The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-10-28

~ ~ ".AS 49, 49,
ably earlier, namely, in i7A4, whom Fec
Wellington played OpAshG in Drury a 20
Garrick's Hamlet, the front rows Of tho pit
were rallied into boxes. When not rallied In
with the FIVE shilling boxes the SeAts In
the pit were three shillings each. Ths pie
came forward as far as the orchestra, from
which IL was separated by spikes, on which
the pittites spread ans and play bills.
Above the boxes, or what We should now
call the dress circle, was the FIRST, or two
shilling gallery Cfamiiy oirole) and, above
that, the upper gallery, At q shilling q seat'
where such patrons Of the drama a. were
lucky enough to have pockets full Of ginger
bread, shrimp, oranges and, possibly. q
bottle Of rum punch, did not mind waiting
through the first and seoond music"
Besides the royal box there were . few
private or side" boxes, and come were
literally stage" boxes, deep down the
stage and behind the curtain, such a. maj
still be seen in Paris. At Drury Lane there
was an enclosure called -Burton's box, nc
fixed prices in the centre Of the first gallery.
Half price admissions after the third act
we're an abuse Garrick tried vainly TO re-
form. He succeeded, however. in doing
away with a vexatious practice, whereby
any one who did not remain beyond tho
end Of the act in progress when he entered
either paid no admission or had his money
returned. As early as 174l Garrick put .
stop to the people in the boxes frisking In
and out Of the theatre by making all people
pay at coming in, a thing no previous man
sger had dared to attempt.
X.
1t is not true that footlights were originally
1.,.-ka1 Hxy "a rriNk Or that aQ Ia 4OmS-
times asserted they were. imported by him
on his return from France In 178S- They
had been used occasionally long before.
It is nevertheless a fact that up to that
time the principal illumination Of his own
Drury Lane stage had been provided by
six chandeliers, each holding twelve candles.
let down at the end Of every act Our
author points out that in attempting to
realize the look Of things in Garrick's theatre.
the dim light has always to be borne in
mind. The greatest reform effected by
Garrick, and that with difficulty. was b
exclusion of the public from the stage.
Nothing unseemlier can well be imagtneds
than the spectacle on benefit nights. before
1852, when this revolution o place. His
part might compel an actor to talk OF being
alone when he was really in the midst OF q
dense crowd and could barely move a foot
with safety for the people about him. those
of the baser sort lying upon the floor. Quin
once. in the dress OF FdIstdf. was several
minutes before he could pass onto the boards
through the beaux who wedged him in;
and Mrs. Cibber. srrayed for Juliet in a full
white satin dress. with the indispensable
large hanging" hoops. could hardly turn.
she was so e~ncompassed around. Between
whites, the stage groundlings. who were
seriously ~obstructing the view Of people in
! the stage boxes. kept themselves amused
by e~xasperating the galleries.
Garriok put an end to this nuisance in
1892 by substituting a larger seating accom-
mediation in front. II still continued. how
/ ever. to be the custom for two soldiers 10
stand on the Druy Lane stage. one on each
side Of the proscenium. Garrick's hardest
task was to Danish the cubs Of condition.
box people and young clerks. from behind
the scenes. but he eventually did 80, as
Thomas Sheridan Richards father had
already done in Dublin. partly at the instance
Of George Anne Bellamy. because a man OF
ton, flown with i~nsolence and wine. had
dared to kiss the nape Of her neck as she was
tripping past him at the wings. h out
ragged heroine gave the beau a resounding
slap in the face. and the Lord Lieutenant
OF Ireland obliged him to apologize pub
Icly: but such mere personal reprisals were
Judged insufficient to avenge such an insult,
and in consequence OF this and other Incl
dents. Sheridan closed the couLisses.
As might have been expected in an
OF patronage and backstairs influence.
benefits played an important part in an
actors remuneration. For a benefit the
actor chose his own play. Nominally.
tickets would be sold, but a lover OF the
drama, or Of a performer, would give a
sum as substantial as ESQ for a seat. II the
benefited one was a pretty woman. IL
seems that, even down to the time OF Ma
cready. who disdained the practice Of gold
tickets" an actor was accustomed to re-
ceiye independent presents OF five guineas
or 30 in a purse as -genteei douceurs-
toward his benefit night. II a new piece
proved successful the first evening. the date
Of the authors benefit would be announced
at the fall OF the curtain. 1t appears that
the Drury Lane management made a first
charge on benefits Of from eco TO t73 los.
for the loan Of the theatre.
In 1850, on nights other than those as
signed to benefits, the receipt Of ECO be
fore the curtain" at Covent Garden was
considered an amazing triumph. In 1857
in Dublin ESQ was deemed "a great house
indeed but old Drury Lane after it's en-
IarRement in 1852 would hold an audience
valued at e335. Thin boxes were seldom
seen at Drury Lane. which was the fashion,
able theatre. though "t'other house" Co
vent Garden) was respectable and gene
rally well attended, especially when hand
some Barry was there doing leading busi-
ness with Susanna Cibber. In Garrick's
day certain parts. except when conceded
to novices for a trial OF skill. were con-
sidered as much the property Of perform
ers as their weekly salary. Actors were IN
general sharply divided into tragedians
and comedians. the former receiving SUI
perior salaries. Never before Liston did a
comic actor receive a salary in excess Of
that paid TO IN equivalent wearer OF the
buskin. When Garriok Joined Lacy in
l747, it was agreed that he was to draw
ESOO per annum as Joint ~patentee Of Drury
Lane and receive a yearly salary Of 500
guineas as actor. with a benefit. Acoord d.
ing to a pay list Of Drury Lane. for an eve
ming in 1705. Garriok then got e. 15s. Cd.
~ xgAk-. 20 A. A.. DIk.A--1