Personal reminiscences of Henry IrvingStoker, Bram
General
Personal reminiscences of Henry Irving
Stoker, Bram
Actors -- Great Britain -- Biography; Irving, Henry, Sir, 1838-1905
During its run we had a strange opportunity of experiencing the
extraordinary way in which a play fluctuates with the public pulse. From
the first night it was a great success, and the booking became so great
that we were obliged to enlarge the time for the advance purchase of
seats. Our usual time was four weeks, and as a working rule it was found
well to keep to this. Where booking is not under great pressure, too
long a time means extra particularity in choice of seats, and a _de
facto_ curtailment of receipts. For _Ravenswood_ we had to advance,
first one week and then a second; so that about the end of the first
month we were booking six weeks ahead. I may say that we were _booked_
that long, for as each day’s advance sheet was opened it became quickly
filled. The agents, too, were hard at work and we were not able to allot
to any of them the full number of seats for which they asked. I have a
special reason for mentioning this, as will appear. Now at the Lyceum
from the time of my taking charge of the business we did not ever
“pencil” to agents—that is, we did not let them have seats after the
customary fashion “on sale or return.” We had, be sure, good reason for
this. Whatever seats they had they took at their own risk by week or
month, in a sort of running agreement terminable at fixed notice. When
we arrived at the fiftieth performance the play was going as strong as
ever, the receipts being on or about two thousand pounds per week.
Towards the end of the year, theatre receipts generally began to drop a
little; Christmas is coming, and many things occupy family attention;
the autumn visitors have all departed; and the fogs of November are bad
for business. We did not, therefore, give it a second thought that the
door receipts got a little less, for all the bookable seats were already
secure. On Thursday, November 20, I had an experience which set me
thinking. During that day I had visits from three of the theatre agents
having businesses in the West End and the City. They came separately and
with an unwonted secrecy. Each wished to see me alone, and being secured
from interruption, stated the reason. Each had the same request and
spoke in almost identical terms, so that the conversation of one will
illustrate all. The first one asked me:
“Will you tell me frankly—if you don’t mind—are you really doing good
business with _Ravenswood_?”
“Certainly,” I answered. “All we can do. Why you know that we can only
let you have for six weeks ahead a part of the seats you have asked for.
After some odd nervousness he said again:
Public-domain text, read in full here on John Shaqi.
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