes, and a fresh blushy Complexion; and, whenever she exerted herself, had an involuntary Flushing in her Breast, Neck and Face, having continually a chearful Aspect, and a fine Set of even White Teeth; never making an Exit, but that she left the Audience in an Imitation of her pleasant Countenance. Genteel Comedy was her chief Essay, and that too when in Men's Cloaths, in which she far surmounted all the Actresses of that Age' (Aston).

Ramble. There's Mrs. Rogers, Mrs. Oldfield, Mrs. Verbruggen——

Critick. The last is a miracle, but the others mere rubbish, that ought to be swept off the stage with the filth and dust.

Hers was a romantic history. Her maiden name was Percival, and she married Mountford the actor, who was killed by Lord Mohun for protecting Mrs. Bracegirdle. Betterton says, 'Her Father Mr. Percival had the Misfortune to be drawn into the Assassination Plot against King William; for this he lay under Sentence of Death, which he received on the same Night that Lord Mohun killed her husband, Mr. Mountfort. Under this, almost insuperable Affliction, she was introduced to the good Queen Mary, who being, as she was pleased to say, Struck to the Heart upon receiving Mrs. Mountfort's Petition, immediately granted all that was in her Power, a Remission of her Father's Execution for that of Transportation. But Fate had so ordered it that poor Mrs. Mountfort was to lose both Father and Husband. For as Mr. Percival was going abroad, he was so weakened by his Imprisonment, that he was taken Sick on the Road, and died at Portsmouth.' She afterwards married Jack Verbruggen, and their married life is thus described by Aston: 'She was the best Conversation possible; never Captious, or displeas'd at any Thing but what was gross or indecent; for she was cautious lest fiery Jack shou'd so resent it as to breed a Quarrel; for he would often say Dammee! tho' I don't much value my Wife yet no Body shall affront her, by G—d; and his Sword was drawn on the least occasion, which was much the fashion in the latter End of King William's Reign.' She is described as being 'a fine fair Woman, plump, full featured, her Face of a fine smooth Oval.'

The theatre never solely depended upon the drama for its attractions, and there was generally a ballet of some description; not, of course, such elaborate affairs as we have now, but performances by one or two artists, such as M. L'Abbé and Mrs. Elford. The dances were such as chacones, minuets, allmands, corantos, jigs, sarabands, etc., and we have already seen the pains taken with this art, and the elaborate instructions of its professors.