Punch (92.1887)

June 4, 1887.] PUNCH, OR THE LONDON CHARIVARI. 273

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REFLECTIONS-"AS IN A LOOKING-GLASS."

Mr. Punch. It is not a play at all. It is a study of character, of
one character, Lena Despard, admirably portrayed by Mrs. Ber-
nard Bee re.

Mr. Nibbs. You have read Mr. Phillips' novel, of course.
Mr. Punch. Yes. The Diary of a Bad Girl—of a Becky Sharp,

in fact — decidedly clever,
and interesting, but as lack-
ing in construction as is the
dramatic version of it; that
is, if this can be called a
dramatic version, which is
only the novel unstitched,
and the leaves distributed
among a certain number of
actors.

Mr. Nibbs. There are the
materials for a good play in
the novel.

Mr. Punch. Certainly
there are. The novel sug-
gests an idea for a good play,
but Mr. Grove has done
nothing with it. An audience
should have been told at first
Beere not Stout, but rather Lena. of the connection between

Captain Jack Fortinbras (a part for which the management ought not
to have chosen Mr. Standing, whom it doesn't suit in the least) and
the Chief of the Russian Police, who is brought in as the deus ex
machina, without rhyme or reason, whenever there is a knot to be
untied. M. Marius plays Count Dromiroff very amusingly, the
only fault about his performance being, that his bearing and manner
convey the idea that he is only a superior Head-Detective mas-
querading as a Russian Nobleman. If this view is correct, then the
Dromiroff of M. Marius is an excellent performance, but if Dro-
miroff is really a Russian Nobleman, then I think M. Marit/s's
impersonation is a mistake.

Mr. Nibbs. The other parts are weak as water.

Mr. Punch. Partly the fault of the Actors and of the characters.
Mr. Denison's representation of Sir Thomas Gage as a Punch
Doll, with a joint or two loose, and an imitation of Mr. Bancroft's
peculiar high note, by way of a squeaky chuckle, is a praiseworthy
attempt at giving a little relief to rather tedious scenes. The fact
is, the success of the piece is Mrs. Bernard Beere as Lena Despard,
and I have never seen Sara's pupil more worthy of her talented
teacher than is Mrs. Beere in this character. Not that in this piece
Mrs. Beere owes anything directly to Sara, except the death-scene—
(doesn't Fedora call out that "It burns! It burns! " and doesn't she
writhe in agonies ? I think so, if I remember aright) —and, indi-
rectly, the impersonation seemed to me, to owe something to Sara's
L'Ftrangere, a role that would suit Mrs. Beere down to the ground,
though no doubt she would prefer the original part of Lena Despard,
in order to have the merit of " creating," and to avoid comparisons.

Mr. Nibbs. Your remarks do not detract in any way from the
excellence of her performance.

Mr. Punch. No ; on the contrary, there is no reason why the pupil
should not improve upon the teacher, and, in this play Mrs. Beere
has done more, for she has improved on
herself. Her affectations and low notes are r^fflst.
discarded, and if the character were only ^ wWk

more developed than it is, if it were a well- .^F5"?! _S» r\

constructed play with strong situations, her 'S^~^fSorA^i
Lena Despard would probably merit the r,J^
description of a really fine per- _ ' jfeftiAMHK "*>

formance, of which it now just - __~;>v^= illtillflsSfiil
falls short. But I shall rejoice '\—^'7i^J^^NllBBm
in the success of this piece for ^- ^-^^^^^ffli^B^B'k
sey^ral reasons. ^ ^^^^

could3' not Lena and Supporter.

logically be refused to an English play on the model of Francillon,

for example.

Mr. Punch. Exactly. And _ I was pleased to notice the
audience patiently listening to dialogue, which, though good, and
frequently witty, failed to develop, or even illustrate, character. The
scenes dragged, but the audience listened and though wearied, were
on the whole interested, and ready to appreciate any touch of senti-
ment or humour. I do not say it is a piece for Mr. Podsnap's

" young person " to see. No; it is not, most decidedly, any more
than the novel, As in a Looking-Glass, is for " the young person's "
perusal.

Mr. Nibbs. A Bad Girl's Diary placed on the stage is rather
unwholesome food, Sir ? Don't you think so ?

Mr. Punch. To some, not to others. It is a story of the seamy-
side of life, vice is not rendered attractive, and there is no reality
whatever about the suicide,—(though there is great reality in
MrB. Beere's acting in the death-scene, which I should think was
the raison d'etre of the play)—which only serves the dramatist and
the novelist just as the Russian detective served them,—as a means
for getting rid of a troublesome character, and as a happy thought for
stifling all inquiries as to any other personages in whose fate readers,
or spectators, might have felt some interest. Critics who can accept
and praise this as a model play, must be ignorant of the essential
canons of dramatic composition. If this is a good play, then con-
struction is a mere waste of time. Let us to an opera. [Exeunt.

"NEW WORDS FOR OLD TUNES."

Mr. Punch has noticed that there is a decided want of novelty in
the baritone and bass songs of the day. They do not march with the
times. The same old " Pirates," " Scouts," " Vagabonds," &c. are
still to the fore. The same old monks are still quaffing and laughing
ha ! ha I and ho! ho! Mr. Punch, therefore, begs to submit the
following—written up to date in choice Pink'unese—with Glossary
annexed.

The Jubilee Juggins.
Song for Baritone or Bass,—in one flat.

Tn the Major. Oh! " rippin'" it is thus to sport and to " spoof,"
As a Jubilee Juggins with plenty of " oof,"
To shout and to yell at the " Pav." and the " Troc."
Regardless of " writters " and "taking the knock,"
To join in the choruses night after night,
In every key but the one that is right,
To nod to the singers and call them by name,
It's thus that the Juggins seeks glory and fame.
To climb up a lamp-post and " paint the town red,"
Then "run in" by bobbies" to Vine Street to bed.
Then knock up a "pal" for the requisite bail,
Off to Marlborough Street the next day without fail,
A Magistrate's caution, a fine of five bob,
A head never ceasing to ache and to throb,
Oh! "rippin' " it is thus to sport and to spoof,"
As a Jubilee Juggins with plenty of " oof."

Ln the Minor. But, Jubilee Juggins, beware of the day,

When the golden-egg'd "oof-bird " no longer can lay.
When the " writters " grow rampant and run you to ground,
And the gay little " stumer" no longer goes round.
When the "fiver" has ceased to be ready to hand,
And the humble half-crown e'en is scarce in the land.
Where then are your friends of the " Pav." and the " Troc."
They are off with the " oof-bird," you've "taken the knock,"
Then the clothes run to seed, and the linen grows dim,
And the hat grows more flabby each day in the brim,
Then the hoots which were always so natty and neat,
Only cling in despair to the poor weary feet—
Those feet grown so weary in searching around,
For those fair-weather friends—never more to be found.
( With a devil-may-care expression.)

In the Major. Still " rippin'" it is thus to sport and to " spoof,"
As a Jubilee Juggins with plenty of " oof! "

Glossary op Terms.

Rippin'. A term much used in the upper circles. The final g is
never sounded by the best people.

Spoof. From the Dutch—a merry game or pastime—see Dr.
Arthur Roberts' Philological Dictionary. (Very rare and scarce.)

Jubilee Juggins. A Juggms—amplification of Jug. A vessel you
soon get to the bottom of. /ubdee J uggins—an exceptional Ju»gins.

Pav. and Troc. Homes of classical music.

Writters. Time-servers.

Taking the knock. Derived from Nox et prceterea nihil; hence
" making a night of it,"

"If you always are ' making a night of it'
There is nothing much left for the day ' "
Paint the town red. A custom derived from the Romans, who after
their orgies would often sally forth and paint the town red till all
was blue.

Run in. You are generally " run in" after being " found out."
Oof-bird. A new edition of the Goose with the Golden Eggs.
Nearly extinct.

Stumer. A badly executed drawing—wanting in balance and
effects.