The theatrical young gentleman is a constant half-price visitor at one or other of the theatres, and has an infinite relish for all pieces which display the fullest resources of the establishment.He likes to place implicit reliance upon the play-bills when he goes to see a show-piece, and works himself up to such a pitch of enthusiasm, as not only to believe (if the bills say so) that there are three hundred and seventy-five people on the stage at one time in the last scene, but is highly indignant with you, unless you believe it also.He considers that if the stage be opened from the foot- lights to the back wall, in any new play, the piece is a triumph of dramatic writing, and applauds accordingly.He has a great notion of trap-doors too; and thinks any character going down or coming up a trap (no matter whether he be an angel or a demon - they both do it occasionally) one of the most interesting feats in the whole range of scenic illusion.
Besides these acquirements, he has several veracious accounts to communicate of the private manners and customs of different actors, which, during the pauses of a quadrille, he usually communicates to his partner, or imparts to his neighbour at a supper table.Thus he is advised, that Mr.Liston always had a footman in gorgeous livery waiting at the side-scene with a brandy bottle and tumbler, to administer half a pint or so of spirit to him every time he came off, without which assistance he must infallibly have fainted.He knows for a fact, that, after an arduous part, Mr.George Bennett is put between two feather beds, to absorb the perspiration; and is credibly informed, that Mr.Baker has, for many years, submitted to a course of lukewarm toast-and-water, to qualify him to sustain his favourite characters.He looks upon Mr.Fitz Ball as the principal dramatic genius and poet of the day; but holds that there are great writers extant besides him, - in proof whereof he refers you to various dramas and melodramas recently produced, of which he takes in all the sixpenny and three-penny editions as fast as they appear.
The theatrical young gentleman is a great advocate for violence of emotion and redundancy of action.If a father has to curse a child upon the stage, he likes to see it done in the thorough-going style, with no mistake about it: to which end it is essential that the child should follow the father on her knees, and be knocked violently over on her face by the old gentleman as he goes into a small cottage, and shuts the door behind him.He likes to see a blessing invoked upon the young lady, when the old gentleman repents, with equal earnestness, and accompanied by the usual conventional forms, which consist of the old gentleman looking anxiously up into the clouds, as if to see whether it rains, and then spreading an imaginary tablecloth in the air over the young lady's head - soft music playing all the while.Upon these, and other points of a similar kind, the theatrical young gentleman is a great critic indeed.He is likewise very acute in judging of natural expressions of the passions, and knows precisely the frown, wink, nod, or leer, which stands for any one of them, or the means by which it may be converted into any other: as jealousy, with a good stamp of the right foot, becomes anger; or wildness, with the hands clasped before the throat, instead of tearing thewig, is passionate love.If you venture to express a doubt of the accuracy of any of these portraitures, the theatrical young gentleman assures you, with a haughty smile, that it always has been done in that way, and he supposes they are not going to change it at this time of day to please you; to which, of course, you meekly reply that you suppose not.
There are innumerable disquisitions of this nature, in which the theatrical young gentleman is very profound, especially to ladies whom he is most in the habit of entertaining with them; but as we have no space to recapitulate them at greater length, we must rest content with calling the attention of the young ladies in general to the theatrical young gentlemen of their own acquaintance.
