Of gorgeous scenery and gay dresses Garrick was as fond as any manager
of our own day; he knew that these were never-failing allurements to the
general public. Yet as a rule he confined his spectacle to the
after-pieces; did not, after the modern fashion, illustrate and decorate
what he regarded as the legitimate entertainments of the theatre. For
new as for old plays, the stock scenery of the house generally sufficed,
and some of the scenes employed were endowed with a remarkable
longevity. Tate Wilkinson, writing in 1790, mentions a scene as then in
use which he remembered so far back as the year 1747. 'It has wings and
flat of Spanish figures at full length, and two folding doors in the
middle. I never see those wings slide on but I feel as if seeing my old
acquaintance unexpectedly.' Of the particular plays assisted by De
Loutherbourg's brush, small account has come down to us. They were, no
doubt, chiefly of a pantomimic and ephemeral kind. For the 'Christmas
Tale,' produced at Drury Lane in 1773--the composition of which has been
generally assigned to Garrick, though probably due to Charles Dibdin--De
Loutherbourg certainly painted scenes, and the play enjoyed a
considerable run, thanks rather to his merits than the author's. Some
years later, in 1785, for the scenery of O'Keeffe's _Omai_, produced at
Covent Garden Theatre, the painter furnished the designs, for which he
was paid by the manager one thousand pounds, says Mr. J.T. Smith; one
hundred pounds, says Mr. O'Keeffe; so stories differ! The scenery of
_Omai_ was appropriate to the then newly discovered islands in the South
Pacific, and the play concluded with a kind of apotheosis of Captain
Cook. In the course of _Omai_, Wewitzer, the actor who played a chief
warrior of the Sandwich Islands, delivered a grand harangue in
_gibberish_, which of course, for all the audience knew to the contrary,
was the proper language of the natives; a sham English translation of
the speech being printed with the book of the songs. The harangue was
received with enormous applause!
Public-domain text, read in full here on John Shaqi.
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