On the Stage--and Off: The Brief Career of a Would-Be Actor — John Shaqi
On the Stage--and Off: The Brief Career of a Would-Be ActorJerome, Jerome K. (Jerome Klapka)
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On the Stage--and Off: The Brief Career of a Would-Be Actor
Jerome, Jerome K. (Jerome Klapka)
Actors -- Great Britain -- Biography; Jerome, Jerome K. (Jerome Klapka), 1859-1927
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.
[Illustration: 9041]
HAD 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.
Public-domain text, read in full here on John Shaqi.
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