Punch (80.1881)

PUNCH, OE THE LONDON CHARIVARI.

March 5, 1881.]

THE 'BUSY B" AT THE GAIETY.

It is the fashion with some learned Critics of the present day to
deplore the absence of true Comedy from the modern stage, and to
recommend to onr present Dramatic Authors the study of the fine old
crusted Comedies, which, like good port, ought to be all the better
for keeping—if not kept too long. Miss Litton, inspired by a happy
thought, has undertaken to put a series of these venerable and highly
estimated compositions before our eyes, and has chosen as her
theatre the temple where the sacred fire of burlesque is constantly
kept burning by night, while the afternoon is consecrated by our fair
High Priestess to keeping alive the dying embers of the '' Light of
Other Days,"—or the Light Comedy of other days,—and fanning, them
—without any puffing—into a flame. Miss Litton and Mr. John
Holltngsheal) have given the playgoing public, critics, and drama-
tists the opportunity of seeing what had been so much talked of, so
little studied, and so highly praised. Their efforts have been, we
trust, crowned with success. Playgoers and players, some critics, and
most authors will thank her for the revelation—specially those
authors who, in this degenerate age, have been bold enough to describe
their comedies as comedies, and their comedies in which the farcical
element has predominated, as "farcical comedies."

Let us take Susannah Centliybe's "Comedy," The Busybody,
capitally played at the Gaiety. Had it been the work of a modern
dramatist, the characters would had been pronounced " impossible,"
the plot and situations " outrageously farcical," and the "business,"
as " savouring more of pantomime and the hot poker than of true
comedy." Much of the dialogue might have been described as
"sparkling," and much more as tedious; while the occasional
breaking into blank verse and rhyming couplets would have appeared
more in place in an eccentric entertainment of the Pinafore pattern,
or in a burlesque.

The scene with the dumb lady—admirably performed by Miss
Litton, Mr. Kyble Bellew {not of the Eyrie Society), and Mr.
Howe—is utterly farcical. The Fourth Act, where the lover
secretes himself first in the chimney, then behind a door, then behind
a screen, might have been legitimate in such a piece of modern tom-
foolery as Betsy, but would have been condemned as a blot on any
play of the present time presuming to style itself a Comedy. The
perpetual whackings bestowed on Marplot (Mr. Bboegh) by the
various characters, "have anticipated," some critics would have
said, "the pantomime season; the old men are mere Pantaloons,
one.of the lovers a Harlequin who jumps through a window, and
Marplot himself simply a Clown, without the sausages and the butter-
slide." But because all this occurs in an " old comedy,'' it is admir-
ingly described as " bustling." Farcical improbability in old
comedy is " easily condoned," but in a comedy de nos jours it is unpar-
donable. The construction would have been justly blamed _ as
faulty, as,' owing to certain omissions which curtail the time"7of
representation but confuse the action, the last Act of this version

Exercise with a Dumb Belle.

seems rather the commencement of a new play than the finish of
the so-called Comedy.

Dramatic Authors have reason to be grateful to Miss Litton, and
may continue with a safe conscience to style such of their works as
have as much hiding and "practical business" as this Busybody
"Comedies," though probably any one of the fraternity would have
honestly qualified such a piece as "farcical." The French include
all laughable pieces, except bouffes, under the head of Comedie. As
there are Comedians and Low Comedians and Eccentric Comedians, so
are there various species of the genus Comedy which cannot be
classed under either farce or burlesque.

The Busybody is well worth a visit. With the exception of Sir
George Airy, none of tbe characters, male or female, are supposed
to belong to the high society in which Lord Ogleby or Sir Peter
Teazle moved. Sir Francis Gripe (Mr. Howe) is an old "hunks"

of a moneylender ; Sir Jealous Traffiok apparently " something in
the City, vaguely interested in some Spanish commerce—onions,
perhaps ; Marplot is, according to Mr. Bbotjgh's view, a kind of
Tony Lumpkin ; and Miranda a ready-witted, artful young woman
who gives, very little evidence of a polite education. The great merit
of Miss Litton's performance is that she lets us see at once how
natural gifts shine through her defective training, and what a
genumely good wife she might become in the hands of a good man,
though her future career as my Lady Airy is doubtful.

No better representative of Sir George Airy could have been
found than Mr. Kyble Bellew, both as to appearance and acting ;
his only fault being too much real earnestness for such a butterfly
gallant. Mr. Howe is very good as Sir Francis Gripe; Mr.
Evebitt quite bilious and .snarly enough for Sir Jealous Traffick,
though what may be his position in life it is difficult to determine

"What they do in a "bustling" old Comedy. ISTot at all
" Pantomimical," of course.

from his manner, dress, or style of residence, of which the exterior
resembles a barn converted into a dwelling-place, and the interior,
to our intense surprise, a veritable' mansion. However, one must
never judge by exteriors, and this is a case in point.

Mrs. Inchbale-, in her preface to The Busybody, informs us that
" this comedy, which has survived one hundred years, was, by the
Actors who performed it, expected to die on the first night." Again
Modern Dramatists have much to be thankful for. She adds, that
" Marplot is the sole support of this comedy ;"_ which is not the
case with the present version, in which Marplot is a droll but cer-
tainly not a strong part. The performance pleasantly occupies two
hours—from three to five. We trust the series will not be discon-
tinued. She Would and She Would Not has been announced—but
perhaps " she would not," and so it has been deferred sine die.

THE ROYAL MARRIAGE AT BERLIN.

To the Editor.

Peince Feedeeick William Yictoe Albeet, boss
Of quiet furnished chambers in a Schloss,
Marries Augusta, also called Victoeia,
Say, shall we see her likeness by Du Maeeiee ?

{Reply.)

For likeness of Victoeia and Prince Victoe

See News and Grap hie— both will have a pictur'.

AN ENTR'ACTE DIALOGUE.

Time—After the Third Reading. Scene— The Smoking-Room

of the House.

Conservative M.P. {condescendingly). It was necessary for us to
assist the Government in Coercion against Obstruction.

Liberal 'M.P. ^beaming). And"; our combined forces have been
victorious.

Toby, M.P. {Lndependent). Better say Wig-tory-ous.

[And they agree to say so %n consequence.

Victoe Hugo, on his birthday, to be re-christened Victoe Ego.

vol. lxxx.