Complete Works of Bram Stoker (649 page)

I could not find Sarcey on the dim stage or in the front of the house. In a theatre the rule is to take up the curtain when the audience have passed out so that there may be as much time and opportunity as possible for ventilating the house. I began to get a little uneasy about the missing guest; but when I came near the corner of the stage whence the private staircase led to Irving’s rooms I heard a queer kind of thumping sound. I followed it out into the passage leading from the private door in Burleigh Street to the Royal box. This was shut off from the theatre by an iron door  —  not locked, but falling gently into the jambs by its own weight. When I pushed open the door I found Sarcey all by himself, dancing a queer sort of dance something after the manner of the “ Gillie Callum.” It was positively weird. I never afterwards could think of Sarcey without there rising before me the vision of that lively, silent, thickset, agile figure moving springily in the semi-darkness.

Jules Claretie was many times at the Lyceum after that first visit, and in his regime the Theatre Francais was the home of courtesy to strangers. Once when my wife was in Paris he asked her what play she would like particularly to see; and on her saying that she much wanted to see some time Mounet-Sully in Hamlet he had the piece put up a few nights after and sent her his box.

CHAPTER XV

STAGE EFFECTS

“The Lady of Lyons “  —  A Great Stage Army  —  Supers their work and pay “ The Corsican Brothers”  —  Some great “ Sets”  —  A Royal Visitor behind scenes-Seizing an Opportunity  —  A Triton amongst minnows  —  Gladstone as an Actor  —  Beaconsfield and Coryphees  —  A Double  —  A cure for haste

I

The Lady of Lyons was produced on April 17, 1879. It kept in the bill for a portion of each week for the remainder of the first and the whole of the second season; in all forty-five times  —  no inconsiderable run of such an old and hackneyed play.

The production was a very beautiful one. There was a specially attractive feature in it: the French army. At the end of the fourth act Claude, all his hopes shattered and being consumed with remorse, accepts Colonel Damas’ offer to go with him to the war in that fine melodramatic outburst:

“Place me wherever a foe is most dreaded  —  wherever France most needs a life!”

As Irving stage-managed it the army, already on its way, was tramping along the road outside.

Through window and open door the endless columns were seen, officers and men in due order and the flags in proper place. It seemed as if the line would stretch out till the crack of doom! A very large number of soldiers had been employed as supers and were of course especially suitable for the work. In those days the supers of London theatres were largely supplied from the Brigade of Guards. The men liked it, for it provided easy beer-money, and the officers liked them to have the opportunity as it kept them out of mischief. We had always on our staff as an additional super-master a Sergeant of Guards who used to provide the men and was of course in a position to keep them in order.

The men entered thoroughly into the spirit of the thing, and it was really wonderful how, availing themselves of their professional training, they were able to seemingly multiply their forces. Often have I admired the dexterity, ease and rapidity with which that moving army was kept going with a hundred and fifty men. Four abreast they marched across the stage at the back. The back cloth of the landscape outside the cottage was set far up the stage so that there was but a narrow space left between it and the back wall, scarcely room for one person to pass; and it was interesting to see the perfection of drill which enabled those soldiers to meet the difficulties of keeping up the constant stream of the troops. They would march into the wings with set pace, but the instant they passed out of sight of the audience they would break into a run; in perfect order they would rush in single file round the back of the scene and arrive at the other side just in time to fall into line and step again. And so the endless stream went on. When Claude ran out with Damas the ranks opened and a cheer rose; he fell into line with the rest and on the army marched.

That marching army never stopped. No matter how often the curtain went up on the scene  —  and sometimes there were seven or eight calls, for the scene was one specially exciting to the more demonstrative parts of the house  —  it always rose on that martial array, always moving on with the resistless time and energy of an overwhelming force.

It was only fair that Irving should always get good service from supers for they never had such a friend. When their standard pay was sixpence per night he gave a shilling. When that sum became standard he gave one and sixpence. And when that was reached he paid two shillings  —  an increase of 300 per cent. in his own time.

If the smallness of the pay, even now, should strike any reader, let me remind such that supers are not supposed to live on their pay. There are a few special people who generally dress with them, but such are in reality minor actors and get larger pay. The super proper is engaged during the day  —  porters, workmen, gasmen, &c., and simply add to their living wage by work at night. At the Lyceum if a man only worked as a super; we took it for granted that he was in reality a loafer, and did not keep him.

The Corsican Brothers is one of the pieces which requires picturesque setting. The story is so weird that it obtains a new credibility from unfamiliar entourage. Corsica has always been accepted as a land of strange happenings and stormy passions. Things are accepted under such circumstances which would ordinarily be passed by as bizarre. The production was certainly a magnificent one. There are two scenes in it which allow of any amount of artistic effort, although their juxtaposition in the sequence of the play makes an enormous difficulty. The first is the scene of the Masked Ball in the Opera House in Paris; the other the Forest of Fontainebleau, where takes place the duel between Fabian and de Chateau-Renaud. Each of these scenes took up the whole stage, right away from the footlights to the back wall; thus the task of changing from one to the other, with only the interval of the supper at Baron de Montgiron’s to do it in, was one of extraordinary difficulty. The scene of the Masked Ball represented the interior of the Opera House, the scenic auditorium being furthest from the footlights. In fact it was as though the audience sitting in the Lyceum auditorium saw the scene as though looking in a gigantic mirror placed in the auditorium arch. The scene was in reality a vast one and of great brilliance. The Opera House was draped with crimson silk, the boxes were practi cal and contained a whole audience, all being in perspective. The men and women in the boxes near to the footlights were real; those far back were children dressed like their elders. Promenading and dancing were hundreds of persons in striking costumes. It must be remembered that in those days there were no electric lights, and as there were literally thousands of lights in the scene it was a difficult one to fit. Thousands of feet of gas-piping, the joining hose being flexible, were used and the whole resources of supply were brought into requisition. We had before that brought the use of gas-supply to the greatest perfection attainable. There were two sources of supply, each from a different main, and these were connected with a great “ pass “ pipe workable with great rapidity, so that if through any external accident one of the mains should be disabled we could turn the supply afforded by the other into all the pipes used throughout the house. This great scene came to an end by lowering the “ cut “ cloth which formed the background of Montgiron’s salon, the door leading into the supper-room being in the centre at back. Whilst the guests were engaged in their more or less rapid banquet, the covered scene was being obliterated and the Forest of Fontaine-bleau was coming down from the rigging-loft, ascending from the cellar and being pushed on right and left from the wings. Montgiron’s salon was concealed by the descent of great tableau curtains. These remained down from thirty-five to forty seconds and went up again on a forest as real as anything can be on the stage. Trees stood out separately over a large area so that those entering from side or back could be seen passing behind or amongst them. All over the stage was a deep blanket of snow, white and glistening in the winter sunrise. Snow that lay so thick that when the duellists, stripped and armed, stood face to face, they each secured a firmer foothold by kicking it away. Of many wonderful effects this snow was perhaps the strongest and most impressive of reality. The public could never imagine how it was done. It was salt, common coarse salt which was white in the appointed light and glistened like real snow. There were tons of it. A crowd of men stood ready in the wings with little baggage-trucks such as are now used in the corridors of great hotels; silent with rubber wheels. On them were great wide-mouthed sacks full of salt. When the signal came they rushed in on all sides each to his appointed spot and tumbled out his load, spreading it evenly with great wide-bladed wooden shovels.

III

One night  —  it was October 18  —  the Prince of Wales came behind the scenes as he was interested in the working of the play. It was known he was coming, and though the stage hands had been told that they were not supposed to know that he was present they all had their Sunday clothes on. It was the first time his Royal Highness had been “ behind “ in Irving’s management and he seemed very interested in all he saw. King Edward VII. has and has always had a wonderful memory. He told how Charles Kean had set the scenes, the rights and lefts being different from the present setting; how Kean had rested on a log in a particular place, and so forth. Some of our older stage men who had been at the Princess’s in Kean’s time bore it out afterwards that he was correct in each detail.

That night the men worked as never before; they were determined to let the Prince see what could, under the stimulating influence of his presence, be done at the Lyceum, of which they were all very proud. That night the tableau curtains remained down only thirty seconds  —  the record time.

The Corsican Brothers was produced on September 18, 188o, and ran for one hundred and ninety performances in that season, The Cup being played along with it ninety-two times. The special reason for The Corsican Brothers being played during that season was that Ellen Terry had long before promised to go on an Autumn tour in 188o with her husband, Charles Kelly. It was therefore necessary that a piece should be chosen which did not require her services, and there was no part suitable to her in The Corsican Brothers. This was the only time that she had a tour except with Irving until when during his illness in 1899 she went out by herself to play Madame Sans-Ggne and certain other plays. When she returned to the Lyceum at the close of her tour The Cup was added to the bill.

IV

In the course of the run of The Corsican Brothers there were a good many incidents, interesting or amusing. Amongst the latter was one repeated nightly during the run of the piece. In the first scene, which is the house of the Dei Franchi in Corsica, opportunity had been taken of the peculiarity of the old Lyceum stage to make the entrance of Fabian dei Franchi  —  the one of the twins remaining at home  —  as effective as possible. The old stage of the Lyceum had a “ scene-dock “ at the back extending for some thirty feet beyond the squaring of the stage. As this opening was at the centre, the perspective could by its means be enlarged considerably. At the back of the Dei Franchi “ interior “ ran a vine-trellised way to a wicket gate. As there was no side entrance to the scene-dock it was necessary, in order to reach the back, to go into the cellarage and ascend by a stepladder as generously sloped as the head room would allow. But when the oncomer did make an appearance he was some seventy feet back from the footlights and in the very back centre of the stage, the most effective spot for making entry as it enabled the entire audience to see him a long way off and to emphasise his coming should they so desire. In that scene Irving wore a Corsican dress of light green velvet and was from the moment of his appearance a conspicuous object. When therefore he was seen to ascend the mountain slope and appear at the wicket the audience used to begin to applaud and cheer, so that his entrance was very effective.

But in the arrangement the fact had been lost sight of that another character entered the same way just before the time of his oncoming. This was Alfred Meynard, Louis’s friend from Paris, a somewhat insignificant part in the play. Somehow at rehearsal the appearance of the latter did not seem in any way to clash with that of Fabian, and be sure that the astute young actor who played Alfred did not call attention to it by giving himself any undue prominence. The result was that on the first night  —  and ever afterwards during the run  —  when Alfred Meynard appeared the audience, who expected Irving, burst into wild applause. The gentleman who played the visitor had not then achieved the distinction which later on became his and so there was no reason, as yet, why he should receive such an ovation. From the great stage talent and finesse which he afterwards displayed I am right sure that he saw at the time what others had missed  —  the extraordinary opportunity for a satisfactory entrance so dear to the heart of an actor. It was a very legitimate chance in his favour, and nightly he carried his honours well. That first night a play of his own, his second play, was produced as the lever de rideau. The young actor was A. W. Pinero, and the play was Bygones. Pinero’s first play, Daisy’s Escape, had been played at the Lyceum in 1879.

V

The Masked Ball was a scene which allowed of any amount of fun, and it was so vast that it was an added gain to have as many persons as possible in it. To this end we kept a whole rack in the office during the run full of dominoes, masks and slouched hats, so that any one who had nothing else to do could in an instant make a suitable appear- ance on the scene and not be recognised. As the masculine dress of the time, the forties, was very much the same as now, a simple domino passed muster. I shall never forget my own appearance in the scene a few nights after the opening. We had amongst others engaged a whole group of clowns. There were eight of them, the best in England; the pantomime season being still far off, they could thus employ their enforced leisure  —  they were of course changed as their services were required elsewhere according to their previously made agreements. These men had a special dance of their own which was always a feature of the scene, and in addition they used to play what pranks they would, rushing about, making fun of others, climbing into boxes and then hauling others in, or dropping them out  —  such pranks and intrigue funniments as give life to a scene of the kind. When I ventured amongst them they recognised me and made a ring round me, dancing like demons. Then they seized me and spun me round, and literally played ball with me, throwing me from one to the other backwards and forwards. Sometimes they would rush me right down to the footlights and then whirl me back again breathless. But all the time they never let me fall or gave me away. I could not but admire their physical power as well as their agility and dexterity in their own craft.