“In consequence of the astonishing Overflows to witness the admired Extravaganza ofTomandJerry, or Life in London, and to prevent, as far as possible, any unpleasant Disappointment, the Public are respectfully informed that:—NO PLACES, IN FUTURE CAN BE KEPT, UNLESS PAID FOR WHEN TAKEN.Shouts of Laughter and Applause attend each Representation of the New Pantomime.”
“In consequence of the astonishing Overflows to witness the admired Extravaganza ofTomandJerry, or Life in London, and to prevent, as far as possible, any unpleasant Disappointment, the Public are respectfully informed that:—
NO PLACES, IN FUTURE CAN BE KEPT, UNLESS PAID FOR WHEN TAKEN.
Shouts of Laughter and Applause attend each Representation of the New Pantomime.”
When the long run ofTomandJerryended at the Adelphi, a spectacular extravaganza of the same kind was produced with the title of “Green in France,” but it did not catch the fancy of the town like its predecessors.[34]
In 1825, Mr. Moncrieff published his dramatic version of Tom and Jerry; or, Life in London—which he dedicated to:—
His Royal Highness, Frederick Duke of York,May it Please Your Highness:—The distinguished honour conferred by your Royal Highness on this Drama, in commanding and witnessing its performance at theAdelphi Theatre, (an honour unprecedented in the annals of the Minor Stage) and the flattering manner in which your Royal Highness was afterwards graciously pleased to express your high approbation of it, emboldens me, with the most profound respect, to lay it at your Royal Highness’s feet, and under the sanction of your illustrious name, commit it in its present form to the world.Having no higher pretensions than that of presenting a faithful picture of the various scenes it pourtrays, the favourable opinion of your Royal Highness stamps it with an authority that was alone wanted to crown the success with which it has been received by the Public.Like the illustrious Haroun al Raschid, your Royal Highness is said to have made yourself acquainted with the many coloured changes of life; presented in the people over whom you may be one day called to preside, by wisely throwing off the restraint of rank, and witnessing nature in its genuine state. That the scenes I have pourtrayed are not caricatured for the sake of dramatic effect, but are actually those which might have been seen by any one choosing to seek them, your Royal Highness can therefore adequately testify; and your Royal Highness’s imprimatur will effectually ward off all the imputations that have been cast upon my motives and veracity, by the bigoted and envious.I have the honour to be,With the most profound respect and devotion,YourRoyal Highness’sMost obedient and very humble Servant,W. T. Moncrieff.104, Drury Lane,Dec. 15, 1825.
His Royal Highness, Frederick Duke of York,
May it Please Your Highness:—
The distinguished honour conferred by your Royal Highness on this Drama, in commanding and witnessing its performance at theAdelphi Theatre, (an honour unprecedented in the annals of the Minor Stage) and the flattering manner in which your Royal Highness was afterwards graciously pleased to express your high approbation of it, emboldens me, with the most profound respect, to lay it at your Royal Highness’s feet, and under the sanction of your illustrious name, commit it in its present form to the world.
Having no higher pretensions than that of presenting a faithful picture of the various scenes it pourtrays, the favourable opinion of your Royal Highness stamps it with an authority that was alone wanted to crown the success with which it has been received by the Public.
Like the illustrious Haroun al Raschid, your Royal Highness is said to have made yourself acquainted with the many coloured changes of life; presented in the people over whom you may be one day called to preside, by wisely throwing off the restraint of rank, and witnessing nature in its genuine state. That the scenes I have pourtrayed are not caricatured for the sake of dramatic effect, but are actually those which might have been seen by any one choosing to seek them, your Royal Highness can therefore adequately testify; and your Royal Highness’s imprimatur will effectually ward off all the imputations that have been cast upon my motives and veracity, by the bigoted and envious.
I have the honour to be,With the most profound respect and devotion,YourRoyal Highness’sMost obedient and very humble Servant,W. T. Moncrieff.
104, Drury Lane,Dec. 15, 1825.
Mr. Moncrieff in his Dedication—To His Royal Highness: and in his Preface that follows throws so much true light and shade on public opinion—pro et con—of the period, that we deem it not only desirable but instructive to the present generation to publish the samein extenso.
PREFACE.“It is scarcely necessary to observe this Drama is founded on the “Life in London” of my friendsPierce Egan, and the inimitableCruickshank. Aided byPierce’sclever illustrations to the matchless series of plates to that work, I have in this piece, endeavoured to put them into dramatic motion; running a connecting story through the whole, making such modifications and amplifications, and furnishing such reflections and results, as I deemed necessary. From the popularity of the subject, the novelty and acknowledged truth of the various scenes comprised in it, and the beauty of the music I fortunately selected, this Piece obtained a popularity, and excited a sensation, totally unprecedented in Theatrical History; from the highest to the lowest, all classes were alike anxious to witness its representation; Dukes and Dustmen were equally interested in its performance, and Peers might be seen mobbing it with Apprentices to obtain admission. Seats were sold for weeks before they could be occupied, every Theatre in the United Kingdom, even in the United States, enriched its coffers by performing it; and the smallest tithe-portion of its profits, would for ever have rendered it unnecessary for its Author to have troubled the public with any further productions of his Muse. It established the fortunes of most of the Actors engaged in its representation, and gave birth to many publications and several newspapers. The success of the “Beggar’s Opera,” the “Castle Spectre,” and “Pizarro,” sunk into the shade before it. In thefuroreof its popularity, persons have been known to travel post from the furthest parts of the Kingdom to see it; and five guineas have been offered for a single seat.—These facts are not recapitulated here from any feeling ofegotism—the success of this Drama, was the temporary rage of the moment, from time-serving circumstances, and was never regarded in any other light by its Author; they are merely noticed as curious events in theatrical history.—With respect to the cry of immorality, so loudly raised by those inimical to the success and plain-speaking of this piece, it is soon answered! To say nothing of the envy of rival Theatres feeling its attraction most sensibly in their Saturday Treasuries, those notorious pests the Watchmen; dexterously joined in the war-howl of detraction raised against it, and by converting every trifling street-broil into a “Tom and Jerry row,” endeavoured to revenge themselves for theexposèits scenes afforded of their villany and extortion; but all in vain. In vain, too, it was the Actor’s old rivals, theMethodists, took the alarm—in vain they distributed the whole of the stock of theReligious Tract Societyat the doors of the Theatre—in vain they denounced “Tom and Jerry” from the pulpit—in vain the puritanical portion of the Press prated of its immorality—in vain the prejudices of the stiff-backed part of the Bench—the hypocritical host of Saints cried it down, and preached woe and destruction to those who supported it.—They but increased the number of its followers, and added to its popularity. Vainly, too, was the Lord Chamberlain called upon to suppress it—His Grace came one night to see it, and brought his Duchess the next. It was nearly the same with the Chief Magistrate of Bow Street: his experience rendered him perfectly sensible, that, long before the appearance of “Tom and Jerry,” young men and country gentlemen would in moments of hilarity, sometimes exceed in their potations, be provoked into quarrels by designing Watchmen, and consigned, for purposes of extortion on the following morning, to His Honour, the Night Constable; but according to the Saints’ accounts, to believe their tales, it must be held as a point of faith, that no one, previous to the appearance of “Tom and Jerry,” ever got into a row!—Oh, no—drinking and all its train of follies were unknown to youth, until inculcated into their minds by the example of “Tom and Jerry!” How many an unsuspectingCountry Cousinhas been converted, in the public newspapers, through an hour of harmless frolic, into aJerry; while his equally unconscious Town relation figured as aTom, and anyhonest plodder they may have had with them is transformed into aBob Logic—his first appearance in that character. The thing speaks for itself: the hue and cry of the immorality and danger of this piece was raised merely for the purposes of plunder, by Watchmen and others. So far from being immoral, if the piece be fairly examined, it will be found to be as correct in its tendency as any production ever brought on the stage. The obnoxious scenes of life are only shown that they may be avoided: the danger of mixing in them is strikingly exemplified; and every incident tends to prove, that happiness is only to be found in the domestic circle.“It has been said, that many of the scenes of this piece should not have been exhibited, being scenes of dissipation, riot, and impropriety—ridiculous!—Has not Shakespeare asserted that the proper use of the drama is—“to hold, as ’twere, the mirror up to nature, to show virtue her own feature, and vice her own image, and the very age and body of the time its form and pressure:” could any piece do this more effectually than “Tom and Jerry?” take away the scenes complained of, it ceases to show the form and pressure of the age and time.“I should not have published this piece had not its success produced such a host of imitations and plagiarisms, that more to prevent myself suffering from the demerits of others than to avail myself of any merits of my own. I give it with all its imperfections on its head, to the world; willing to paysmart bluntfor my own misdeeds, but notstand Sammyfor those of others. To those venerable noodles who complain that I and my prototype,Pierce, have made this the age of flash; I answer any age is better thanThe age of cant! I tell my pious lecturers, in plain terms, I shall always feel pleasure in reflecting that I have in this piece,nosedeverymoveon theboard, in thegameof thespell; opened theoglesof thegreenand theyokel, and themuff, and theraw; struck a light on thedarkyof theirknowledge boxes,flashedthegabof theprig, theleg, thescampand thestringer, in theirlisteners, put themflyandawaketo all they should beupanddownto, and enabled them, if theirlugsare at allwingto thebitsofgood truth,patteredto them in every scene of this piece,banktheirrag,chiveytheirnurses,nashtheirleading strings, and keep out of the way of thecut-along-coachesas theytravel the hightobyof existence; and having so done, can lay mymawleyon mycore, and conscienciouslychauntmy conviction, in which myreaderwill bear me out, “that I’ve cut all thebuzmen, anddonethething right.”W. T. M.104, Drury Lane,Dec. 15, 1825.
PREFACE.
“It is scarcely necessary to observe this Drama is founded on the “Life in London” of my friendsPierce Egan, and the inimitableCruickshank. Aided byPierce’sclever illustrations to the matchless series of plates to that work, I have in this piece, endeavoured to put them into dramatic motion; running a connecting story through the whole, making such modifications and amplifications, and furnishing such reflections and results, as I deemed necessary. From the popularity of the subject, the novelty and acknowledged truth of the various scenes comprised in it, and the beauty of the music I fortunately selected, this Piece obtained a popularity, and excited a sensation, totally unprecedented in Theatrical History; from the highest to the lowest, all classes were alike anxious to witness its representation; Dukes and Dustmen were equally interested in its performance, and Peers might be seen mobbing it with Apprentices to obtain admission. Seats were sold for weeks before they could be occupied, every Theatre in the United Kingdom, even in the United States, enriched its coffers by performing it; and the smallest tithe-portion of its profits, would for ever have rendered it unnecessary for its Author to have troubled the public with any further productions of his Muse. It established the fortunes of most of the Actors engaged in its representation, and gave birth to many publications and several newspapers. The success of the “Beggar’s Opera,” the “Castle Spectre,” and “Pizarro,” sunk into the shade before it. In thefuroreof its popularity, persons have been known to travel post from the furthest parts of the Kingdom to see it; and five guineas have been offered for a single seat.—These facts are not recapitulated here from any feeling ofegotism—the success of this Drama, was the temporary rage of the moment, from time-serving circumstances, and was never regarded in any other light by its Author; they are merely noticed as curious events in theatrical history.—With respect to the cry of immorality, so loudly raised by those inimical to the success and plain-speaking of this piece, it is soon answered! To say nothing of the envy of rival Theatres feeling its attraction most sensibly in their Saturday Treasuries, those notorious pests the Watchmen; dexterously joined in the war-howl of detraction raised against it, and by converting every trifling street-broil into a “Tom and Jerry row,” endeavoured to revenge themselves for theexposèits scenes afforded of their villany and extortion; but all in vain. In vain, too, it was the Actor’s old rivals, theMethodists, took the alarm—in vain they distributed the whole of the stock of theReligious Tract Societyat the doors of the Theatre—in vain they denounced “Tom and Jerry” from the pulpit—in vain the puritanical portion of the Press prated of its immorality—in vain the prejudices of the stiff-backed part of the Bench—the hypocritical host of Saints cried it down, and preached woe and destruction to those who supported it.—They but increased the number of its followers, and added to its popularity. Vainly, too, was the Lord Chamberlain called upon to suppress it—His Grace came one night to see it, and brought his Duchess the next. It was nearly the same with the Chief Magistrate of Bow Street: his experience rendered him perfectly sensible, that, long before the appearance of “Tom and Jerry,” young men and country gentlemen would in moments of hilarity, sometimes exceed in their potations, be provoked into quarrels by designing Watchmen, and consigned, for purposes of extortion on the following morning, to His Honour, the Night Constable; but according to the Saints’ accounts, to believe their tales, it must be held as a point of faith, that no one, previous to the appearance of “Tom and Jerry,” ever got into a row!—Oh, no—drinking and all its train of follies were unknown to youth, until inculcated into their minds by the example of “Tom and Jerry!” How many an unsuspectingCountry Cousinhas been converted, in the public newspapers, through an hour of harmless frolic, into aJerry; while his equally unconscious Town relation figured as aTom, and anyhonest plodder they may have had with them is transformed into aBob Logic—his first appearance in that character. The thing speaks for itself: the hue and cry of the immorality and danger of this piece was raised merely for the purposes of plunder, by Watchmen and others. So far from being immoral, if the piece be fairly examined, it will be found to be as correct in its tendency as any production ever brought on the stage. The obnoxious scenes of life are only shown that they may be avoided: the danger of mixing in them is strikingly exemplified; and every incident tends to prove, that happiness is only to be found in the domestic circle.
“It has been said, that many of the scenes of this piece should not have been exhibited, being scenes of dissipation, riot, and impropriety—ridiculous!—Has not Shakespeare asserted that the proper use of the drama is—“to hold, as ’twere, the mirror up to nature, to show virtue her own feature, and vice her own image, and the very age and body of the time its form and pressure:” could any piece do this more effectually than “Tom and Jerry?” take away the scenes complained of, it ceases to show the form and pressure of the age and time.
“I should not have published this piece had not its success produced such a host of imitations and plagiarisms, that more to prevent myself suffering from the demerits of others than to avail myself of any merits of my own. I give it with all its imperfections on its head, to the world; willing to paysmart bluntfor my own misdeeds, but notstand Sammyfor those of others. To those venerable noodles who complain that I and my prototype,Pierce, have made this the age of flash; I answer any age is better thanThe age of cant! I tell my pious lecturers, in plain terms, I shall always feel pleasure in reflecting that I have in this piece,nosedeverymoveon theboard, in thegameof thespell; opened theoglesof thegreenand theyokel, and themuff, and theraw; struck a light on thedarkyof theirknowledge boxes,flashedthegabof theprig, theleg, thescampand thestringer, in theirlisteners, put themflyandawaketo all they should beupanddownto, and enabled them, if theirlugsare at allwingto thebitsofgood truth,patteredto them in every scene of this piece,banktheirrag,chiveytheirnurses,nashtheirleading strings, and keep out of the way of thecut-along-coachesas theytravel the hightobyof existence; and having so done, can lay mymawleyon mycore, and conscienciouslychauntmy conviction, in which myreaderwill bear me out, “that I’ve cut all thebuzmen, anddonethething right.”
W. T. M.
104, Drury Lane,Dec. 15, 1825.
The Dustman.
Pierce Egan on Mr. Walbourn’s “Dusty Bob.”
“It is the greatest possible praise to be praised by a man who is himself deserving of praise.”“Approbation from Sir Hubert Stanley is praise indeed.”
“It is the greatest possible praise to be praised by a man who is himself deserving of praise.”
“Approbation from Sir Hubert Stanley is praise indeed.”
Mr. Walbourn’s theatrical fame was made by, and, strange to say, expired with the character of Dusty Bob. Pierce Egan, in his “Life of an Actor,”—which he dedicated to Edmund Kean—classes his performance of this part, as giving him a title in the niche of fame beside John Kemble, Mrs. Siddons, and all the great actors contained in his “Catalogues of Parts Acted”—which can never be forgotten by those who witnessed them. Here is the note, and will be found at page twelve of the work:—“The personification of Dusty Bob, by the above actor, has been unanimously decided by the public to be one of the greatest triumphs of the histrionic art ever exhibited on any stage. The first tragedian of the day,[35]with the utmost liberality, gave it as his opinion, that, during the whole course of his theatrical life, he had never seen any performance equal to it. Also, a comic actor of the greatest celebrity[36]exclaimed, ‘Good heaven! is it possible? Do my eyes deceive me? Most certainly it is a realdustmanthey have got upon the stage. I am very sorry the profession has descended so low as to be compelled to resort to the streets to procure a person of that description to sustain the character.’ He left the body of the theatre in utter disgust—nor was it until introduced to Mr. Walbourn in person, behind the scenes, that he would believe it was an actor.Further praise than this is superfluous.”
Mr. Walbourn as “Dusty Bob,” was drawn and engraved by George Cruikshank, and sold, with other character-portraits, at the Adelphi Theatre. During the long run of the piece, he exchanged one species ofhopsfor another, as he gave up his business as a private and stage dancing-master, and took the “Maidenhead” public-house at Battle Bridge. The house, previous to his taking it was doing only a small trade; but, when he became the landlord, and put out a spick-span new and a “not so dusty” sign of himself as “Dusty Bob,” painted in oil by George Cruikshank, it drew together many of the “Dusty” fraternity—and their doxies. After that, “Dusty Bob,” together with “Black Sal,” became to be bye words, as, near to the house, was Smith’s dust-yard, at which hundreds were employed, male and female. But:—
“A heap of dust alone remains of thee;’Tis all thou art, and all the proud shall be!”
The Literary Dustman.
My dawning genus fust did peep,Near Battle Bridge ’tis plain, sirs—You recollect the cinder heap,Vot stood in Gray’s Inn Lane, sirs?[37]’Twas there I studied pic—turesque,Vhile I my bread vos yarning,And there, inhailing the freshbreeze,I sifted out my larnin’!They calls me Adam Bell, ’tis clear,(As Adam vos the furst man),And by a co—in—side—ance queer,Vy, I’m the fust of dustmen!—A Literary Dustman!
The “Old Pub.” of sixty years ago is nowThe Victoria Tavern, Great Northern Railway. Maiden Lane is York Road, and Battle Bridge is known as King’s Cross, from a statue of George IV.—a most execrable performance—taken down in 1842.
Great sculptors all conwarse wi’ me,And call my taste diwine, sirs—King George’s statty at King’s CrossVas built from my design, sirs.The Literary Dustman.
Besides the authors already mentioned. Tom Dibden, Farrell, and Douglas Jerrold, each produced dramas upon the popular theme; and during the seasons of 1821-2, “Life in London” was performed with greatéclat, at ten theatres in and around themetropolis, to overflowing houses. But Pierce Egan at length became tired of the successes of the playwrights in using his book, and resolved to try his own hand at a dramatic version—or, as he termed it, “to take a leaf or two out of his own book”—and theAuthor’s Piecewas “got up” and performed for the first time at Sadler’s Wells, under the respectable management of Mr. Egerton, on Monday, April 8, 1822, with most decided success.
It was thus announced by Mrs. Egerton, in the address written for the occasion by T. Greenwood, Esq.
“To-night, my friends, this modern taste to meet,We show youJerryat his country seat;Then up to town transport the rustic beau,And show him ‘Life in London,’ HIGH and LOW.”
SADLER’S WELLS THEATRE.
Under the Direction ofMr. Egerton, of the Theatre Royal, Covent Garden, Sole Proprietor.
The Brilliant Success, and increasing Attraction ofPierce Egan’s“TomandJerry”: not exceeded by any performance ever yet produced; and the celebratedPony Races, exciting an interest equal to theRace Course itself: being nightly performed to crowded Audiences, amidst Roars of Laughter and Shouts of applause, will be repeatedEvery Evening, at half-past six o’clock precisely:—
The new Pedestrian, Equestrian, and Operatic Extravaganza: in Three Acts—of Gaiety, Frisk, Lark, and Patter, called
TOM AND JERRY.
Put into Shape, exclusively for this Theatre, byPierce Egan.
Who trusts it will not be deemed unfair that he should take aLeaforTwoout of his ownBook, several other persons having made free with the Work. The Piece now prepared for representation is not entitled to the appellation ofTragedy,Comedy,Opera,Play,Farce,Ballet, orMelodrama, yet partaking of the Qualitiesof all, and possessing scenesHighandLowin abundance, from the “Sky Parlour” to the “Diamond Vault.”OutandOut, Rambles and Sprees, East and West, and Lots of Characters,UpandDown. A variety ofSwellsbut noDons:CorinthiansandCostard-mongersof manyHues and Colours:FlatsandSharpswithout aNote—PinksandTulips, but noFlowers, yet always in theHot Houses: andHellswithoutDevils, only havingBlack Legs:MuslinandHopsacks, according as thecreatureswear them: the whole forming a “Bit of Good Truth,”en passant, in a Review ofLife in London, developed by a preciousTrio, in the Persons of aTop-of-The-Tree-HeroUpandDressedin allsuits: seconded by aslap-bangcountryman, that neitherhedgenorditchbaulk his pursuits; and in unison with aprimepiece ofLogicwithoutPremises, yet always so much atHome, thatLockeandBaconwere muffs to him: also representing theNoble,Respectable,Mechanical, andTag RagandBob-tail part of Society, which constitute theCorinthian Capital, and theBaseof the Pillar.
The Overture, with the New and Selected Music, by Mr. Nicholson. The Scenes from Drawings taken on the spot, by Mr. Greenwood, assisted by Mr. Milldenhall and others.The Sporting Subjects, byMr. George Cruikshank, from designs by himself and Brother,Mr. I. R. Cruikshank. The Quadrilles and Country Dances, by Mr. Kirby. The Machinery, Platforms, and Race Course, byMr. Copping. Dresses byMr. TownleyandMrs. Balding.
To Start from the Winning Post on the Stage; Run three times Round the Course.
Separate Matches, and afterwards for theGrand Sweepstakes.
PONY RACES.
PassingInto and Round thePit.
☞The eagerness of several Ladies and Gentlemen to Promenade the Course during the Race, having at times produced a temporary delay and inconvenience, they are respectfully intreated to observe the directions of the Clerk of the Course, who will attend withMrs. Dusty Bob(African Sal) in theirCarriage from Maiden Lane, Battle Bridge, for the purpose of preserving order.
The Corinthian’s Diary.
A Celebrated Comic Song, written byT. GREENWOOD, Esq.And Sung by Mr. Vale, at Sadler’s Wells Theatre, in the Character ofBob Logic.
SUNDAY, gotfloor’d, ingroggyplight,MONDAY, quite stale, took anti-bilious,Pester’d by nausea, nerves not quite right,And noisydunsquite supercilious:A dish of Mocha, ’chovy toast,Remov’d the spasms—increased attrition,So started, when I’d skimm’d thePost,ToTattersall’s, in high condition.TUESDAY, got clean’d atRouge et Noir,And, done quite brown, was forc’d to toddle;So then I vow’d to play no more,Lest, like a lame duck, I should waddle.WEDNESDAY, reflected; curs’d each star,Swore never more a card to handle:Went to theFives Court, saw them spar,And patronis’dCribb,Neat, andRandall.THURSDAY,bowl’ddown toAscot Heath,To sport mybluntupon the races:Rode my own mare almost to death,For I had won three steeplechases:Clean’d out again, I came awayQuite undismay’d, though out of feather,At night I bolted to the play,To drown ill-luck and care together.Met with aspree, two glorious frays,So went to work—I hate long parleys;Kick’d up a row, thenstarr’dtheglaze,Andmill’d, in style, a brace ofCharley’s:Morris’daway toAlmack’s Rooms,Danc’d a quadrille, alert and showy,Call’d at theFinish, mops and brooms,And tumbled to bed as drunk as Chloe.FRIDAY, I went to see dearNancy,But found aCoveythere before me,Was forc’d tobolt, I’d lost my chance,ButKate, I knew, would still adore me:So off I set, stay’d SATURDAY,My comforts took, then home departed;Book’d for next week, with spirits gay,I for a fresh game, on SUNDAY started.
SADLER’S WELLS.PIERCE EGAN,The AuthorofTOM & JERRY;or,Life in London.Most respectfully informs the Public, and his numerous Friends in theSporting World, that:(Before “all theGoldis taken off theGingerbread,” being contentedwith a Small Slice of it,) hisBENEFITis fixed forWednesdayThe 25th September, 1822.When a Variety Entertainment, will be performed, in whichTHE AUTHORWill make his First and only Appearance on this Stage, in aPRINCIPAL CHARACTER.LIFE IN A SPREE.A Spree’s the thing, with potent port made merry,“Go itBob Logic,” “Keep it up,” criesJerry.
TheUpper Storyall abroad—Mr. Lushington at Work; and when the Wine is in, the Wit is out—Ripe for any thing—How to make a Stop—Watch go—And getting the best of the Timekeepers—Must make a noise in the World:—
No way but this left to obtain renown,Kick up a Row, and knock theCharlie’sdown!
LIFE IN THE EAST.
All-Max......A bit of good Truth!
Tickets not necessary—Any Port in a Storm—Never a Jack without a Jill—All happiness: no questions asked: and one half the world don’t know how the other half lives—(or dies!)—No matter! Plenty ofTaste—Patterwithout ceremony—And not particular to ashadeaboutLingo. Spoting atoewithout ashoe, and no enquiry after theSnob’sBill—Reelingwithoutsteps—Flooringinstead ofWaltzing, and nothing the matter.Countryorcolourno objection—Ladies in mourningnot prohibited—Black Sall don’t blush for her appearance—And Dusty Bob not uneasy about his toggery—All the sameOne HundredYears hence!—Philosophy.
⁂ To prevent the trouble and fatigue of ascending the numerous Steps to the Author’sSky Parlour, (in Days of Yore, denominated aGarret, as well as Tumbling over lots of Kids,) Tickets to be had of Messrs.Sherwood,Neely, andJones, Paternoster Row; Office of the Weekly Dispatch, Wine Office Court, Fleet Street; at all the Sporting Houses; and Places for the Boxes can be taken of Mr. Parker, at the Box Offices, Sadler’s Wells, from 10 till 4.
Full Particulars will be duly Announced.
Boxes4s.Pit2s.Gallery1s.
Glendinning, Printer, 25, Hatton Garden, London.
Brighton, of course, in common with all other large provincial towns had its version of “Life in London.” The theatre was then under the management of Mr. Samuel—or, as he was commonly known, Jerry Sneak Russell, from the inimitable manner in which he personated that character in Foote’s farce of “The Mayor of Garrat.” We have a copy of the play-bill before us, and as we think the manager’s remarks and the selection of criticisms are in their way curious, we here append them, including the cast of characters:
THEATRE ROYAL, BRIGHTON.LAST NIGHT BUT ONE.TOM AND JERRY.
In announcing the successful piece of “Tom and Jerry” for this evening, the manager feels great satisfaction in being able to quote in its favour the following observations from the critiques in the London and other newspapers. “The scenery, dresses, &c., are good throughout, and much credit is due to the manager for the style in which it is got up. It is with pleasure we remark that this piece has been most judiciously freed from the impurities of dialogue, which rendered it improper to meet the delicate ear of the gentler sex. We therefore venture, without subjecting ourselves to reproach, to recommend our readers to see ‘Life in London,’ to witness an exposure of many impositions practised in real life, and be made ‘fly’ (the plain English ofau fait) to themultum in parvophrases which are now introduced into passing conversations.”
“Brighton.—The theatre at this place has just produced its ‘Tom and Jerry’ with great success, and, we may say, deservedly—every objectionable point that might be thought to infringe on decorum having been most ingeniously suppressed,without any diminution of the whim and fire of its varied and entertaining scenes. This regard to propriety argues much discretion, and seems to meet the approbation of thebeau monderesorting hither, for the theatre is graced with abundance of fashion and beauty.”
“The ‘Tom and Jerry’ of the Brighton Theatre has good scenery, good acting, and, what in such a piece is perhaps still better, good and chaste dialogue to recommend it; it has been cleansed of its impurities without injuring its life and spirit. As thus represented, it cannot raise a blush on the cheek of the most fastidious female.”
On Wednesday Evening, September 12, 1822, will be reproduced the highly popular and amusing Burletta of
TOM AND JERRY.
Country Lasses, Ladies at Almack’s in the West, &c., &c.; Prospectus of Scenery, &c., &c., as before.
To conclude with the Romantic Melo-drama of
VALENTINE AND ORSON.
Creasy, Printer,Gazette Office, Brighton.
The notoriety which Tom and Jerry obtained in England, became the topic of conversation amongst our Gallic neighbours—nay, it crept so much into favour with the gay folks of Paris,Life in Londonwas speedily translated into French, under the title of “The Diorama; or, Picturesque Rambles in London—containing the most faithfulNotices of the Character, Manners, and Customs of the English Nation, in the various classes of Society. By M. S——.” The translation had a most extensive circulation in France.
The reception of Tom and Jerry was equally flattering—notwithstanding the great prejudices that had previously existed against it—in Dublin. Mr. Wrench, from the Adelphi Theatre, was specially engaged to play the part of Corinthian Tom. The first seven nights produced £1300; and the house, on Mr. Wrench’s benefit night, held £345.
The great success of “Life in London,” in its dramatic form in the Irish capital lead up to the publication of:—
“Real Life in Ireland; or, the Day and Night Scenes, Rovings, Rambles, and Sprees, Bulls, Blunders, Bodderation, and Blarney of Brian Born, Esq., and his elegant friendSir Shawn O’Dogherty. 1829. Coloured plates.”
In which the pictorial style of the Brothers Cruikshank was imitated from an Hibernian point of view and colouring.
At both the Theatres in Edinburgh, Tom and Jerry attracted crowded audiences, according to the Editor of theEdinburgh Dramatic Review, who states thus:—
“At length the public of Edinburgh had opportunity of judging of the merits of the above celebrated Extravaganza. From the general tendency of the remarks which appeared in the newspapers, we were led to suppose that this piece consisted of indecency and gross vulgarity. From what we heard reported as to the numerous indelicacies which this sketch of Fun, Frolic, Fashion, and Flash contained, we were afraid that its success with our sober citizens would have been precarious; but, we are happy to say, that the applause which was bestowed on it by the unprecedentedly numerous assemblage on Saturday evening, January 25, 1823, which crowded the Caledonian Theatre, is a sufficient answer to the chimerical doubts which were industriously circulated against its propriety. There is nothing, as we before remarked, associated with disgust or offence. There is neither one word, action, or situation, in the whole course of the piece, that can possibly raise a blush, or offend the most fastidious moralist!”
The Burletta ofTomandJerryhad been repeated so often all over the kingdom, and particularly in the metropolis, that the performers, notwithstanding the great applause they nightly received in the above piece, absolutely became tired and worn-out with the repetition of their characters, when the following piece of satire, written by T. Greenwood, Esq., was published, entitled, “The Tears of Pierce Egan, Esq., for the Death of ‘Life in London’; or, The Funeral of Tom and Jerry. Dedicated to Robert and George Cruikshank, Esqs. Price Two Shillings, with an engraving by George Cruikshank.”
“Beat out of the Pit, and thrown over the Ropes,TomandJerryresign’d their last breath,With them, too, expired the Manager’s hopes,Who are left to deplore their sad death!“Odd and various reports of the cause are about,But the real one wasthisI opine:They were run to astandstill, and, therefore, no doubt,That the cause was a rapiddecline.“When death showed hisNob, out ofTimethey were beat,And neither would come to thescratch;They hung down their heads and gave up the last heat,Not prepared with the Spectre tomatch.“All wept at theFuneral! the Fancy and all—Some new, but a great many mended:AndEgan, whileCruikshankandBobheld the pall,AsChief Mournerin person attended!!!“TheirSpreesand theirRamblesno more shall amuse,Farewell to all nocturnal parleys:The Town felt regret, as the bell tolled the news,And no one rejoiced—but theCharleys!“A monument, too, their kind Patrons will raise,Inscribed on—‘Here lies TOM and JERRY,Who, departing theStage, to their immortal praise,ONE THOUSAND NIGHTS made theTown merry!!!’“May their souls rest in peace, since they’ve chosen to flit,Like other great heroes departed;May no mischief arise from theirsuddenexit,NorPierce Egandie—broken-hearted!”
In reference to the above, Pierce Egan states that Jemmy Catnach, the renowned Ballad-monger of the Seven Dials, in less than twelves hours after the publication, produced a pirated edition for street sale, for two-pence.
Mr. Pierce Egan, in his “Finish,” states that he reckoned no less than sixty-five separate publications, which he enumeratesin extenso, all derived from his own work, and adds, with his usual amount of large and smallCapitalsanditalics—“We have beenpirated,COPIED,traduced; but, unfortunately, notENRICHEDby our indefatigable exertions; thereforeNOTORIETYmust satisfy us, instead of the smiles of FORTUNE. Our efforts have given rise to numerous productions in the market of literature, yet we can assert, with a degree of confidence hitherto unshaken, that none of ourImitatorshave dared to think for themselves during the long period of seven years, neither havethey shown any originality upon the subject of ‘Life in London’; but who have left it—disinterestedsouls!—to the Author and Artist to put a CLIMAX to the adventures ofTom,Jerry, andLogic.” The last remark is in reference to the publication of “Pierce Egan’s Finishto the Adventures ofTom,Jerry, andLogic, in their Pursuits throughLife in and Out of London. With numerous coloured illustrations by Robert Cruikshank. London: George Virtue & Co., Ivy Lane, Paternoster Row.” Seven years after the date of “The Life in London.” In common with almost all other sequels, or “continuations” it was not successful—the fact being that Pierce Egan, and the subject of his work were alike literally and financially “used up!”
Old Jemmy Catnach, true to his line of life, soon joined what Pierce Egan designates as the “Mob of Literary Pirates” who irritate the poor author almost to madness, blast his prospects, impose on the unwary by their imitations, and render his cash account all but nugatory, and, just as he may be congratulating himself on the success of his genius, receiving the smiles of Fame, and atrifling sweetenerfrom Threadneedle Street, as a reward for his exertions, he may be attacked bySappersandMiners—those pickers and stealers who do not absolutely come under the denomination ofpickpockets, yetthievesto all intents and purposes, and, certainly,robbersof the most unprincipled description—a set of vampires—living upon “the brains” of other persons, and who dare not to think for themselves.
Catnach brought out a broadside, or “whole-sheet,” for street-sale, entitled:—