Punch (103.1892)

October 22, 1892.]

PUNCH, OR THE LONDON CHARIVARI.

185

has to be searched. As a pair of pistols exactly resembling one that
was left in the Red Barn, are found in his coat-tail pockets; his
guilt is conclusively proved, and he is led away. The next Scene
shows him in the Condemned Cell, resolving to sleep away his few
remaining hours on a kitchen-chair. He has a vision of Maria in
tiveeds, who exhorts him to repent. Old Martin, who is now either
the Governor of the Gaol or the Hangman, enters to conduct him to
the scaffold, and on the way he is met—to the joy of the Audience—
by the Comic. C, who duns him for the ninepence. William shakes
his head solemnly, points to the skies, and passes on. The Comic C.
then goes to sleep in a chair and has a vision on his own account,
in which he beholds the apotheosis of Maria—still in the suit of
dittoes—and piloted by a couple of obviously overweighted Angels;
and also the last moments of William Corder, who, as he stands
under an enlarged "Punch" gibbet, pronounces the following im-
pressive farewell before disappearing through a trap.

Ye Youth, be warned by my Despair !

Avoid bad women, false as they are fair. (This is just a little

hard on poor Maria by-the-way.)
Be wise in time, if you would shun my fate,
For oh! how wretched is the man who's wise too late !

[And with this the Drama comes to an end, and the Comic
Countryman begs the Audience to give the performance a
good word to their f riends outside.

BETWEEN THE ACTS,' OR, THE DRAMA IN LIQUOR.

Scene—Refreshment Saloon at a London Theatre. A three-play
bill forms the evening's entertainment. First Act over. Enter
Brown, Jones, and Robinson.
Brown. Well, really a yery pleasant little piece. Q,uite~amusing.
Yes ; I think I will have a cup of coffee or a glass_of lemonade. Too
soon after dinner for anything stronger.

Jones. Yes, and really, after laughing so much, one gets a thirst
for what they call light refreshments. I will have some ginger-
beer.

Robinson. Well, I think I will stick to iced-water. You know the
Americans are very fond of that. They always take it at meal-times,
and really after that capital equivoque one feels quite satisfied.
(They are served by the Bar Attendant.) That was really very funny,
where he hides behind the door when she is not looking.

[Laughs at the recollection.

Brown. And when the uncle sits down upon the band-box and
crushes the canary-cage ! [Chuckles.

Jones. Most clever. But there goes the bell, and the Curtain will
be up directly. Rather clever, I am told. The Rose of Rouen—it
is founded on the life of Joan of Arc. I am rather fond of these
historical studies.

Brown. So am I. They are very interesting.

Robinson. Do you think so ? Well, so far as I am concerned, I
prefer Melodrama. Judging from the title, The Gory Hand should
be uncommonly good.

[Exeunt into Theatre. After a pause they return to the
Refreshment Room.

Brown. Well, it is very clever; but I confess it beats me. (To
Bar Attendant.) We will all take soda-water. No, thanks, quite
neat, and for these gentlemen too.

Jones. Well, I call it a most excellent psychological study.
However, wants a clear head to understand it. (Sips his soda-
water.) I don't see how she can take the flag from the Bishop, and
yet want to marry the Englishman.

Robinson. Ah, but that was before the vision. If you think it
over carefully, you will see it was natural enough. Of course, you
must allow for the spirit of the period, and other surrounding
circumstances.

Brown. Are you going to stay for The Gory Hand f

Jones. Not I. I am tired of play-acting, and think^we have had
enough of it.

Robinson. Well, I think I shall look in. I am rather fond of
strong scenes, and it should be good, to judge from the programme.

Jones. Well, we will "sit out." It's rather 'gruesome.% Quite
different from the other plays.

Robinson. Well, I don't mind horrors—in fact, like them. There
goes the bell. So I am off. Wait until I come back.

Brown. That depends how long you are away. Ta, ta !

[Exit Robinson.

Jones. Now, how a fellow can enjoy a piece like that, I cannot
understand. It is full of murders, from the rise to the fall of the
Curtain.

Brown. Yes—but Robinson likes that sort of thing. You will
see by-and-by how the plot will affect him. It is rather jumpy,
especially at the end, when the severed head tells the story of the
murder to the assistant executioner. I would not see it again on
any account

Jones. No—it sent my Maiden Aunt in hysterics. However, it
has the merit of being short. (Applause.) Ah, there it's over!
Let's see how Robinson likes it. That tableau at the end, of the
starving-coastguardsman expiring under the rack, is perfectly
awful! (Enter Robinson, staggering in.) Why, my boy, what's
the matter ?

Brown. You do look scared! Have something to drink ? That
will set it all to-rights !

Robinson (with his eyes protruding from his head, from horror).
Here, help ! help ! (After a long shudder.) Brandy ! Brandy !.
Brandy!!1

[At all the places at the bar there is a general demand for alcohol.
Brown. Yes. Irving was right; soda-water does very well for
Shakspeare's histories, but when you come to apiece like The Bells,
you require supporting. [Curtain and moral.

" IN A WINTEB (COVENT) GABDEN."

That indefatigable Showman, Sir Druriolanus, the Invincible
Knight, commenced his Winter Operatic Season on Monday, the
Tenth, at Co vent Garden, so as to be well in advance of Signor
Lago, who may now boast of having La Donna, Her Most Gracious
Majesty, for his patron.

Monday Night.—The two Ravoglis in good form in the Orfeo.
Likewise the Player of the Big Drum made more than one big hit
during the evening. " Che faro" was re-demanded. "Tired of
' Faro,'' " quoth Mr. Waggstaff—"why not make it ' Whisto,' or
some other game ? " Exit Waggt. The Lntermezzo of Cavalleria

Operatic Tactics.

Sir Druriolanus. " I Say, Bevignani, I think we've got the right pitch, eh ?"

Rusticana of course encored enthusiastically. '' Signor Cremon-
nini," quoth Wagg, returning, "is not half the 'ninny' his name
implies. And, indeed, from the moment he was heard singing " in
his ambush " (as the Irish boy in the Gallery said of Tom Hohler at
the Dublin Theatre when he heard the Trovatore's voice behind
the scenes) before the rise of the Curtain, everyone said, " This is the
tenner for our money."

Tuesday.—The namesake of our own George Augustus, Mile.
Rosita Sala, made a real hit as Leonora in II Trovatore. " Hand-
some is as handsome does," and Mile. Sala didn't act as "handsome"
as she looked. Another "ninny" played to-night, namely Gian-
ninni, all right vocally, but not much dramatically. '' LI Balen " was
encored when sung by a manly baritone with the feminine name of
Anna; i.e., Signor De Anna. He might advantageously alter De-
Anna to Apollo, that is if he could be sure of looking the part.

Wednesday.—Lohengrin. Melba as Elsa. Waggstaff tried to
make his usual pun on the name of Ortruda, but was "countered"
by Young Jumper who protested that he had heard it before and
never wanted to hear it again. " I know what you 're going to say,"
he exclaimed; "it's something about 'aught ruder." I know!"
"I've no doubt you do," returned the defrauded Waggy, sarcasti-
cally, " for you 're uncommonly like Othello, ' Rude am I in speech'
—only," added Waggstaff, "Ae apologised for it." Young Jumper
sniggered, his friends laughed, and the incident terminated.

The Chorus seemed to have become Wandering Minstrels, so very
uncertain were they.

Altogether, Sir Druriolanus Operaticus, with his successful
Drury Lane Raee-course, his Provincial Theatre, his Italian Opera,
his Paper (not in the House, but his weekly one out of it), his Music-
of-the-Future Hall, for which a temporary and limited licence has
been granted, will—-in a general-dealer kind of way—be having a
good time of it till Pantomime Season slaps him on the back with a
cheery " Here we are again ! " and then he will have another and
a.better time. No doubt of Sir Gus's success, or in abbreviated
proverbial Latin, " De Gus. non disputandum."