A History of Pantomime Part 13

The English version of the story of "Jack the Giant Killer," must, therefore, be older than the time of Elizabeth. It is also a strange and significant fact that amongst the Zulus, and the inhabitants of the Fiji Islands, there are similar legends of the story of "Jack and the Beanstalk."

The story of "Jack and the Beanstalk" is also to be found in old Hindoo tales, in which the beans denote abundance. The Russians have a story in which a bean falls to the ground, and an old man, the Sun, climbs up by it to heaven. "The ogre in the land above the skies," observes Mr.

Baring Gould, "who was once the all-father, possessed three treasures--a harp, which played of itself enchanting music; bags of gold and diamonds; and a hen which daily laid a golden egg. The harp is the wind, the bags of gold are the clouds dropping the sparkling rain, and the golden egg laid every day by the red hen is the producing sun." The same idea in "Jack and the Beanstalk" occurs in the fairy legends of the North and the East, as well as in Grecian stories.

In "Jack the Giant Killer," the gifts given to Jack are found in Tartar, Hindoo, Scandinavian, and German legends.

Now let us note briefly the origin of "Red Riding Hood" and "The Sleeping Beauty in the Wood." All the other fairy stories that we know of are to be found in other countries, and springing originally from Asia, where they were made ages and ages ago.

The Wolf in the story of "Red Riding Hood" has been likened to the days of our own "Bluff King Hal," owing to the latter's suppression of the monasteries, and Red Riding Hood herself, whom the Wolf subsequently eats, with her hood and habit, was supposed to be typical of the monastic orders.

The Hindoo's version of the "Red Riding Hood" story is a pretty and fanciful one. Their idea was that there was always a great Dragon endeavouring to devour Indra, the Sun G.o.d, and to prevent the Sun from s.h.i.+ning upon the earth, Indra ultimately overcomes the Dragon. Red Riding Hood, with her warm habit, is supposed to be the setting sun casting its red and glittering rays as it sinks to rest. The old Grandmother is Mother Earth; and the Wolf, the Dragon; and when all is dark and still, the Wolf swallows the Grandmother, namely, the Earth; and afterwards, as Night has fallen, the Evening Sun. The Huntsman denotes the Morning Sun, and he chases away all the dark clouds gathered during the night, and by doing so kills the Wolf; recovers the old Grandmother Earth, and brings to life again, Little Red Riding Hood.

Another version (observes Mr. T. Bunce) is that the Wolf is the dark, and dreary winter, that kills the Earth with frost, but when spring comes again it brings the Earth and the Sun back to life.

In "The Sleeping Beauty in the Wood," the maiden has been likened to the Morning dawn, and the young Prince, who awakens her, with a kiss, to the Sun.

"Ali Baba and the Forty Thieves," in concluding this chapter, I may say, with "The Fair One with Golden Locks," forms to the superst.i.tious the only two unlucky Pantomime subjects.

"Sindbad, the Sailor," taken from the "Arabian Nights," has its origin in Persian and Arabian tales.

Of all our Pantomime subjects, "Robinson Crusoe," seems to be the only one we can properly lay claim to as being "of our own make," so to speak, and written by Daniel De Foe, and, in the main, from the imagination. De Foe, it has been stated, derived his idea for this story from the adventures of one, Alexander Selkirk, a Scotchman, who had been a castaway on the Island of Juan Fernandez. The first portion of "Robinson Crusoe" appeared in "The Family Instructor," in 1719, of which De Foe was the founder. It, at once, sprang into popularity, and has left its author undying fame. De Foe was born about 1660 in the parish of St. Giles, Cripplegate, died 26th April, 1731, and was buried in Bunhill Fields.

CHAPTER XX.

Pantomime in America.

Pantomime, in America, had not a very long run, it being killed by the farcical comedy. Mr. E.L. Blanchard supposes that "Mother Goose" was the first Pantomime played in America, but this is an error, as it was not until 1786, when Garrick's "Harlequin's Invasion," and R. Poc.o.c.k's "Robinson Crusoe" were played at the John Street Theatre, New York, that Pantomime made its advent in America. "Mother Goose" was afterwards played, but it did not suit the Yankee's taste. Rich's Harlequin, Gay of "The Beggars Opera," produced at Lincoln's Inn Fields Theatre, and which it is said made "Rich Gay, and Gay Rich," also went to America, and where, it is said, he became the Chief of an Indian tribe in the Far West. In the South Sea Bubble Gay held some 20,000. His friends advised him to sell, but he dreamed of greatness and splendour, and refused their counsel. Ultimately, both the profit and the princ.i.p.al was lost, and Gay sunk under the calamity so low that his life became in danger.

American Pantomimes consisted of a semi-pastoral "opening," performed almost entirely in dumb show, and a big trick Harlequinade, and down to the time of Pantomime's decease in America was it played like this.

George L. Fox made Pantomime highly popular in America. Born in May of 1825, he, as an actor and comedian in Yankee and Irish parts, held his own in popularity with the great Joseph Jefferson.

Fox might be properly termed "The Grimaldi of America," as he was the representative Clown of the land of the stars and stripes. His Clown's parts he dressed like Grimaldi, and with the whitened face and bald head of Pierrot, the French type of Clown.

The year that "Mother Goose" came to New York saw the introduction of a French troupe of Pantomimists, known as the Ravels. In imitation of these performers Fox introduced in the 'fifties ballet Pantomimes, and several Ravelsque pieces like "The Red Gnome" and "The Schoolmaster"

with good results.

In 1862 Fox was at the Bowery Theatre, and, during his occupation of the same, he did much to popularise Pantomime. Half a dozen years afterwards we find him at the Olympic Theatre, New York, where he produced "Humpty Dumpty," which ran 483 nights, and for five years, till 1873, it held its place, on and off, in the bill. Altogether it was played 943 times.

Fox, from this, was known as Humpty Dumpty, and, strangely enough, also, the Americans for long enough afterwards called every Pantomime "Humpty Dumpty."

Fox was a very good mimic, imitating all the Hamlets of the day, besides being a good melodramatic actor. He died October 24th, 1877, at Cambridge, Ma.s.s., of softening of the brain.

Tony Denier, a pupil of the Ravels, and a quondam friend of Fox, next took Fox's place in the estimation of the American public. Of Denier, we are told that he arrived in Boston in 1852, with the proverbial half-crown in his pocket. He was of French extraction, and descended from one of the best French families. In 1863 he was with P.T. Barnum, and appearing as a one-legged dancer. In 1868, he went into Pantomime, toured "Humpty Dumpty," and for some twenty years afterwards kept the Pantomimic ball merrily rolling until his retirement at Chicago into private life. Denier made Harlequinade tricks a speciality.

Pantomime in America may be said to have lived about a quarter of a century; but in the autumn of this year (1901) Pantomime, as we now know it in this country, made its first appearance at the Broadway Theatre, New York, when last year's Drury Lane annual, "The Sleeping Beauty and the Beast," was successfully presented. It is very probable that this cla.s.s of entertainment will become very popular in America.

CHAPTER XXI.

Pantomimes made more attractive--The Restrictive Policy of the Patent Houses--"Mother Goose" and "George Barnwell" at Covent Garden--Lively Audiences--"Jane Sh.o.r.e"--"Harlequin Pat and Harlequin Bat"--"The first speaking opening"--Extravagence in Extravaganzas--The doom of the old form of Pantomime--Its revival in a new form--A piece of pure Pantomime--Present day Mimetic Art--"_L'Enfant Prodigue_"--A retrospect--The old with the new, and conclusion.

Pantomimes, as they grew, were made more and more attractive, "new scenery, decorations, and flyings" were introduced, and with new "flyings," of course, more accidents.

The restrictive policy adopted by the Patent theatres--till the repeal of their patents (1843)--towards the minor houses, which gave to the former the sole and only right of performing the "legitimate" was, by the minor theatres, infringed in many ways. The means adopted was the employment of Pantomime in the depiction of plays adapted and considered suitable for the minor theatres. These were entirely carried on by action, and when the actor could not express something that had to be explained, like the names of characters, a scroll, with the necessary details inscribed thereon, was unrolled in full view of the audience.

These entertainments were very popular at the close of the eighteenth century, and they were also the means of providing some first-cla.s.s Pantomimists--as, for instance, Bologna and D'Egville.

In a couple of volumes by Mr. J.C. Cross, ent.i.tled, "Circusiana," the author of many of these old "dumb shows," the reader can see what they were like. The scripts of these plays consisted, like our ancient "Platts" and the Italian Scenarios, of princ.i.p.ally stage directions.

John Palmer, the actor who died on the stage of the Theatre Royal, Liverpool--now used for the purpose of a cold storage--after uttering, in the part of "The Stranger," the words "There is another and a better world," found that, after building his theatre, the Royalty, in Wellclose Square, that he was prohibited its use, used to give Pantomimic representations, and just in a similar way as what the minor theatres did, as mentioned above.

It is amusing to note how the t.i.tles of some of Shakespeare's works--which at one time the Patent theatres had the monopoly--were got over; "Hamlet" has been known to have been played as "Methinks I see my Father;" "Oth.e.l.lo," as "Is He Jealous?;" "Romeo and Juliet," as "How to Die for Love;" "The Merchant of Venice," under "Diamond Cut Diamond,"

and so on. Music and dancing also were introduced _ad lib_ into these performances.

The Pantomime of "Mother Goose," produced at Covent Garden, December 29, 1806, which ran 92 nights, was preceded by "George Barnwell," and brought some 20,000 into the theatre treasury. Strangely enough, for about thirty years, it was the unvarying rule to play "George Barnwell"

at this theatre on a Boxing Night, which, from all accounts, owing to the liveliness of the G.o.ds and G.o.ddesses a.s.sembled on these occasions--the Tragedy was as much a Pantomime as the Pantomime proper that followed. Of these "merry moments" Dibdin recalls that Tragedies, Comedies, and Operas were doomed to suffer all the complicated combinations of "Pray ask that gentleman to sit down," "Take off your hat?" and the like. "But the moment," continues Dibdin, "the curtain goes up (on the Pantomime), if any unfortunate gentleman speaks a word they make no reply, _but throw him over directly_."

Seemingly afterwards, at Pantomime time, "Barnwell" was discarded in favour of "Jane Sh.o.r.e," as in "The Theatrical Magazine" we find a writer penning the following:--

A few years since it was the established rule to play "George Barnwell,"

by way, we suppose, of a "great moral lesson" to the apprentices of London. In this age of innovation this venerable custom has been broken down, but the principle seems not wholly to have been abandoned. "Jane Sh.o.r.e" has supplanted "Barnwell," and the anxieties of the age, are, it would appear, now directed towards the softer s.e.x. Seriously speaking, we consider these Christmas selections as exceedingly absurd. Visitants at this period of the year frequent the theatre less for the purpose of seeing the play than the Pantomime, and at both theatres it was this evening their chief, and almost only, attraction; for the tragedy of Rowe, which is of very little merit, derived but trifling interest or effect from the performers who personated the prominent characters.

Moreover the lessons of the pulpit have unfortunately but too slight an influence on those who attend them, and we are rather fearful the moral benefits to be derived from these stage lectures, to the apprentices and servants of the metropolis, do not countervail the loss of pleasure sustained by those who would be so much better pleased; and, therefore, perhaps, taught by a lively comedy, satirising some of the light vices or laughable follies of the age. We trust this theatrical nuisance will be for the future reformed; we can almost excuse the holiday folks for being turbulent, when we reflect upon the insult offered to their understandings, in the treatment they receive on these occasions.

In 1830, at Covent Garden Theatre, Peake introduced into the Pantomime of "Harlequin Pat, and Harlequin Bat" a "speaking opening." Pantomime, however, pursued the even tenour of its way until the production at the Adelphi, about 1857, of a Pantomime, with a "burlesque opening," and "the thin end of the wedge" was provided, written by Mark Lemon. In the Harlequinade, Madame Celeste appeared as Harlequin _a la Watteau_, and Miss Mary Keeley was the Columbine. These Extravaganzas, from the pen of Planche, with scenery by Beverley, and all under the management of Vestris, afterwards became quite the rage.

I have previously referred to the excellence of Beverley's scenes under the _regime_ of Madame Vestris. Extravagance in Extravaganzas, like "The Blue Bird," "Once Upon a Time," and the like, caused the managers, in the matter of scenery, to enter into serious compet.i.tion with one another.

Pantomime, it was thought, was doomed, as its decease at this epoch seemed impending. It managed, however, to come again into popular favour, but in a very different shape. Instead of the usual comic Pantomime it was played by two different sets of performers, and having no connection with one another. The opening scenes, like a soap bubble, began to grow larger and larger, the double plot was abandoned, the Transformation scene became the princ.i.p.al feature, and a long Harlequinade at the _end_.

In the Pantomime of "Red Riding Hood," written by F.W. Green, and produced at Her Majesty's Theatre, during the 'eighties, an effort was made to compose and invent a piece of pure Pantomime. The Vokes family, J.T. Powers, and others, appeared in this Pantomime.

In France and Italy particularly, the Mimetic Art still flourishes; but in this country it is practically a lost Art. One of the best examples, and most successful, we have had in recent years of this ancient form of entertainment in this country was that of "_L'Enfant Prodigue_,"

played by Mdlle. Jane May and a French Company of Pantomimists. There are, however, several other very brilliant Pantomimists excellent in their Art, like the Martinetti troupe, the two brothers Renad, and the Leopolds.

"It is a pity (observes d.i.c.kens, in 'The Theatre') that the knowledge of it (Pantomime) cannot be more extended among our modern actors and actresses, so few of whom understand anything about the effectiveness of appropriate gesture. A few lessons in the business of Harlequin would teach many a young man, for instance, the simple lesson that arms may be moved with advantage from the shoulder as well as from the elbow; and so we should get rid of one of the awkwardest, ugliest, and commonest of modern stage tricks. And there would be nothing derogatory in the study.

Many of our most distinguished actors have graduated in Pantomime."

Mr. Davenport Adams, writing in "The Theatre," for January, 1882, on the decline of Pantomime, says:--

"We may say of present-day Pantomime that the trail of the music-hall is over it all. I admit the extreme ability of certain music-hall comedians. I object, however, altogether, to the intrusion of such artists into the domain of Pantomime, and I do so because they, and others not so able, bring with them, so to speak, an atmosphere which it is sad to see imported into the theatre. They bring with them, not only their songs, which, when offensive in their wording, are sometimes made doubly dangerous by their tunefulness; not only their dances, which are usually vulgar, when they are not inane, but their style and manner and 'gags,' which are generally the most deplorable of all. The objection to music-hall artists on the stage is, not only that they take the bread out of the mouths of 'the profession,' which is a minor consideration for the public, but that they have the effect of familiarising general audiences, and children especially, with a style and a kind of singing, dancing, and 'business' which, however it may be relished by a certain cla.s.s of the population, ought steadily to be confined to its original habitat. The managers are, of course, very much to blame, for it is by their permission, if not by their desire, that youthful ears are regaled with 'W'st, w'st, w'st,' and similar elegant compositions. Such songs as these would not be tolerated by _paterfamilias_ in his drawing-room, yet, when he takes his children to the Pantomime, they are the most prominent portion of the entertainment."

In the last century, Pantomimes, in the form so dear to our forefathers, sometimes twice yearly--at Easter and Christmas--were given. The comic and other scenes were in that true sense of the word humorous and funny.

The reason was not far to seek, as they were all played by _actors_. The music-hall had not, as far as Pantomime was concerned, made such inroads as at the present time it has done into the dramatic profession. Clown, to _pater_ and _materfamilias_, and others, was a source of genuine enjoyment; and though they may have pa.s.sed the sere and yellow leaf of age, the laughs and hearty merriment of their grand-children gathered around them made them think of other days, when they were young themselves. Picture them all, dear reader, sitting in the Family Circle--now termed the Dress Circle--a happy party with smiling and contented faces, laughing at some _genuine acting_--Pantomime though it be--no _double entendre_ songs, and nothing to be ashamed of.