The Camp At The Olympic.: TEI editionPlanché, J.R.TEI conversionLou Burnard Privately distributed by the Digital Lacy ProjectL0170The Lacy Project waives all rights to the TEI encoding applied to this material, which is believed to be in the public domain. You may copy, modify, distribute and perform this work freely. Planché, J.R.The Camp at the OlympicA new and original Introductory Extravaganza and Dramatic Review25 pp (UM copy: 126 - 151) Lacy's Acting Edition, volume 12, No. 0170N16989Vol12vCampLoB from VPPUC from HT(in Testimonial edition, vol 4 pp 293-322)UM from HTTEI Licence sent 3 October for performance at the Olympic 17 October 1853. BL ms LCP_52942.M Premiered at Royal Olympic Theatre 17 Oct. 1853 SPECTACLE The New Lessee Mr. W. His Wife Mrs. W. Stage Carpenter Carpenter. A Boy Fancy Fancy. Fancy.. Tragedy Trag. Comedy Comedy. Com. Burlesque Burles. Bur. Opera Opera. Ballet Ballet. Melo-Drama Melo. Pantomime Hippo-Drama Hippo. Spectacle Spec. Ghost Of The Old Italian Opera Solo—Ghost Of Old Italian Opera. Ghost. Harlequin Clown Pantaloon Pant. Columbine The True British Sailor Sylphides Macbeth 1st Macbeth 2nd Macbeth 3rd Banquo The three witches Skaters Sardanapalus Myrrha Standardize header componentsMetadata refreshed from catalogue and Partix folderMetadata refreshed from catalogue and Partix folder Add scene divs hand edit @who Metadata updated from new catalogue Header enriched Header confected The Camp At The Olympic.A New And Original Introductory Extravaganza And Dramatic ReviewBy J. R. Planché.Author of Mr. Buckstone's Ascent of Mount Parnassus, The GoodWoman in the Wood, The Golden Branch, Fortunio, The Invisible Prince, &c., &c. Thomas Hailes Lacy, Wellington Street, Strand, London .

First performed at the Royal Olympic Theatre,On Monday, October 17th, 1853.

The Tents of Real Canvass, painted, as well as the other Scenes (if not better) by Mr. Dayes.

The Gentlemen's Uniforms by that uniformly Civil though occasionally Military Tailor, Mr. Brown.

The Ladies to "dress up" under the command of Mrs. Curl.The Accoutrements by Mr. Moreland.

The Machinery by Mr. Sutherland, of the Royal OlympicEngineers.

Matter-Of-Fact Persons. The New Lessee (a notorious Fact)Mr. Alfred Wigan. His Wife (an absolute Fact) Mrs. Alfred Wigan Stage Carpenter(a plain Fact)Mr. Deal. A Boy(in Fact)The Call Boy. Persons Of Imagination. Fancy (on her way to a Fancy Ball)Mrs. T. G. Reed, late Miss P. Horton. The Play-household brigade TragedyMrs. Chatterley Comedy Mrs Stirling. Burlesque Mr. F. Robson Opera Miss Corri BalletMiss Wyndham. Melo-DramaMr. Sanders. PantomimeMiss Stevens. Hippo-DramaMiss E. Turner. SpectacleMr. Emery Ghost Of The Old Italian Opera (bearing a great bodily resemblance to a celebrated BassoSignor Calli. HarlequinMr. Franks. Clown H. Cooper. PantaloonMr Lindon. Columbine Miss Henderson The True British Sailor Mr. Morton. SylphidesMadlles. Howard and Graham.

The Bare Stage

A Scene Never Before Exhibited On Such An Occasion At This Or Any Other Theatre.

Richard The Third's Tent,

Exactly In The Wretched State In Which He Left It.

Followed By An Effect Of Fancy.

Experimental Camp Of The Combined Forces Of The British Drama,On The Stage Of The Olympic Theatre, And Review Of The Play-Household Brigade !

In Which, Amongst Other Brilliant Manoeuvres, Will Be Exhibited, By the kind Permission of Spectacle, Whose Marquee Will Be Thrown Open For That Purpose

Tableau 1—Macbeth Meeting The Witches. Period, 1053. Costume, 1853. Macbeth 1stMr White Macbeth 2ndMr Watson Macbeth 3rdMr Hart BanquoMr Leslie The three witchesMessrs. Back, White and Rey. Tableau 2 - Skating Scene from the opera of "Le Prophete." Skaters—Misses Medex, Turtle, Carter, and Wood. Tableau 3—Group From "Sardanapalus." SardanapalusMr. Vincent. Myrrha Miss Marston.

A Fancy Sketch For The Last Scene, Got Up On The Shortest Notice, And Perfectly Regardless Of Expense—Feu De Joie—Sturm Marsch Finale,

And Royal Salute by the whole Olympic Division,In Presence (It Is Hoped) Of General Approbation.

The Camp At The Olympic.
Scene 1 .- The Stage at the Olympic Theatre. Enter Mr. and Mrs. Wigan, arm-in-arm. Mr. W. Well, come what may, at least behold us here ! I hope you're satisfied ? ( to Mrs. W.) Mrs. W. So far, my dear. The house is ours. We've nothing now to do But— Mr. W. Fill it. Do you call that nothing, too ? Mrs. W. Well, it's not much. The Theatre is small, And Lord John Clapham said he'd take— Mr. W. A stall! Mrs. W. Well, love, that's one—and one— Mr. W. ( checking her)"Friend," you would say, "Makes many." I devoutly wish it may. However, we are in for it, and so . It's no use talking, we must act! Mrs. W. I know We must act, and I come resolved to play— Mr. W. All the best parts. Mrs. W. If they are in my way. Mr. W. And your's is such a taking way, my dear. Mrs. W. Come, Mr. Impudence, you needn't sneer, There was a time, to which I could allude— Mr. W. Nay, don't be angry. Mrs. W. Then don't you be rude. Mr. W. I'd not the least intention. Don't let's squabble ! But as you've got me into such a hobble— Mrs. W. I got you? Mr. W. Well, no matter then, since we Have got into it, let us pray agree Upon some plan, at least, to get well out of it. You think we shall succeed ? Mrs. W. I've not a doubt of it! Mr. W. Bless the dear women! They're such sanguine souls! Whilst men in doubt stand scratching their dull polls, They, by mere force of will, their ends achieve! "Ce que femme veut, Dieu veut," I do believe ! And so at once to business. I have got An opening piece, of which I like the plot (takes Mss. out of his pocket) (Reading title) "The Camp at Chobham." cf. https://collection.nam.ac.uk/detail.php?acc=1999-09-39-1 Mrs. W. Law! Why that's been done At the Adelphi! By Mark Lemon, 30th June, 1853 [Testimonial ed, 1879] Mr. W. A piece—not this one. Mrs. W. But the same titles— Mr. W. More attractive make 'em. When titles are so catching, people take 'em Just as they do the measles—from each other. And 'bout this Camp there has been such a pother, The name alone is money sure to bring. So here, you man ! fly-catching at the wing— A Carpenter. advances from between wings Show us a pair of flats. (Carpenter smiles) What do you mean By grinning ? Get me out, Sir, a tent scene ! (aside) Of flats, I'll swear, that rascal meant to say We were the biggest pair he'd seen to-day. A Tent Scene is put on. What's this?
Carpenter. King Richard's tent, Sir. Mr. W. (R)That will do. It's so old—that it's actually new. "Methinks the ghosts of all who've Richard murthered " Arise before me ! Our cause won't be furthered Much by such actors. ( to Carpenter) Two chairs, if you've got 'em ! Call Boy brings forward two old broken chairs. One with three legs! — The other with no bottom! " This is a sorry sight! " Mrs. W. " A foolish thought To say a sorry sight "—you rather ought To think it a good omen, here. Mr. W. How so ? Mrs. W. If we can'tsit, we must stand! Mr. W. Oh ! oh! Oh ! You've got the inventory of the dresses, What regimentals are there in the presses ? Mrs. W. (producing a paper and reading from it) " Uniform coats, 1 red, 1 green, 1 blue." Mr. W. I don't call that quite uniform. Do you ? Mrs. W. (continuing)"Three guns, two bayonets, one sword and belt." Mr. W. How about hats ? Mrs. W. Ah ! there the pinch is felt! Only one cocked hat! Mr. W. Humph ! that won't go far To carry on, as we may say, the war; Although at Astley's half-a-dozen horses And twenty men play all the British forces ! Mrs. W. I'll tell you what, we'll have one man well drest, And let the audience fancy all the rest. Mr. W. Ah! if we could bring Fancy to our aid ! Fancy rises from Trap C, in a jester's costume. Fancy. Fancy you can. It's done as soon as said. Mr. W. " Angels and ministers of grace defend us ! " What does this novel stage effect portend us ? Mrs. W. " Be thou a spirit of health or goblin"— Fancy. Hum! Mr. W. "Bring with thee airs from heaven or blasts from"— Fancy. Mum! I'm Fancy. Mrs. W. Only fancy that! Mr. W. Who'd guess, In such a habit— Fancy. It's a fancy dress. Mrs. W. A fool's—saving your presence. Fancy. You forget. That Fancy plays the fool with sense, and yet Without some fancy Sense would be a frump, While without sense Fancy's not worth a dump ! Their happy union makes for youth and age The choicest entertainments of the stage, (For which I have the greatest partiality) And give to every scene I touch reality. Mr. W. Then pray touch some of mine up, and I'd name This tent for one. Fancy. With that intent I came. Air .- Fancy. "La Dona Mobile." Fancy her magical Influence lending, Mortals befriending, As much as befooling, Comical—Tragical— Classic—Romantic; Apeing each antic— Every sense ruling— As you request her, Comes as a jester, Gaily to test her Influence here. On each sensorium, Wild airs essaying— Fancy sets playing The world at "supposes." From her emporium, Fashion proceeding— All the town leading, By their own noses. Her stage direction Baffles objection; Fancy, Perfection Can make it appear. But not at Chobham shall my camp be found— The common there, is now too common ground To be brushed up by even Fancy's wing. "The Camp at the Olympic" is the thing! Here all the drama's forces we'll review, And see what troops will flock her standard to. At Fancy's call, The Play-Household-Brigade Shall turn out for inspection on parade! (to Mr. W.)You as Field-Marshal—shall command in chief. Mr. Wigan retires through tent (R), and immediately reenters in a Field Marshal's uniform, with baton. (to Mrs. W.)You as "White Serjeant" come with the relief. Mrs. Wigan goes off L. U. E., and re-appears in white dress. Changing that horrid every day dress For one which may your Brevet rank express In Fancy's Army. Here begins my reign; Current I make "the coinage of the brain," And General Orders issue from this station, Now the Head Quarters of Imagination. Trio. —Fancy, Mr. and Mrs. W "Rat-a-plan." Rat-a-plan! Rat-a-plan! Rat-a-plan! To arms ! to arms ! ye mighty spirits muster! Here pitch your tents—your standards here unfold. To arms! to arms! the British drama's lustre, At Fancy's call shed round us as of old! To arms! the Drama's cause uphold ! Rat-a-plan! Rat-a-plan! Rat-a-plan! Rat-a-plan ! A new campaign the drama here prepare for, With souls in arms and eager for the fray, Your fights are all sham fights, you know, and therefore At soldiers sure you can't object to play. To arms ! the magic call obey. Rat-a-plan! Rat-a-plan! &c.
Scene changes to the Camp of the Combined British Dramatic Forces; on the R. H. are the characteristic tents of Tragedy, Melodrama, and Opera; on L. H. those of Comedy, Farce, and Pantomime. In the centre is the large and splendid pavilion of Spectacle. Music .(grand march) Enter Tragedy from her tent in the costume of Lady Macbeth, 1753, a letter in her hand. Fancy. First in the field, old English Tragedy In stately hoop and train "comes sweeping by !" As in the British Drama's palmy day, When people took an interest in the play! Mr. W. A letter in her hand ! why then the dame is— Fancy. The wife of the ambitious Thane of Glamis ! Mrs. W. Lady Macbeth ! In Dollalolla's dress! Trag. ( reading the letter)" They met me in the day of my success." Mr. W. That must have been a hundred years ago, To judge from a costume so rococo! Trag. (indignantly)In my day, Sir, judgment, and power, and feeling, With confidence to public taste appealing, Received the crown—no matter what its fashion, It was the crown! Mr. W. Well, don't be in a passion! Trag. Not in a passion! when I see the state Of Denmark rotten! When I hear the fate Which hath befallen both the classic domes, 'Neath which my votaries once found their homes! Where Garrick, Monarch of the mimic scene, His sceptre passed from Kemble down to Kean. Where Cibber's silver tones the heart would steal, And Siddons left her mantle to O'Neil!https://en.wikipedia.org/wiki/Elizabeth_O%27Neill_(actress) The drama banished from her highest places, By débardeurs and "fools with varnished faces." Cf https://www.davidbrassrarebooks.com/pages/books/05550/paul-gavarni-guillaume-sulpice-chevallier/les-debardeurs and https://scalar.library.yorku.ca/victorian-ghosts/braddon_se_13 Sees foreign foes her sacred ruins spurning, Fiddling like Neros, while her Rome is burning! Fancy. The times have changed ; but there is still a stage, And one on which Macbeth has been the rage! Trag. Macbeth ! Is't possible ! O, hie thee here— That I may pour my spirit in thine ear! Music. The Pavilion opens and discovers "The Blasted Heath," same as at "The Princess's Theatre," with the three witches. Macbeth and Banquo in the costume worn at that theatre. Temp. 1853. Fancy. Behold, he comes! Trag. " Great Glamis! worthy Cawdor !" Can that be he ? Fancy. In heavy marching order. Not as when Garrick used to meet the witches— In gold laced waistcoat and red velvet breeches; Garrick appears as Macbeth with the daggers (R.) Nor as in Kemble's time, correct was reckoned, Accoutred like "the gallant forty-second." Kemble appears as Macbeth with target and truncheon (L.) But as a Scottish chieftain roamed scot-free— In the year one thousand and fifty-three. Trio— Mr. and Mrs. Wigan and Fancy. "Auld Lang Syne." My auld acquaintance I've forgot, If ever he was mine; Is that the way they clad a Scot In days o' Lang Syne ? For Auld Lang Syne, my dear, For Auld Lang Syne ! We'll look on him wi' kindness yet, For Auld Lang Syne ! Trag. " My countryman! and yet I know him not! " Mr. W. More like an antique Rum'un than a Scot! Trag. A Scotchman, and no kilt ? Mrs. W. Don't Macbeth say— " We've scotch'd the snake, not kilt it" ! Mr. W. Oh! don't! pray ! (scene closes) Air .—Fancy. "The Bonnets of Bonny Dundee." Through their habits conventional managers broke, To make old plays go down they new habits bespoke; The old fashioned Scotchman no longer we see, Except as a sign for the sale of rappee.A variety of snuff, associated with Scottish vendors. So pack up your tartans, whatever your clan, And look a new "garb of old Gaul" out, my man; For the stage in its bonnet has got such a bee, It's all up with "The Bonnets of Bonny Dundee." Fancy. But see, where brilliant Comedy appears. Music. Enter Comedy from her tent, L. in the costume of Lady Teazle. Blooming as brightly as in former years, Invincible, with powder, paint, and patches, Loaded and primed — her eyes the lighted matches— Ready to play upon a yawning pit, She brings up the artillery of wit! Comedy. Wit! oh, my dear, don't mention such a thing ! Wit on the stage, what wit away would fling ? There are so few who know it when they hear it, And half of those don't like so much as fear it. Wit! If to theatres for wit they'd come, Would Farquhar, Congreve, Wycherly be dumb ? Or even the poor devils now-a-days, Who can't help scribbling—hawk their hapless plays From house to house, to hear the sentence chilling, " Your piece is clever, but won't draw a shilling." Mr. W. (R.)Then, what will draw ? Comedy. (C.)O Mercy ! Tell me, pray — What horse will win the Derby, Sir ? You may, I'm sure, as easily as I tell you What the dear British public will come to ! Just what they like—whatever that may be— Not much to hear, and something strange to see. A Zulu Kaffir, with his bow and quiver;As this work is passing through the press there is a similar exhibition at St. James's Hall, another confirmation of the trite old saying that History repeats itself." Eds. [Testimonial ed. 1879] A Pigmy Earthman, from the Orange river; An Aztec Lilliputian, who can't say a Word, from the unknown city Iximaya. Cf. "Illustrated Memoir of an Eventful Expedition Into Central America: Resulting in the Discovery of the Idolatrous City of Iximaya, in an Unexplored Region; And the Possession of Two Remarkable Aztec Children Maximo (the Boy), and Bartola (the Girl)" (https://books.google.co.uk/books?id=Ieqcaaaayaaj) Any monstrosity may make a hit, But no one's fool enough to pay for wit! Or if he be, in theatres why seek For jokes, when Punch is but a groat a week ! A groat was worth fourpence; it ceased to be coined in 1856. The Testimonial ed of 1879 quotes from Punch (vol 26, p 33, Jan 1854) : A slight mistake, which brought forth the following good-humoured protest from Punch:- "A Penny Saved And A Punch Got. Mr. Punch presents his compliments to Mr. Planche, and will trouble that gentleman to request Mrs. Stirling to make a slight addition to an exceedingly proper observation she offers as Comedy,' in the very pleasant piece 'The Camp at the Olympic.' Mrs. Stirling remarks, in her very happiest stage manner ' And who for wit in comedy would seek, When Punch himself is but a groat a week '? To prevent unhappiness and misconception, would Mr. Planche add something of this kind ? 'Fourpence, I mean, to country friends supplies him, The favoured Londoner for threepence buys him.' With this addition 'The Camp' will become a charming little piece." Mrs. W. (L. C.)No wonder that in such a situation Your spirits flag— Comedy. My only consolation Is that all sorts of folks are now so funny, My dullness will be soon worth any money. Even Tragedy—my sister there—sad soul, Has recently become so very droll, That the judicious few, her acts who see, Laugh at her more than at poor Comedy ! Trag. (advancing on her)Madam ! This irony !— Comedy. Oh, lud! she'll bite ! Mr. W. Part them ! they are incensed! Fancy. (down C.)A jest so light Should not to any serious censure doom her; Like Mr. Sulky—she "will have her humour." Trag. Will she, indeed ? Then I'll forgive her gladly, For lately she has wanted humour sadly. Comedy. Now who's ironical, dear sister, pray ? " Oh, sister, sister! sister ev'ry way!" Mr. W. Come, come, be friends! The Drama's foes to rout, The word should be "fall in" and not "fall out." Air—Mr. Wigan. "We have been friends together." You have been friends together, Together money made— When tragedies and comedies To crowds were nightly played! And though the word may make you start— The fact you must allow, You have been—damned together ! Shall a light word part you now ? Mrs. W. (R.)Talking of humour—where on earth has fled Our broad old English Farce, or is he dead ? Fancy. No, but too homely for this polished age, He's lately taken French leave of the stage; But there's a substitute still more grotesque We often find for him—He's called Burlesque. Trag. Don't name the wretch ! I hate him with a hate Known only on the stage ! He mocks my state; Mimics my voice; my words mis-quotes, mismatches, A vice of kings! a king of shreds and patches ! ( Flourish of penny trumpets, heard L .) Fancy. He comes ! I know his trumpet! Trag. Too ! too ! too - Well I remember it! Support me, do ! Mr. W. Tragedy ! show me where's the actor strong enough ? Trag. Then I shall fall! (sinks in a chair) Mrs. W. Alas, I've thought so long enough ! Charivari. Enter Burlesque, L. 2 E. in the costume of King Arthur in "Tom Thumb." Burles. " Call up our cavalry from Horselydown!" Queen Tragedy, I'll fight you for a crown! Air—Burlesque. "Such a fine King as I !" Such a fine King as I, Don't care for your frowns a fig ! Folks laugh 'till they're ready to die At the wisdom that's in—my wig! For Burlesque is up ! up ! up ! And Tragedy down ! down ! down, O ! Pop up your nob again, And I'll box you for your crown, O ! Toll rol der rol loll, &c. Your Hamlet may give up his Ghost, Your Richard may run himself through, I'm Cock-of-the-Walk to your cost, And I crow over all your crew! For Burlesque is up ! up ! up ! And Tragedy down! down ! down, O ! Pop up your nob again, And I'll box you for your crown, O ! Toll rol der rol loll, &c. Trag. (R.)Avaunt, and quit my sight! let the earth hide thee; Unreal mockery, hence! I can't abide thee! Burles. (R.C.)Because I fling your follies in your face, And call back all the false starts of your race; Show up your shows, affect your affectation, And by such homoeopathic aggravation. Would cleanse your bosom of that perilous stuff, Which weighs upon our art—bombast and puff. Mr. W. (L.C.)Have you so good a purpose then in hand ? Burles. Else wherefore breathe I in dramatic land ? Mrs. W. (R.C.)I thought your aim was but to make us laugh ? Burles. Those who think so but understand me, half. Did not my thrice-renowned Thomas Thumb, That mighty mite, make mouthing Fustian mum ? Is Tilburina's madness void of matter ?Character in Sheridan's "The Critic: or A tragedy Rehearsed" (D.L. Oct 1779) Did great Bombastes strike no nonsense flatter ?William Barnes Rhodes "Bombastes Furioso: a burlesque tragic opera" 1828 When in his words he has not one to the wise, When his fools bolt, spares folly as it flies, When in his chaff there's not a grain to seize on, When in his rhyme there's not a ray of reason, His slang but slang, no point beyond the pun, Burlesque may walk, for he will cease to run. Mr. W. Although your trumpet, Sir, is but a penny one, You blow it, I confess, as well as any one! Comedy. I vow the wretch to common sense pretends! Burles. Don't mention it, I beg, even among friends. Like Mr. Snake,Character in Sheridan's "School for Scandal"though here the truth I own, I should be ruined, if abroad 'twere known. I live, as that same worthy does aver, Upon the badness of my character. If once of common sense I was suspected, I should be quite as much as you—neglected. Trag. "That's wormwood!" Music . Mr. W. Hark! what means that prelude grand ? Enter English Opera as Mandane in Artaxerxes, "Artaxeres. An English Opera. As it is performed at the Theatre Royal in Covent-Garden. The Musick composed by Tho. Aug. Arne, Mus. Doc. 1763. with a German Band. R. 3 E. Fancy. (L.)'Tis English Opera! Mr. W. (L.)With a foreign band ! Fancy. (L.)She takes the best her music book that suits, She always had French horns and German flutes. Comedy. (L.)Has she forgot her native wood-notes wild ? Fancy. (L.C.)She hasn't chirped them since she was a child. Trag. (R.)You mean "When music, Heavenly maid, was young," "And first in early Greece—she—she—Opening lines of William Collins "The Passions. An ode" (1720) Bur. (prompting her)"Gave tongue." (Tragedy sits down disgusted) Fancy. But not in Opera like that before us. The Greeks had none. Trag. They'd Tragedy! Mr. W. And Chorus ! Fancy. Yes! spoken, so that you heard every word ; A sort of chorus now that's never heard. But let us hear what Opera has to say, Or rather sing, in her own cause to-day. Opera. (sings)" The soldier tired of war's alarms, &c." Song from "Artaxerxes Mr. W. (interrupting her)Thank you ! that's quite enough! O dear! O dear! Burles. That old style won't agree with the new y(ear) ! Mrs. W. (R. C.)It was a stile I hoped she had got over! Opera. (C.)Of English Opera you wished a "Prova"; Maybe a reference to "La Prova D'un Opera Seria. The Rehearsal of a Serious Opera. A Comic Opera, Etc. Ital. & Eng." London, 1831 And that's about the best in English still. Mr. W. Except "the Beggar's." John Gay, Beggars Opera Opera. That's a Vaudeville! Mr. W. Have you no new and great airs on your shelves ? Opera. The greatest airs the singers give themselves ! Fancy. And while they do so there is little chance Of seeing English Opera advance ; The only compositions her proveditors Proveditor: an officer in several parts of Italy, particularly Venice. Have lately gained by have been with their creditors. Mr. W. Then BishopSir Henry Rowley Bishop(1787-1855) https://en.wikipedia.org/wiki/Henry_Bishop_(composer), Balfe,Michael William Balfe (1808-1870) Irish composer https://en.wikipedia.org/wiki/Michael_William_Balfeand Barnett John Barnett (1802-1890) https://en.wikipedia.org/wiki/John_Barnett, where are they! Mrs. W. WallaceWilliam Vincent Wallace (1812-1854) https://en.wikipedia.org/wiki/William_Vincent_Wallace! Macfarren !George Alexander Macfarren (1813-1887) https://en.wikipedia.org/wiki/George_Alexander_Macfarren Trag. (wildly)" Rivers ! Vaughan ! Grey !" None of these identified. Opera. Madam! Fancy. Poor soul! Her wits are going fast, She has not seemed quite right for some time past And now Burlesque completely has upset her. Trag. I shall weep soon, and then I shall be better ! Mrs. W. Suppose you take a nap ? Comedy. Aye, sister, do, Your audience sleep sometimes, why shouldn't you? Mr. W. ( to Comedy)You're too severe upon your sister muse. (to Opera)This interruption, madam, pray excuse Opera. Sir, I'm accustomed to a few bars, rest. Mr. W. You spoke of airs by which you were opprest. Opera. Oh, even my foreign rivals on that score Suffer as much as I do, if not more; One has already given up the ghost. Fancy.. See where it walks ! Ghost music from Don Giovanni. The Ghost of Her Majesty's Theatre appears from R. 3 E., having a great bodily resemblance to Signor Lablache. Luigi Lablache (1794-1885) https://en.wikipedia.org/wiki/Luigi_Lablache Once in itself a host! The last, but not the least by any means, Of the great stars that lighted up her scenes. Mr. W. What, old acquaintance ! could not all that flesh Keep in a little life ? Mine ears refresh With choice Italian. Speak ! "Ore rotundo!" Enormous artist! Great basso profundo ! Ensemble— from Don Pasquale. Opera buffa by Donizetti; role first performed by Lablache. See https://en.wikipedia.org/wiki/Don_Pasquale (nice picture) Solo—Ghost Of Old Italian Opera. Pacing yon colonnade Most melancholy, Humming the serenade— From Don Pasquale; Nightly I wander—sighing and sulky, No more in Figaro, brilliant as bulky! Dull is thy valet now, Gay Don Giovanni! What trump shall rally now, "I Puritani" ? Bellini's opera https://en.wikipedia.org/wiki/I_puritani My Impressario Plays "Belissario" Donizzetti's tragic opera https://en.wikipedia.org/wiki/Belisario Grisi and Mario Giulia Grisi (1811-1869) https://en.wikipedia.org/wiki/Giulia_Grisi, wife of Giovanni Matteo Mario (1810-1883) https://en.wikipedia.org/wiki/Giovanni_Matteo_Mario Partiti son! Trio— Mr. Wigan, Fancy, E. Opera.. Bravo ! Bravo ! Don Pasquale ! Can no Magic Flute recall ye Whose superb recitativo. Could this great Basso relieve O ? Caro mio, let this trio— So enchanting, so bewitching, Bring a moment back to Fancy, The great rôle you were so rich in ! Ghost. Bene, si! Now fortissimo! Now pianissimo! Bravo, bravissimo— Bene,si . Trio. But while we strive, Once more alive To fancy "Don Pasquale "— We find, alas, The shadow pass, And so as a finale, Regretting one so great, should e'er Be forced to sing so smally, Addio ! Addio ! unhappy Buffo "Buffo, literally "funny", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect. They are usually the blustering antagonist of the hero/heroine or the comic-relief fool in bel canto operas." say ! Ghost. To the shades I must away, There a deeper part to play! Ghost retires, R. 3 E. Burles. Poor Buffer! Mrs. W. Buffo. Mr. W. In his situation "Buffer's" the more expressive appellation. (to Fancy.)"Our cause, my friend, is in a damn'd condition," The Drama's perishing of inanition, In all it's branches, foreign and domestic. Tragedy halting in her march majestic; Poor Comedy with nothing left to spout; Farce only fit to play the people out; The English Opera completely prostrate, And the Italian taken up to Bow Street. Air—Mr. Wigan. "Oft in the Stilly Night." When I remember all The talent brought together, I've seen in Don Pasqual— E, And in such high feather— I grieve, I own, that he alone, Should haunt that stage deserted, Whose lights are fled, and garlands dead, And all but he—departed. Still on an Opera night, When other voices wound me— Fond memory brings the light Of all those stars around me ! Mrs. W. And whither has the once gay Ballet hopped ? Fancy. Like the poor sylphide when her wings were cropped, Behold her shorn of all her magic power, Denied to dance upon a single flower. Enter Ballet "a la Sylphide" L. 3 E. with her Coryphees. She expresses her altered state in action to Mr. W. Mr. W. What does she mean ? I'm stupid, I've no doubt, But I could never make a Ballet out. With diplomatic notes take rank they should, Then most successful when least understood. Ballet. Oh I could tell you, Sir, in words as well, But if the Ballet talk'd it mightn't tell. Fancy. She tells you, fallen from her high estate, On her last legs she's taken now to skate; Like a bold wench, resolved at any price To cut a figure, though it's but on ice. Music. Scene at back opens and shows the skating scene from "Le Prophete," as at the Italian Opera, Covent Garden. The first scene of act 3 of Meyerbeer's Le prophète contains a ballet, titled "Les Patineurs", in which the dancers mimic ice skaters. In this opera's premiere in 1849, the dancers wore a type of primitive inline roller skates, which had been invented in Europe in the previous century, to more convincingly look like they were ice skating (quad roller skates had not yet been invented) (https://en.wikipedia.org/wiki/Le_proph%C3%A8te) Air. —Ballet. ( Skating Music in Le Prophete.) We slide and glide and slip and trip, And wheel and reel through snow and sleet, These are bad days when coryphees Are puzzled to keep their feet! We colds have caught and chilblains brought, To spite our light fantastic toes! And vile Jack Frost perhaps may cost Poor Ballet her lovely nose! Scene closes. Mr. W. Cold comfort this for a new speculator ! Mrs. W. For a house warming—a refrigerator! Mr. W. A Drama must be found, or we are undone, With spirit in it to stir up all London! Fancy. Oh, if you want a piece with spirit in it, I'll call up Melodrama in a minute. His supernatural efforts have told, When all things else have failed. Appear! A chord. Melodrama comes through his tent R. 2 E, as "the Monster" in "Frankenstein." Behold! Mr. W. What monster's this ? Fancy. The one from "Frankenstein." See L1124 He reads a lesson to folks in your line. How many a manager I've seen a stew in, Making a monster that has been his ruin! Mrs. W. He looks of blue ruin the incarnation ! I've no great hopes from his resuscitation! Fancy. There is a spirit of another blue, He sometimes personates the fine old "true!" Chord. William in the melodrama of "Black-eyed Susan" See entry for L0338enters from R. Fancy. Of Black-eyed Susan, there the hero stands, Into the pit he oft has piped all hands, And brought the drama up with a wet sail; Burles. He goes a-head—but thereby hangs—a tail. Comedy. All in the Downs the British Fleet lay moored, When black-eyed Susan came the stage on board; The scene is changed—the Fleet is at Spithead, And our poor stage "All in the Downs" instead. Fancy. Well, there's another sprite, at Christmas time, That oft does wonders—Comic Pantomime! Spite of blows, tumbles, changes, kicks, and slaps, She makes her annual trips and sets her traps. Music. Pantomime enters as "Mother Goose," Harlequin, Columbine, Pantaloon, and Clown, rise up trap C. dance, rally, groupe. Bur. Shade of Grimaldi! who thy loss can know, That never saw Inimitable Joe ! Joseph Grimaldi (1778-1837) https://en.wikipedia.org/wiki/Joseph_Grimaldi Quintette ." There's some one in the house with Dinah." Burlesque, Fancy, Opera, and Mr. and Mrs. Wigan. Cave, J. H. (Composer) There's Someone in the House with Dinah (Song) 1847 Solo .—Burlesque. (Bone accompaniment.) Old Joe he was an artist great, There's been nobody like him seen of late; To Pantomime 'twas a knock down blow When the curtain fell upon poor old Joe ! Poor dear Joe—was the Joe—yes the Joe! All. Old Joe kicking up behind and before, The Columbine a kicking up behind old Joe; There's no one in this house so fine, ah, Nor any other house I know, There's no one in that funny line, ah, Can play the fool like dear old Joe ! Mrs. W. But though such kickshaws may succeed perchance, We must have some "morceau de resistance"; And from such fare we're as far off as ever. Mr. W. Do help us, Fancy! Fancy. Well, don't I endeavour ? Shall I invoke the genius of the ring ? Mrs. W. What! from Aladdin ? Fancy. Quite another thing; One who knows how the public in to whip, And witch the world with noble horsemanship. Music. Enter Hippodrama See https://en.wikipedia.org/wiki/Hippodramaas a lady attired for the ring,Riding Master, &c. L. 3 E. Fancy. Hither he brought amusement for the million, When here old Astley first pitched his pavilion. Air .—Fancy. "I'm the Genius of the Ring." He's the genius of the ring, To this house by no means new, Horses here could money bring, Ere the stage they were put to ; And when fast the stage has stuck, As all stages sometimes do, Horses oft have had the luck The poor drama to pull through. On Parnassus' highest ground Still a winged horse one views, And a horse is to be found Wheresoever there's a Mews; And if Thespis in a cart Made the drama first the rage, Horses must have played their part In that very early stage. To the Genius of the Ring Then be ev'ry honour due, If the drama's not the thing Try what hippo-drame can do ! Mr. W. Soft sawdust! I am proof against soft sawder; I've great respect for the equestrian order, And hope its members oft my stalls will pay to; But horses on the stage I must saynay to. To Cavalry I own its obligations. But there's no field here for its operations; The genius of the ring it would but cramp, And might put out the genius of the lamp. Fancy. You're very hard to please! Mr. W. The town is harder! And sadly empty the dramatic larder. While army raising Fancy plays the Fairy at, I fear she quite forgets the Commissariat! The bravest troops that ever took the field, If they've no food to fight upon, must yield. Music. Spectacle appears in splendid fancy dress. Spec. You're right; and then the food should be well drest, Or quite uneatable may be the best. Mr. W. Who’s this that talks and looks so mighty fine ? Fancy. Spectacle! a great friend of mine. Burles.|Opera.|Pant.|Melo|&Hippo. And mine ! Fancy. You’ ve heard of him, of course ! Mr. W. And seen him, too, Till I am almost sick of him! arn’t you? Spec. Is this your gratitude for all the splash I’ve made upon the stage, and all the cash I've brought into the treasury ? Mr. W. I doubt If you bring in as much as you take out. Spec. Well, try a piece without me now-a-days ; See if your triumph will be called a blaze ! Mr. W. The blaze is often only in the bill—— Mrs. W. Or one that burns the fingers through the till. Com. Why should a drama that deserves success Burn blue lights, like a vessel in distress ? Trag. Has not immortal Shakespeare said —’tis silly, “To gild refinéd gold—to paint the lily ?” Spec. Immortal Shakespeare ! come, the less you say The better on that head. There’s not a play Of his for many a year the town has taken, If I've not buttered preciously his bacon. Trag. More shame then for the town! Spec. ( to Com.)And you, Miss Prue! Pray, has Spectacle nothing done for you ? Have I not given you correct costumes, And furnished splendidly your drawing rooms ? Ungrateful minx! till my Augustan age You never saw a carpet on your stage. Dragging your train through dust of other days, You envied Tragedy her old green baize ; And all the sticks, to muster you were able, Consisted but of two chairs and a table! Comedy. You have improved my room I don't deny, But you preferred it to my company; And Lady TownleyThe heroine of Colley Cibber's rewrite of Vanbrugh's "Provok'd husband" (1728)now, or Lady Teazle, May starve, unless she'll dance—"Pop goes the weazle!" Fancy. What's to be done, when the immortal names Of Shakespere and of Byron urge their claims In vain to popularity, without Spectacle march all his contingent out ? Not mere Dutch metalBrass, used to make gold leaf, spangles, foil, and paste, But gems culled from authority by Taste ; Until, reflecting every bygone age, A picture-gallery becomes the stage ; And modern Babylon may there behold The pomp and pageantry that wrecked the old ! Music. The Pavilion of Spectacle opens and discovers Tableau from Sardanapalus.See L0155 Mrs. W. It seems, then, that the new way to success Is when the Drama halts, to make it dress. Fancy. "The tailor makes the man," we used to say— The tailor makes the manager, to-day. Comedy. Oh, if he'd really be our benefactor, Let him take one stitch more and make the actor ! Fancy. Well, Fancy has done all she can to aid you, And seems more fanciful but to have made you. You must make up your mind—if you have got one— Out of all these fair offers is there not one That you can count on? Trag. (to Mr. W.)Tragedy restore To the proud station that she held of yore! Comedy. (to Mr. W.)Give Comedy again a chance to play Where folks may hear what she has got to say. Mr. W. Thus Tragedy and Comedy between, I stand like Garrick—in the print, I mean, A much pirated mezzotint (1762) by Edward Fisher derived from painting (1760) by Reynolds: see https://en.wikipedia.org/wiki/David_Garrick_Between_Tragedy_and_Comedy The only way like him that I could stand— A musing, with a Muse on either hand; Now swayed by Mirth—now mov'd by Melancholy, Or, like Macheath, 'twixt Lucy and poor Polly ! Air. —Mr. Wigan. "How happy could I be with either" How happy could I be with either, If either were certain to pay, But really I much question whether To both I had not better say— Tol de rol de rol lol de rol loddy, &c. Tragedy knocks his hat out of his hand. Comedy picks it up, brushes, and, restores it to him. Opera. (R)Let native Music here, then, weave her spell— You really sing yourself, Sir, pretty well— Italian Opera can't object to roam(Rome), For English Opera there's no place like home. Melo. Try me ! I keep all spirits under my lock ! Burles. Try me, my boy, remember Mr. Shylock.Mr. Robson had previously made a great hit as Shylock, in F. Talfourd's burlesque of "Shylock or, the Merchant of Venice Preserved." Pant. Before you leap, just look at one of mine ! Spec. (R.)Without me you can never cut a shine ! Ballet. (R.)You'll catch no mice without an "entre chat" Hippo. (R.)What can you find like horses, pray—to draw ? Mr. W. (C.)I am completely bothered—that's a fact! And, like some actors, don't know how to act. Trag. But screw your courage to the sticking place ! Mr. W. I have—and stuck quite fast—that's just my case . Mrs. W. (L.)I'll tell you what to do. Mr. W. I wish you would. Mrs. W. In each of them there's something that is good. Without committing ourselves here to fix 'em, Let's take the best and mix 'em. Mr. W. Mix'em! Mrs. W. Mix'em . Mr. W. Like pickles ? or like physic ? what a notion! D'ye think the town will swallow such a potion ? Why, Tragedy's a black dose of itself! Mrs. W. Who talks of taking all, you silly elf? I mean an extract of each spirit—Tragic, Comic, Satiric, Operatic, Magic, Romantic, Pantomimic, Choreographic, Spectacular, Hip— Mr. W. Spare that tongue seraphic, Such vain exertion—for they would but call Your mixture, melodrama after all. Mrs. W. With all my heart, I say—I don't care what It's called, provided always—it is not Of "the stage stagey"—whatsoe'er we do, Let there be nature in't— Fancy. And fancy, too. Mrs. W. By all means—for with you I quite agree Without some Fancy, dull e'en sense would be. Besides, you know, to vary our diversions— We must make supernatural exertions. Mr. W. "It must be so; Plato, thou reasonest well." Joseph Addison,'Cato' (1713) act 5, sc. 1, l. 1 On second thoughts I think the plan will tell. Elegant extracts shall be as you say, In this our Camp, the order of the day. And so—attention! eyes right! dress up there ! I fear it's hopeless to say, "as you were;" But as you are —on you I will depend, So "stand at ease !" Trag. And you will stand my friend ? Mr. W. One of the best you ever had on earth; I wouldn't murder you for all you're worth ! Trag. Then I may take myself off, I suppose ? Burles. " Do it, nor leave the task to me !" Trag. Here goes! Mr. W. Stay! though I leave Burlesque to cure your bathos, We'll keep, of Tragedy, the gentler pathos. ( to Comedy)From you I would extract—you look so arch, Upon me, I'm afraid you'll steal a march. Gay as a lark, and so good humoured too— I feel I can't extract too much from you!, (to Melodrama)Some spirits from your vasty deep I'll call; Ballet shall help me to keep up the ball. Opera lend a ballad or Romanza, And Fancy make Burlesque Extravaganza. Pantomime teach me how to do the trick, E'en Hippodrame may furnish a last kick. Spec. Well, try what trick you please, to get the tin with, Spectacle's after all the card to win with. Mr. W. Yes, after all; yet in one sense, my friend, Spectacle should not be the Drama's end. Where that's the case the satirists may say It is indeed all over with the play! But my play's over now, thanks to your stars! (to Fancy.) (to Audience)And now I fain would call up your huzzahs, To keep the ground for us and our review. I have not told you all I mean to do; For on that head—as promises may fetter— The Lessee thinks the less he says the better ! But to our Chobham if you will but tramp, And smile on our experimental Camp, A gallant corps in time I hope to form, Which may, some fine night, take the town by storm! Oh! let me hope that hope's not a forlorn one, I'm a bold man, if ever there were born one ! Pardon that, boldness in my utmost need, And by your coups de main make mine succeed ; Confirming me in this proud situation, By the command of general approbation. Spec. From me to borrow nothing, do you mean ? Mrs. W. Perhaps you'll favor me with a last scene, On this occasion, by your own desire. Spec. Then give the word— Mr. W. Make ready!—present! Scene changes to a splendid Fairy Temple. Fire ! (coloured fires are lighted) Finale. — The Sturm Marsch. March to support the Drama's small division here; Into the ranks before us nightly volunteer; Over "the roughs" at Chobham you your pleasure took! Over "the roughs" you meet with here be pleased to look! Solo—Mr. Wigan. Critics, don't our ardour damp, Nor compel us to decamp; Kindly, just as something new, Pray review our "Grand Review." Solo—Fancy. Only fancy what on earth will Fancy do. If her fancy-sketch you take no fancy to ! In this mighty wise utilitarian age Leave to Fancy still a little, tiny stage ! Chorus. March to support, &c. Chorus. Grand Salute. Thus presenting arms before we march away, End we our review ! Off with beating drums and flying colours pray, Let the piece go too ! Command us by a parting cheer, Nightly to salute you here !
Geo. Peirce Printer, 310, Strand.