Complete Works of Wilkie Collins (2288 page)

But as yet the larger adventure has not made itself known, and the interval was occupied with the private play of which the notion had been started between us at his visit in December, and which cannot now be better introduced than by a passage of autobiography. This belongs to his early life, but I overlooked it when engaged on that portion of the memoir; and the accident gives it now a more appropriate place. For, though the facts related belong to the interval described in the chapter on his school-days and start in life, when he had to pass nearly two years as a reporter for one of the offices in Doctors’ Commons, the influences and character it illustrates had their strongest expression at this later time. I had asked him, after his return to Genoa, whether he continued to think that we should have the play; and this was his reply. It will startle and interest the reader, and I must confess that it took myself by surprise; for I did not thus early know the story of his boyish years, and I thought it strange that he could have concealed from me so much.

“Are we to have that play??? Have I spoken of it, ever since I came home from London, as a settled thing! I do not know if I have ever told you seriously, but I have often thought, that I should certainly have been as successful on the boards as I have been between them. I assure you, when I was on the stage at Montreal (not having played for years) I was as much astonished at the reality and ease, to myself, of what I did as if I had been another man. See how oddly things come about! When I was about twenty, and knew three or four successive years of Mathews’s At Homes from sitting in the pit to hear them, I wrote to Bartley who was stage manager at Covent-garden, and told him how young I was, and exactly what I thought I could do; and that I believed I had a strong perception of character and oddity, and a natural power of reproducing in my own person what I observed in others. There must have been something in the letter that struck the authorities, for Bartley wrote to me, almost immediately, to say that they were busy getting up the
Hunchback
(so they were!) but that they would communicate with me again, in a fortnight. Punctual to the time, another letter came: with an appointment to do anything of Mathews’s I pleased, before him and Charles Kemble, on a certain day at the theatre. My sister Fanny was in the secret, and was to go with me to play the songs. I was laid up, when the day came, with a terrible bad cold and an inflammation of the face; the beginning, by the bye, of that annoyance in one ear to which I am subject at this day. I wrote to say so, and added that I would resume my application next season. I made a great splash in the gallery soon afterwards; the
Chronicle
opened to me; I had a distinction in the little world of the newspaper, which made me like it; began to write; didn’t want money; had never thought of the stage, but as a means of getting it; gradually left off turning my thoughts that way; and never resumed the idea. I never told you this, did I? See how near I may have been, to another sort of life.

“This was at the time when I was at Doctors’ Commons as a shorthand writer for the proctors. And I recollect I wrote the letter from a little office I had there, where the answer came also. It wasn’t a very good living (though not a
very
bad one), and was wearily uncertain; which made me think of the Theatre in quite a business-like way. I went to some theatre every night, with a very few exceptions, for at least three years: really studying the bills first, and going to where there was the best acting: and always to see Mathews whenever he played. I practised immensely (even such things as walking in and out, and sitting down in a chair): often four, five, six hours a day: shut up in my own room, or walking about in the fields. I prescribed to myself, too, a sort of Hamiltonian system for learning parts; and learnt a great number. I haven’t even lost the habit now, for I knew my Canadian parts immediately, though they were new to me. I must have done a good deal: for, just as Macready found me out, they used to challenge me at Braham’s: and Yates, who was knowing enough in those things, wasn’t to be parried at all. It was just the same, that day at Keeley’s, when they were getting up the
Chuzzlewit
last June.

“If you think Macready would be interested in this Strange news from the South, tell it him. Fancy Bartley or Charles Kemble
now!
And how little they suspect me!” In the later letter from Lucerne written as he was travelling home, he adds: “
Did
I ever tell you the details of my theatrical idea, before? Strange, that I should have quite forgotten it. I had an odd fancy, when I was reading the unfortunate little farce at Covent-garden, that Bartley looked as if some struggling recollection and connection were stirring up within him — but it may only have been his doubts of that humorous composition.” The last allusion is to the farce of the
Lamplighter
which he read in the Covent-garden green-room, and to which former allusion was made in speaking of his wish to give help to Macready’s managerial enterprise.

What Might have Been
is a history of too little profit to be worth anybody’s writing, and here there is no call even to regret how great an actor was in Dickens lost. He took to a higher calling, but it included the lower. There was no character created by him into which life and reality were not thrown with such vividness, that the thing written did not seem to his readers the thing actually done, whether the form of disguise put on by the enchanter was Mrs. Gamp, Tom Pinch, Mr. Squeers, or Fagin the Jew. He had the power of projecting himself into shapes and suggestions of his fancy which is one of the marvels of creative imagination, and what he desired to express he became. The assumptions of the theatre have the same method at a lower pitch, depending greatly on personal accident; but the accident as much as the genius favoured Dickens, and another man’s conception underwent in his acting the process which in writing he applied to his own. Into both he flung himself with the passionate fullness of his nature; and though the theatre had limits for him that may be named hereafter, and he was always greater in quickness of assumption than in steadiness of delineation, there was no limit to his delight and enjoyment in the adventures of our theatrical holiday.

In less than three weeks after his return we had selected our play, cast our parts, and all but engaged our theatre; as I find by a note from my friend of the 22nd of July, in which the good natured laugh can give now no offence, since all who might have objected to it have long gone from us. Fanny Kelly, the friend of Charles Lamb, and a genuine successor to the old school of actresses in which the Mrs. Orgers and Miss Popes were bred, was not more delightful on the stage than impracticable when off, and the little theatre in Dean-street which the Duke of Devonshire’s munificence had enabled her to build, and which with any ordinary good sense might handsomely have realized both its uses, as a private school for young actresses and a place of public amusement, was made useless for both by her mere whims and fancies. “Heavens! Such a scene as I have had with Miss Kelly here, this morning! She wanted us put off until the theatre should be cleaned and brushed up a bit, and she would and she would not, for she is eager to have us and alarmed when she thinks of us. By the foot of Pharaoh, it was a great scene! Especially when she choked, and had the glass of water brought. She exaggerates the importance of our occupation, dreads the least prejudice against the establishment in the minds of any of our company, says the place already has quite ruined her, and with tears in her eyes protests that any jokes at her additional expense in print would drive her mad. By the body of Cæsar, the scene was incredible! It’s like a preposterous dream.” Something of our play is disclosed by the oaths à la Bobadil, and of our actors by “the jokes” poor Miss Kelly was afraid of. We had chosen Every Man in his Humour, with special regard to the singleness and individuality of the “humours” portrayed in it; and our company included the leaders of a journal then in its earliest years, but already not more renowned as the most successful joker of jokes yet known in England, than famous for that exclusive use of its laughter and satire for objects the highest or most harmless which makes it still so enjoyable a companion to mirth-loving right-minded men. Maclise took earnest part with us, and was to have acted, but fell away on the eve of the rehearsals; and Stanfield, who went so far as to rehearse Downright twice, then took fright and also ran away:
but Jerrold, who played Master Stephen, brought with him Lemon, who took Brainworm; Leech, to whom Master Matthew was given; A’Beckett, who had condescended to the small part of William; and Mr. Leigh, who had Oliver Cob. I played Kitely, and Bobadil fell to Dickens, who took upon him the redoubtable Captain long before he stood in his dress at the footlights; humouring the completeness of his assumption by talking and writing Bobadil, till the dullest of our party were touched and stirred to something of his own heartiness of enjoyment. One or two hints of these have been given, and I will only add to them his refusal of my wish that he should go and see some special performance of the Gamester. “Man of the House.
Gamester!
By the foot of Pharaoh, I will
not
see the
Gamester
. Man shall not force, nor horses drag, this poor gentleman-like carcass into the presence of the
Gamester
. I have said it. . . . The player Mac hath bidden me to eat and likewise drink with him, thyself, and short-necked Fox to-night — An’ I go not, I am a hog, and not a soldier. But an’ thou goest not — Beware citizen! Look to it. . . . Thine as thou meritest. Bobadil (Captain). Unto Master Kitely. These.”

The play was played on the 21st of September with a success that out-ran the wildest expectation; and turned our little enterprise into one of the small sensations of the day. The applause of the theatre found so loud an echo in the press, that for the time nothing else was talked about in private circles; and after a week or two we had to yield (we did not find it difficult) to a pressure of demand for more public performance in a larger theatre, by which a useful charity received important help, and its committee showed their gratitude by an entertainment to us at the Clarendon, a month or two later, when Lord Lansdowne took the chair. There was also another performance by us at the same theatre, before the close of the year, of a play by Beaumont and Fletcher. I may not farther indicate the enjoyments that attended the success, and gave always to the first of our series of performances a pre-eminently pleasant place in memory.

Of the thing itself, however, it is necessary to be said that a modicum of merit goes a long way in all such matters, and it would not be safe now to assume that ours was much above the average of amateur attempts in general. Lemon certainly had most of the stuff, conventional as well as otherwise, of a regular actor in him, but this was not of a high kind; and though Dickens had the title to be called a born comedian, the turn for it being in his very nature, his strength was rather in the vividness and variety of his assumptions, than in the completeness, finish, or ideality he could give to any part of them. It is expressed exactly by what he says of his youthful preference for the representations of the elder Mathews. At the same time this was in itself so thoroughly genuine and enjoyable, and had in it such quickness and keenness of insight, that of its kind it was unrivalled; and it enabled him to present in Bobadil, after a richly coloured picture of bombastical extravagance and comic exaltation in the earlier scenes, a contrast in the later of tragical humility and abasement, that had a wonderful effect. But greatly as his acting contributed to the success of the night, this was nothing to the service he had rendered as manager. It would be difficult to describe it. He was the life and soul of the entire affair. I never seemed till then to have known his business capabilities. He took everything on himself, and did the whole of it without an effort. He was stage-director, very often stage-carpenter, scene-arranger, property-man, prompter, and band-master. Without offending any one he kept every one in order. For all he had useful suggestions, and the dullest of clays under his potter’s hand were transformed into little bits of porcelain. He adjusted scenes, assisted carpenters, invented costumes, devised playbills, wrote out calls, and enforced as well as exhibited in his proper person everything of which he urged the necessity on others. Such a chaos of dirt, confusion, and noise, as the little theatre was the day we entered it, and such a cosmos as he made it of cleanliness, order, and silence, before the rehearsals were over! There were only two things left as we found them, bits of humanity both, understood from the first as among the fixtures of the place: a Man in a Straw Hat, tall, and very fitful in his exits and entrances, of whom we never could pierce the mystery, whether he was on guard or in possession, or what he was; and a solitary little girl, who flitted about so silently among our actors and actresses that she might have been deaf and dumb but for sudden small shrieks and starts elicited by the wonders going on, which obtained for her the name of Fireworks. There is such humorous allusion to both in a letter of Dickens’s of a year’s later date, on the occasion of the straw-hatted mystery revealing itself as a gentleman in training for the tragic stage, that it may pleasantly close for the present our private theatricals.

“Our straw-hatted friend from Miss Kelly’s! Oh my stars! To think of him, all that time — Macbeth in disguise; Richard the Third grown straight; Hamlet as he appeared on his seavoyage to England. What an artful villain he must be, never to have made any sign of the melodrama that was in him! What a wicked-minded and remorseless Iago to have seen you doing Kitely night after night! raging to murder you and seize the part! Oh fancy Miss Kelly ‘getting him up’ in Macbeth. Good Heaven! what a mass of absurdity must be shut up sometimes within the walls of that small theatre in Dean-street! Fireworks will come out shortly, depend upon it, in the dumb line; and will relate her history in profoundly unintelligible motions that will be translated into long and complicated descriptions by a grey-headed father, and a red-wigged countryman, his son. You remember the dumb dodge of relating an escape from captivity? Clasping the left wrist with the right hand, and the right wrist with the left hand — alternately (to express chains) — and then going round and round the stage very fast, and coming hand over hand down an imaginary cord; at the end of which there is one stroke on the drum, and a kneeling to the chandelier? If Fireworks can’t do that — and won’t somewhere — I’m a Dutchman.”