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
They are soldier-like in everything they do. You may dress them up in
what you choose, and call them what you will, but they will never be
anything else but soldiers. On one occasion, our manager tried them as
a rabble. They were carefully instructed how to behave. They were told
how to rush wildly on with a fierce, tumultuous yell; how to crowd
together at the back of the stage, and, standing there, surging
backward and forward like an angry sea, brandish their weapons, and
scowl menacingly upon the opposing myrmidons of the law, until, at
length, their sullen murmurs deepening into a roar of savage hate,
they would break upon the wall of steel before them, and sweep it from
their path, as pent-up waters, bursting their bonds, bear down some
puny barrier.
That was the theory of the thing. That is how a stage mob _ought_ to
behave itself. How it really does behave itself is pretty generally
known. It comes in with a jog-trot, every member of it prodding the
man in front of him in the small of his back. It spreads itself out in
a line across the stage, and grins. When the signal is given for the
rush, each man--still grinning--walks up to the soldier nearest to
him, and lays hold of that warrior’s gun. The two men then proceed to
heave the murderous weapon slowly up and down, as if it were a pump
handle. This they continue to do with steady perseverance, until the
soldier, apparently from a fit of apoplexy--for there is no outward
and visible cause whatever to account for it--suddenly collapses,
when the conquering rioter takes the gun away from him, and entangles
himself in it.
This is funny enough, but our soldiers made it funnier still. One
might just as well have tried to get a modern House of Commons to
represent a disorderly rabble. They simply couldn’t do it. They went
on in single file at the double quick, formed themselves into a
hollow square in the center of the stage, and then gave three distinct
cheers, taking time from the sergeant. That was their notion of a
rabble.
The other set, the regular bob (sometimes eighteenpence) a night
“sups,” were of a very different character. Professional supers, taken
as a class, are the most utterly dismal specimens of humanity to be
met with in this world. Compared with them, “sandwich-men” are dashing
and rollicky. Ours were no exception to the rule. They hung about in
a little group by themselves, and looked like a picture of dejected
dinginess, that their mere presence had a depressing effect upon
everybody else. Strange that men can’t be gay and light-hearted on an
income of six shillings a week, but so it is.
One of them I must exclude from this description--a certain harmless
idiot, who went by the title of “Mad Mat,” though he himself always
gave his name as “Mr. Matthew Alexander St. George Clement.”
Public-domain text, read in full here on John Shaqi.
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