Now I must turn to Mr. D'Oyly Carte. From time to time in this book I have given indications as to the manner of man that he was, but although much is known about his capacity as a business manager, the world knows very little indeed of his kindly generosity. It was impossible, of course, for him to take into the company every poor actor who was down on his luck, but certain it is that he never sent him empty away. Seldom did he leave his office without seeing that his pockets were well laden with sovereigns. Out in the Strand, as he knew, there would be some waif of our profession waiting for him, always sure that under cover of a handshake, Mr. Carte would press a golden coin upon him with a cheery "see you get yourself a good lunch," or "a good supper."

Mr. Carte, as I have said before, was a man of few words and of a rather taciturn humour, but it would be wrong to think that he was not fond of his joke. First, however, let me tell the story of a small youthful folly of mine, in "The Mikado." It happened in the second act where _Ko-Ko_, _Pooh Bah_ and _Pitti Sing_ are prostrate on the floor in the presence of the _Emperor_. We three had to do our well-known "roll-over"

act in which I, like _Pitti Sing_ herself, had to bear the weight of the 20-stone of dear old Fred Billington. Well, an imp of mischief led me one night to conceal a bladder under my costume, and when Fred rolled over it exploded with a terrible "bang." Billington had the fright of his life. "What's happened Harry?" he whispered anxiously, his nose still to the floor, "What have I done?"

I am afraid that in those days I had an incurable weakness for practical joking. One night I went for dinner into a well-known hotel in the Strand. Soon after I had entered the restaurant I was roughly grasped by one would-be diner, who was obviously in a very bad temper, and who demanded to know why no one had been to take the order for himself and his guests. Well, if I was to be mistaken for a waiter, it would be just as well to play the part. "Pardon, monsieur!" I exclaimed, dropping at once into a most deferential att.i.tude, and immediately getting ready to write down his order on the back of a menu-card that was handy. The diner, still in the worst of humours, recited the courses he had selected. "And wine, monsieur?" I asked. Yes, he wanted wine as well, and that order also was faithfully booked. Then I went to the far end of the room to join my own party of friends. What combustible heat the diner developed when he found that his wishes were still unattended to, and what verbal avalanche the real waiter had to endure when he had to ask that the order should be repeated, are matters upon which no light can be thrown--by myself! But to return to the story of the "explosion"

in "The Mikado."

My little bit of devilment was duly reported to the management. Mr.

Carte summoned me before him and looked very grave. Unauthorised diversions of this kind would never do--and certainly not when perpetrated by a leading princ.i.p.al. "I think it is about time you stopped your schoolboy pranks," was his rebuke.

But a different side of Mr. Carte was seen in connection with a certain incident at the Savoy. The point to remember is that it had reference to something that did not involve any liberties with the performance, and this fact put it, in his eyes, in an entirely different category. We had in the company a man who was always telling tales about the rest to the stage manager. So one night some of us got hold of him, ducked his head in a bucket of dirty water, and kept it there as long as we dare.

Naturally he reported us, and in due course we were summoned to attend and explain our conduct to Mr. Carte. We were bidden to enter his room one by one. I, as one of the ring-leaders, was the first to go in. "This is very serious," said Mr. Carte, but having heard my explanation of the incident, and still looking exceedingly severe, he warned me that "this sort of thing must not happen again." Then, as a smile stole over his face, he added "All the same I might have done it myself!"

With that he told me, when I went out of the room, to put one hand on my temple and, with the other stretched out in the air, to exclaim "Oh!

it's terrible--terrible." What the effect of this melodramatic posture was on those anxiously waiting outside may well be imagined. It could only mean instant dismissal for all of us. Then Mr. Carte had another culprit before him, and having formally rebuked him, commanded him to make his exit in much the same way. It was an excellent joke--except for those at the end of the queue.

It was Mr. D'Oyly Carte, by the way, who once did me the compliment of saying, "My dear Lytton, you have given me the finest performance I have ever seen of any part on any stage." Strange as it may seem to-day, the role which I was playing then, and which drew those most cordial words from one whose praise was always so measured and restrained, was that of _Shadbolt_ in the 1897 London revivals of "The Yeomen of the Guard." It was impossible for a small man to play the part just as the big men had played it, and so my interpretation of it was that of a creeping, cringing little dwarf who in manner, in method and in mood was not unlike Uriah Heep. This seemed to me to be consistent with the historical figure from which the part was drawn. Gilbert, it is not generally known, took him from a wicked, wizened little wretch who, in the sixteenth century, so legend says, haunted the Tower when an execution was due, and offered the unhappy felon a handful of dust, which was, he said, "a powder that will save you from pain." For reward he claimed the victim's valuables.

[Ill.u.s.tration: MR. RUPERT D'OYLY CARTE.]

When, by the way, Mr. Carte told me that mine was the best performance he had ever seen on any stage, I was so flattered by the compliment that I asked him if he would write his opinion down for me, and he readily promised to do so. Within a day or two I received a letter containing those words over his signature, and it remains amongst my treasured possessions. Only once did I know him to be guilty of forgetfulness, and that was when, meeting me in London, he said: "Oh! I think I can offer you an engagement, Lytton." I had to point out to him that I was actually playing in one of his companies. We were, I think, at Greenwich at the time, and I was making a flying visit to London.

Mr. Carte was a great stage manager. He could take in the details of a scene with one sweep of his eagle eye and say unerringly just what was wrong. Shortly before I was leaving town for a provincial tour he noticed that _Ko-Ko's_ love scene with _Katisha_ might be improved, and so we went together for an extra rehearsal into the pit bar at the Savoy. Mr. Carte said he would be _Katisha_ and I, of course, was to be _Ko-Ko_. Now, to make love to a bearded man, and a man who was one's manager into the bargain, was rather a task but we both entered heartily into the spirit of the thing. "Just act as you would if you were on the stage," was his advice, "though you needn't actually kiss me, you know!"

For this scene we had an audience of one. Little Rupert D'Oyly Carte was there, and before the rehearsal commenced I lifted him on to the bar counter, where he sat and simply held his sides with laughter watching me making earnest love to his father! I imagine he remembers that incident still.

That "eye" for stagecraft, which in Mr. Richard D'Oyly Carte amounted to genius, has been inherited in a quite remarkable degree by his son, Mr.

Rupert D'Oyly Carte. He, too, has the gift of taking in the details of a scene at a glance, and knowing instinctively just what must be corrected in order to make the colours blend most effectively, the action move most perfectly, and the stage arrangement generally to be in balance and proportion. I need not say that in all this he most faithfully observes all the traditions which have stood so well the test of time.

So far I have given in this chapter my random reminiscences of the chief three figures--the triumvirate, as I have called them--at the Savoy. But there was also a fourth, and it would be a grave omission were I not to mention one who, in my judgment, was as wonderful as any of them. I refer to Miss Helen Lenoir, who, after acting for some years as private secretary to Mr. Carte, became his wife. There was hardly a department of this great enterprise which did not benefit, little though the wider public knew it, from Mrs. Carte's remarkable genius. It was not alone that hers was the woman's hand that lent an added tastefulness to the dressing of the productions. She was a born business woman with an outstanding gift for organisation. No financial statement was too intricate for her, and no contract too abstruse. Once, when I had to put one of her letters to me before my legal adviser, though not, I need hardly say, with any litigious intent, he declared firmly "this letter _must_ have been written by a solicitor." He would not admit that any woman could draw up a doc.u.ment so cleverly guarded with qualifications.

Mrs. Carte, besides her natural business talent, had fine artistic taste and was a sound judge, too, of the capabilities of those who came to the theatre in search of engagements. The New York productions of the operas were often placed in her charge. Naturally enough, the American managers did not welcome the "invasion" any too heartily, and her responsibilities over there must have been a supreme test of her tact and powers of organisation. Yet the success of these transatlantic ventures could not be gainsaid.

When her husband died Mrs. Carte took the reins of management entirely into her keeping, and it was one of her most remarkable achievements that, notwithstanding constant pain and declining health, this wonderful woman should have carried the operas through a period when, owing to the natural reaction of time, they were suffering a temporary eclipse. Long before she died in 1913 they had entered upon a new lease of life, and to-day we find them once more on the flood tide of prosperity, loved alike by those who are loyal to their favourites of other days and no less by those of the younger generation who have been captivated by all their joyous charm of wit and melody.

Our leader to-day is Mr. Rupert D'Oyly Carte. Of him I find it difficult to speak, as is bound to be the case when one is working in constant a.s.sociation with one who has the same cause at heart, and sharing with him the earnest intention that the great tradition of these operas shall be worthily and faithfully upheld. Upon Rupert D'Oyly Carte's shoulders has fallen the mantle of a splendid heritage. Speaking as the oldest member of his company, and no less as one who may claim also to be a friend, I can a.s.sure him that the happy family of artistes who serve under his banner, and who play in these pieces night by night with all the more zest because they love them for their own freshness and grace, will always do their part under him in keeping alight the "sacred lamp"

of real English comedy that was first kindled into undying fires within the portals of the Savoy.

V.

ADVENTURES IN TWO HEMISPHERES.

_Actors in real life--Reminiscences of my American visit--A thrill in Sing-Sing--The detective and the crook--Outwitting the Pirates--In "The Gondoliers" in New York--A cutting Press critique--Orchestral afflictions--Our best audiences--Enthusiasm in Ireland and a short-lived interruption--Exciting fire experiences--Too realistic thunder and lightning--"h.e.l.l's Full."_

"Lytton," said a well-known man of affairs to me, "we are all actors.

You are an actor. I am an actor. Come with me to a meeting at which I am to make a speech and I will show you a real-life drama truer than ever you will see or hear on the stage. The audience would kill me if they dare. They would rend me limb from limb. And yet in half-an-hour--mark my words, in half-an-hour!--they will be shaking me by the hand and everything will be ending happily."

We were in Holborn at the time and we took a short cab-ride into the City. My friend had to meet the shareholders of a company which he had promoted and which had not been prospering. No sooner had he entered the meeting room than he was met with a hostile reception. Epithets of an unequivocally abusive kind were flung at him from every side. Men shook their fists in his face. When he reached the platform the demonstration was redoubled, and at first he was not allowed to speak. Solidly he stood his ground waiting for the storm to subside. Eventually they did allow him to speak, and first to a crescendo and then to a diminuendo of interruption he told them how the failure of things could not be his fault at all, how he was ready to stand by the venture to the very end, how he would guarantee to pay them all their money back with interest, and how he would work the flesh off his bones to put the company right.

Here, indeed, was real drama--and at a company meeting. Here was a man fighting for his commercial existence, and by the force of wits, sheer self-confidence and personal magnetism gradually winning. Just after the meeting closed a number of those infuriated shareholders were on the platform shaking him by the hand and telling him what a fine fellow he was. Towards the end of his speech I had seen him look at his watch and flash a significant glance in my direction. "Well," he said, when he rejoined me, quite calm and collected, "I did it under half-an-hour--in fact, with just a minute to spare."

It is an incident like this which proves that histrionics is no theatrical monopoly. I once met another actor in real life--this time in America. I had gone to New York to do the _Duke_ in "The Gondoliers."

Amongst the many delightful people I met there was General Sickles.

Sickles was a "character," and also a man of influence. Only a few weeks before he had met Captain Shaw, the chief of the London Fire Brigade, whom Gilbert has immortalised in the Queen's beautiful song in "Iolanthe." Shaw had argued with the General that America's fire-fighting methods were not as speedy as they were in England.

"Oh! aren't they?" was the reply. "Come and see." Forthwith the General, who was not a fire chief himself, but who had been Sheriff of New York and was thus a powerful individual, ordered out the New York Fire Brigade. No sooner had a b.u.t.ton been touched than the harness automatically fell on the horses, the men came flying down a pole right on to the engine, and in so many seconds the brigade was ready. Long since, of course, all these methods have been adopted in this country, and I believe I am right in saying that the improvement followed this visit of Captain Shaw to the United States. I myself saw a turn-out of the brigade and thought their swiftness astonishing.

It was General Sickles who introduced me to Mr. Burke, a famous New York detective of his day, who took me on a most interesting tour of Sing-Sing Prison. He persuaded me to sit in the electric chair, and having put the copper band round my head and adjusted the rest of the apparatus, he took a big switch in his hand and said, "I've simply got to press this and you're electrocuted--dead in a jiffy!" I'll own up I did not share his affection for his plaything. The experience was not at all pleasant.

Burke, as an additional thrill, asked me if I should like to meet a notorious bank robber, whom I will call Captain S. It was arranged that the three of us should have dinner together. Captain S., the other real-life actor referred to, was at that time enjoying a spell of liberty, and to me it was amazing how cordial was the friendship between the great detective and the great "crook." When "business" was afoot it was a battle of wits, with the bank robber bringing off some tremendous haul and the detective hot on his tracks to bring him to justice, and probably it was because each had so much respect for the other's talents that socially they could be such excellent pals.

"Yes, Burke," I heard Captain S. say, "you've 'lagged' me before this and I expect you'll do it again." I found him a delightful companion, with a fund of good stories, and he played the violin for us most beautifully.

Captain S. told us how he planned one of his earlier exploits. It was his custom to pose as an English philanthropist, who was almost eccentric in his liberality and who made himself _persona grata_ in society. Even the most suspicious would have been disarmed by one so benevolent both in manner and in appearance. In this particular case, having decided on the bank he intended to rob, he took a flat over the building. One part of the day was spent in preparing his gang for the coup and the other part in performing kindly acts of charity. "I really felt sorry," he told us, "when the time had come to do the trick. I had been spending a lot of money and thoroughly enjoying myself. Luckily, we had found that, although the bank had steel walls and a steel floor, it had just an ordinary ceiling. That, of course, helped us enormously, and we got away with a regular pile. I left a note on the counter: 'You must blame the designer of the bank for this, not me.'"

I have not yet explained the circ.u.mstances that took me to America.

Shortly after "The Gondoliers" had been produced in London it was put on in the States. No sooner had any new Savoy opera been successfully launched in London than preparations were pushed forward for its production on the other side of the Atlantic. This, in point of fact, was done as a precaution. Gilbert, Sullivan and Carte had learnt the need of that by bitter experience in their earlier ventures, which had been exploited by "pirates." These nimble gentlemen, having secured a rough idea of the new opera that was being produced in London, lost no time in bringing out a miserable travesty of it under the identical t.i.tle that it was given at the Savoy. Thus not only did they trade on the reputation of these operas, but they were able to prevent the genuine production being given under its own t.i.tle, inasmuch as this would have transgressed the law of copyright. So the "pirates" had to be forestalled by an immediate staging of the real operas, and in some cases these were put on in America simultaneously with, and in one case actually before, the productions in England.

[Ill.u.s.tration: THE LATE MRS. RICHARD D'OYLY CARTE.]

"The Gondoliers" in America was not a success. Mr. Carte, who was there at the time, tried to mend matters by completely re-casting the play. I was in York, and I received a cable "Come to New York." It was never my custom to question my manager's requests. Whenever he commanded I was ready to obey. So from York to New York I travelled by the first available steamer and was soon playing the _Duke of Plaza-Toro_. During my first interview with Mr. Carte after my arrival there occurred an incident characteristic of the great manager. "Lytton," he said, producing his note-book, "I believe you owe me 50." I admitted it--the loan had been for a small speculation. "Well," was his reply, striking his pen through the item, "that debt is paid." It was in this way that he chose to show his appreciation of my action in responding to his summons immediately.

What I remember most about "The Gondoliers" was the simply uproarious laughter with which the audience greeted the line in the Grand Inquisitor's song, "And Dukes were three a penny." It was quite different to the smiles with which the phrase is received in England.

The significance of their merriment was the fact that no fewer than seven men had taken the part of the _Duke of Plaza-Toro_! I myself was there as the seventh! A Press critic, having drawn attention to this rather prolific succession, proceeded to place the seven in the order of merit--at least, as it appeared to his judgment. He gave six of the names in his order of preference in ordinary type, and then came a wide gap of s.p.a.ce, followed by the last name in the minutest type. While I do not remember where I stood I do know that mine was not the name in such conspicuous inconspicuousness!

Speaking of Press criticisms, which in this country are almost invariably fair and judicious, it was my curious experience once to go into a barber's shop in a small town in which we were playing and to find the wielder of the razor very keen about discussing the operas. He then urged me to be sure to buy a copy of the _Mudford Gazette_. "I've said something very nice about you," he said. I looked perplexed. "Oh!

I'm the musical critic, you know," explained the worthy Figaro.

Our "properties" in the small towns were sometimes a little primitive.

Once in "The Gondoliers" our gondola was made of an egg-box on a couple of rollers, and we had to wade ash.o.r.e. This was at Queenstown, where there was a strike, and we could not get all our baggage from the liner that had brought us from America. But often the chief affliction was the orchestra. I remember one violinist whose efforts were woeful. "You can't play your instrument," the conductor told him at last in exasperation. "Neither would you if your hands were swollen with hard work like mine," was his retort. "This job doesn't pay me. I just come here in the evening." It transpired that he was a bricklayer. At another place the musicianship of one instrumentalist was truly appalling. "How long have you been playing?" asked the conductor. "Thirty years man and boy," was the response. "It is thirty years too long," was the retort.

From time to time I am asked where our best audiences are found. Really it is hard to say. Except for one big city--and why not there it is impossible to explain--the company has a wonderful reception everywhere.

The Savoy audiences in the old days, of course, were like no other audiences, and it was something to remember to be at a "first night."

Long before the orchestra was due to commence--with Sullivan there to conduct it, as he usually was also at the fiftieth, the hundredth and other "milestone" performances--it was customary for many of the songs and choruses from the older operas to be sung by the "G.o.ds." And wonderful singers they were.

The London audiences of to-day are also splendid. Our welcome in the 1920 season was a memorable experience. Gilbert and Sullivan operas depend for their freshness and their spirit far more on the audience than do any of the ordinary plays, and as it happens this enthusiasm on both sides is seldom wanting. Yet now and then we find an audience that is cold and quiet at the beginning and then works up to fever-heat as the opera proceeds, whereas on the other hand there is the audience that begins really too well and towards the end has simply worn itself out, being too exhausted to let itself go.

The North, if not so demonstrative as the South, is always wonderfully responsive to the spirit of the witty dialogue and the sparkling songs, and two cities in which it is always a pleasure to play are Manchester and Liverpool. And those who declare that the Scots cannot see a joke would be disabused if they were to be at the D'Oyly Carte seasons at Glasgow and Edinburgh. Our visits there are always successful. But if I had to decide this matter on a national basis I should certainly bestow the palm on Ireland.

Nowhere are there truer lovers of Gilbert and Sullivan than the Irish.

It may be that Gilbert's fantastic wit is the wit they best understand, and it may be, too, that their hearts are warmed by the "plaintive song"

of their fellow countryman, Sullivan. Whatever the cause, we have no better receptions anywhere. One feature of our Dublin and Belfast audiences is, oddly enough, shared with those at Oxford and Cambridge.

They do not merely clap, but openly cheer again and again, throwing all conventional decorum away. And when the Irish are determined to have encores--no matter how many for a particular piece--there is no denying them.

What we have found in the Emerald Isle--even during the unhappy times during and after the war--was that they kept their pleasures and their politics in watertight compartments. Sinn Feiners they might be outside the theatre, but inside it they are determined to enjoy themselves, as an interrupter found on one of our latest visits, when he tried to protest against the song, "When Britain Really Ruled the Waves." "No politics here," shouted someone from the stalls, and the audience agreeing very heartily with this sentiment the protestor subsided into silence.

Looking back on the reference earlier in this chapter to fire brigades, I am reminded that I have more than once been on the stage at times when events have occurred which might have had terrible results, though my success as a panic-fighter is a distinction I would rather have foregone. One incident of this kind was at Eastbourne when we did "Haddon Hall." It will be remembered that in one part there are indications of an oncoming storm of thunder and lightning. Nowadays the authorities take care that effects of this kind are contrived with absolute safety to all concerned, but in those times the lightning was produced by a man in the wings taking pinches of explosive powder out of a canister, throwing these on a candle flame, and so securing a vivid flash over the darkening stage. Well, our man had done this so often that he had grown contemptuous of danger, and this time he took such an ample helping of the powder that the flash caught the canister, and there was a tremendous explosion. The canister went right through the stage and embedded itself in the ground.