FullReads

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, etc., 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.