cat, and bursting open a door with my head. The moment I got into it, I was surrounded by at least half a dozen of the feline species. They looked hungry, and welcomed me with enthusiasm, under an absurd idea that I was the cat’s meat man, whom I did not resemble in the least. Cats are kept at theaters to keep away the rats, but sometimes the cats themselves become so numerous as to be rather more of a nuisance than the rats, and then it is necessary to keep some one to keep away the cats. They take a great interest in the drama, these cats. They always make a point of coming on in the middle of the most pathetic scenes, when they take the center of the stage, and proceed to go through one or other of their decidedly peculiar toilet exercises.
Going down the yard, as directed, and groping my way through a dark passage at the end, I found myself in a vast, gloomy vault, full of hollow echoes, and strange, shapeless shadows; at least, that is what it seemed to me.
I cannot say, now, what notions I had previously formed of “behind the scenes.” They were dispelled so rudely and suddenly, that all trace of them is lost. I know they were formed; partly by Dower Wilson’s charming sketches, where fairy damsels (in the costume of their country) lean gracefully against the back of the landscapes, with their pretty legs crossed; partly by the descriptions of friends who said they had been there; and partly from my own imagination – a vivid one. The reality, however, exceeded my wildest expectations. I could never have dreamt of anything so utterly dismal, as an empty theater by daylight, or rather day-darkness. No, not even after a supper of beefsteaks and porter.
At first, I could see nothing; but, after a while, I got used to the dimness, and was able to look about me. The decorations of the place (such as they were – such as might be expected in a theater where the stalls were three shillings, and the gallery fourpence) were shrouded in dirty white cloths. The music stools and stands in the orchestra, together with the big drum, and the violoncello in a green baize case, were all in a heap in the corner, as if they had had a performance on their own account during the night, and had ended up by getting drunk. This idea was further suggested by the appearance of the gallery bar, which could be seen from the stage, though it looked about half a mile off, and which was crowded with empty bottles and dirty pewter pots and glasses. Shabby, patched scenery – a mere unintelligible daub, seen close to – was littered all round me; propped up against the great wooden beams which supported the flies, or against the side walls; piled up at the back, in what was called the “scene dock”; lying down flat at my feet; or hanging suspended over my head. In the center of the stage was a rickety table, and on the table was a candle, stuck in a ginger-beer bottle. A solitary sunbeam, having sneaked in through some odd crevice, threw a band of light across the gloom, and showed up the dust, of which the place seemed full. A woman, with a noisy cold in her head, was sweeping out the pit; and some unseen animal, which I judged to be a small boy, by the noise it made, was performing a shrill whistle somewhere in the region of the dress circle. The roar from the streets sounded dull and muffled, but the banging of a door, or the falling of a chair within the building, made such a noise, that the spiders ran into their holes for fright.
CHAPTER IV. Behind the Scenes
IHAD the stage all to myself for about half an hour. It is the etiquette of the theater for every one to be late. You estimate the position of an actor, by the time he is late for rehearsal. If he (I don’t say a word about ladies: they are always an hour late for everything, bless ‘em) is twenty minutes behind, he is most likely mere utility. If a man keeps everybody waiting an hour and a half, you may put him down as a star.
I occupied the time pleasantly enough in wandering about, and finding out all I could. I climbed up a shaky wooden staircase to the “flies,” and looked down upon the stage from a height of fifty feet. I scrambled about up there amidst ladders, and small platforms, and ropes, and pulleys, and windlasses, and gas pipes, and empty gas bags, and beer cans, and darkness, and dust. Then, up another ladder, leading higher still, and along a narrow plank, crossing from one side of the stage to the other, over a perfect hanging forest of scenery.
Clambering round behind, I came to the scene-painting room. It was a long, narrow sort of loft, forty feet above the stage. One side of it was of canvas – part of an enormous sheet, which passed right through it, in at the top and out at the bottom. This sheet of canvas, on which a scene was being painted, was suspended from the roof of the theater by means of pulleys, so that the whole could be raised or lowered at pleasure, and every portion of it brought within reach of the scene-painter, without his moving.
If I have not explained myself clearly, try this: Take your wife’s best traveling trunk (choosing a time when she is not at home), wrench the cover off, and then hold the box up against the window blind, in such a position that the blind is where the cover would have been. There you have it. The box is the scene-painter’s room – the blind, the scene.
There was plenty of light and color (the latter in buckets) in the room, but very little else. A long, deal table, crowded with brushes and paint pots, ran nearly the whole length of it. The scene-painter’s palette, a marble slab about six feet square, lay on the floor, and, near it, one of the brushes with which the sky had been laid on. This brush was the size of an ordinary carpet broom. Noting these things, I left the studio, and descended.
A little lower down was the wardrobe room.
There was not much in it though. Dresses are borrowed as they are wanted, now, from the costumiers round Covent Garden and Drury Lane; everything being found for so much a week. Years ago, I believe, each theater used to make, and keep, its own costumes. Even now, a few old-fashioned provincial houses have a substantial wardrobe attached to them, but these are the exceptions, and, as a rule, little, if any thing, is kept in stock. Here, there were a few pairs of very loose and baggy-looking tights, half a dozen rusty tin helmets, a heap of buff shoes in a corner – half of them right, half left, sort ‘em as you want ‘em – some natty waistcoats – red and blue, with a dash of yellow; the sort of thing stage Yorkshiremen wear when they come to London, black cloaks for any one who might wish to dissemble, and an assortment of spangled things. These were the principal items, all of which had seen their best days.
Between the yard and the stage was a very big room, containing so heterogeneous a collection of articles that at first I fancied it must be a cooperative store in connection with the theater. It was, however, only the property room, the things therein being properties; or, more commonly, “props,” so called, I believe, because they help to support the drama. I will give you some of the contents of the room haphazard as I recollect them. There was a goodly number of tin cups, painted black up to within half an inch of the rim, so as to give them the appearance of being always full. It is from these vessels that the happy peasantry carouses, and the comic army get helplessly fuddled. There is a universality about them. They are the one touch of (stage) nature which makes the whole world kin. They are used alike by the Esquimaux and the Hottenot. The Roman soldiery appear never to have drunk out of anything else: while, without them, the French Revolution would lose its chief characteristic. Besides these common cups, there were gold and silver ones, used only for banquets, and high-class suicides. There were bottles, and glasses, and jugs, and decanters. From these aids to debauchery, it was pleasant to turn to a cozy-looking tea service on a tray with a white table cloth: there was a soothing suggestion of muffins and domestic bliss about it. There was plenty of furniture, a couple of tables, a bedstead, a dresser, a sofa, chairs – half dozen of them, high-backed ones, for “hall in the old Grange,” etc.; they were made by fixing pasteboard backs on to ordinary cane chairs. The result was that they were top heavy, and went over at the slightest touch; so that picking them up, and trying to make them stand, formed the chief business of the scenes in which they were used.
I remember the first time our light comedy attempted to sit down on one of these chairs.
It was on the opening night. He had just said something funny, and, having said it, sat down, crossed his legs, and threw himself back, with all that easy, negligent grace so peculiarly his own. Legs were the only things that could be seen for the next few minutes.
Other “props” were, a throne, gorgeous in gilt paper and glazed calico; a fire-grate, stuffed with red tinfoil; a mirror, made with silver paper; a bunch of jailer’s keys; handcuffs; leg irons; flat irons; rifles; brooms; bayonets; picks and crowbars for the virtuously infuriated populace; clay