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)
General
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
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.
Public-domain text, read in full here on John Shaqi.
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