Esmeralda, who is a dancer, expresses her "delight in all things saltatory":—

Phœbus, declaring his love for Esmeralda, makes use of a pun somewhat above the Byronic average:—

In 1879, at the Gaiety, Byron returned to the topic, and produced the piece which he called "Pretty Esmeralda." At the same theatre, in 1887, one saw the same subject treated in the "Miss Esmeralda" of Messrs. F. Leslie and H. Mills—a piece in which Miss Marion Hood, as the heroine, played prettily to the Frollo of Mr. E. J. Lonnen, and in which the late George Stone laid the foundation of his too brief success.

Boucicault's version of "Les Frères Corses" was produced in London by Charles Kean in 1852, and was quickly followed by a travestie. This was furnished by Gilbert Abbott a'Beckett and Mark Lemon at the Haymarket (April, 1852), under the title of "O Gemini! or the Brothers of Co(u)rse." Those who did not witness the production can nevertheless conceive how droll Buckstone must have been as the Brothers, and how well he was supported by Bland, also in a dual rôle—that of Meynard and Montgiron (or Montegridiron, as he was called)—and by Mrs. L. S. Buckingham as Chateau Renaud. The burlesque was not wholly of the punning sort; it relied chiefly upon its travestie of the incidents in the original play. Fabien was made to give (to the sound of "low music") the following account of the extraordinary sympathy existing between himself and his brother:—

Later, just before Louis' apparition, Fabien says:—

H. J. Byron, who travestied nearly everything, of course did not let the "Corsican Brothers" escape him, and his "Corsican 'Bothers'" duly figured at the Globe in 1869. Messrs. Burnand and H. P. Stephens followed, at the Gaiety in 1880, with "The Corsican Brothers & Co.," and in 1881 (at the Royalty) Mr. G. R. Sims made his début as a writer of burlesque with "The Of Course-Akin-Brothers, Babes in the Wood." In this he began the action with Fabien and Louis as the Babes and Chateau Renaud as the Wicked Uncle, introducing a certain Rosie Posie, who is maid to Mme. dei Franchi and sweetheart of Alfred Meynard. At the end of the first scene Father Time came on, and summed up the situation in a song:—

In the second act Meynard brings a friend with him to Corsica, and thus presents him to Mme. dei Franchi:—

Previous to the first entry of Louis' ghost, Fabien says:—

Of the other puns in the piece the following are perhaps fair specimens. At the bal masqué, Louis, meeting Emilie de Lesparre, says:—

Again:—

In the final tableau, Chateau Renaud is advised to take some brandy; but he asks instead for "a go of gin—I want the gin-go spirit."

The latest of the burlesques on this subject was supplied—also for the Royalty—by Mr. Cecil Raleigh, whose "New Corsican Brothers" played in 1889, had more than one whimsical feature to recommend it. One of the brothers (Mr. Arthur Roberts) was supposed to be an English linen-draper, who, whenever anything was happening to the other brother, had a wild desire to measure out tape—and so on. The dialogue was in prose.

"Belphegor," the generic name bestowed upon the numerous adaptations of "Paillasse," gave birth to at least one travestie of importance—that by Leicester Buckingham, which saw the light at the Strand in 1856, the year in which Charles Dillon played in one of the adaptations (at the Lyceum). "The Duke's Motto," in which Fechter "starred" at the same theatre, was the origin of H. J. Byron's "The Motto: I am 'All There'"—a piece seen at the Strand in 1863, with Miss Maria Simpson as the Duke Gonzaque, George Honey as Lagardère, and Ada Swanborough and Fanny Josephs as Blanche and Pepita. Among much which is mere punning, though deter enough for that commodity, I find this little bit of social satire:—

It is to H. J. Byron that we owe the burlesque of "Robert Macaire," which, with Fanny Josephs and J. Clarke as Macaire and Strop, brightened the boards of the Globe Theatre in 1870. The drama of which Ruy Blas is the central figure has been twice travestied among us—once in 1873 by Mr. Reece ("Ruy Blas Righted," at the Vaudeville), and more recently (in 1889) by Messrs. F. Leslie and H. Clark ("Ruy Blas, or the Blasé Roué," at the Gaiety). "Diplomacy," adapted from "Dora," appealed to Mr. Burnand's sense of the ridiculous, and the result was "Dora and Diplunacy" (Strand, 1878), in which the weak spots of the original were divertingly laid bare. In the same year, Mr. Burnand burlesqued, at the Royalty, his own adaptation, "Proof, or a Celebrated Case," under the title of "Over-Proof, or What was Found in a Celebrated Case." To 1879 belong two clever travesties—"Another Drink," by Messrs. Savile Clarke and Clifton (Lyne), suggested by "Drink," and brought out at the Folly; and "Under-Proof," Mr. Edward Rose's reductio ad absurdum of "Proof." In the latter piece, besides many well-constructed puns, there are many pleasant turns of humour, as when Pierre satirises the conventional stage pronunciation of his name:—

Of the Anglo-French melodrama of recent years, Mr. Burnand has been the frequent and successful satirist. He capped "Fedora" with "Stage-Dora" (Toole's, 1883), "Theodora" with "The O'Dora" (same theatre, 1885), and "La Tosca" with "Tra la la Tosca" (Royalty, 1890). This last contained some of the happiest of its author's efforts, in the way both of ingenious punning and effective rhyming. Here, for example, is a song put into the mouth of the Baron Scarpia, the "villain" both of the play and of the travestie:—

During the present year, the interest gradually excited by successive performances of plays by Henrik Ibsen has culminated in the production of the inevitable burlesques. More than one clever travestie of Ibsen has been printed—e.g., those by Mr. J. P. Hurst and Mr. Wilton Jones; but the first to be performed was that entitled "Ibsen's Ghost, or Toole up to Date," which is from the witty pen of Mr. J. M. Barrie. This starts as a sort of sequel to "Hedda Gabler," which it mainly satirises; but there are allusions also to "Ghosts" and to "A Doll's House," with some general sarcasm at the expense of Ibsen's peculiarities. The dialogue is in prose, with a concluding vocal quartett; the writer's touch is as light as it is true; and the composition, as a whole, is thoroughly exhilarating. The three-act piece, "The Gifted Lady," in which Mr. Robert Buchanan sought to ridicule not only Ibsen but other "emancipating" agencies of the time, was, unfortunately, not so successful as Mr. Barrie's slighter and brighter work. It abounded in excellent epigram, but lacked geniality and humour. In "Ibsen's Ghost" Mr. Toole and Miss Eliza Johnstone renewed old successes, while Miss Irene Vanbrugh gave signs of aptitude for burlesque. In "The Gifted Lady" Miss Fanny Brough, Miss Cicely Richards, Mr. W. H. Vernon, and Mr. Harry Paulton showed all their usual skill, but, unfortunately, to no purpose.

VIII.

BURLESQUE OF OPERA.

We have already seen that, in burlesquing mythology, faërie, and other matters, our comic playwrights have not been able to resist the temptation to introduce occasional travesties of things operatic. Opera, indeed, has always had a magnetic power over them. They have been unable to maintain their gravity in presence of the singularities which distinguish opera, even in its most modern guise, from the more natural and realistic drama. Operatic conditions demand, of necessity, certain stereotyped regulations, especially of stage management, which detract from probability and excite derision. Especially is this so in the case of the older school of Opera, and notably in that of the Italian school, whose products were largely on the same simple and ingenuous model—a model on which the travestie writers were able to construct some genuinely entertaining imitations.

Beginning, then, with the Italian school, we note that Donizetti has been particularly favoured by the parodists. His "Lucrezia Borgia," "Linda di Chamouni," "Elisir d' Amore," and "Fille du Régiment" have all had to submit to deliberate perversion. Of "Lucrezia" there have been three notable burlesques—one by Leicester Buckingham, at the St. James's, in 1860; another by Sydney French, at the Marylebone, in 1867; and the third by H. J. Byron, at the Holborn, in 1868. Buckingham's was entitled "Lucrezia Borgia! at Home, and all Abroad," and had Charles Young for the exponent of the title character. Miss Wyndham was Johnny Raw ("known as Gennaro, through the defective pronunciation of his Italian friends—a British shopkeeper, who has left for awhile the countertenor of his way, and is travelling on the Continent for his pleasure"). Miss Cecilia Ranoe was Alfonso, and a small part was played by Miss Nellie Moore. Lucrezia figures in this piece as a dabbler in monetary speculations, the failure of which gives opportunity for a speech parodying some Shakespearean lines with more freshness than such things usually possess:—

In the course of the piece, Johnny Raw is poisoned by Alfonso with publican's port, and afterwards Lucrezia seeks to destroy Orsini and his companion with London milk. Byron's burlesque on the subject was called "Lucrezia Borgia, M.D."

"Linda di Chamouni" exercised the wit both of Mr. Conway Edwardes and of Mr. Alfred Thompson. The former writer's "Linda di Chamouni, or the Blighted Flower," was played at Bath in 1869; the latter's work was presented, later in the same year, at the Gaiety. In Mr. Edwardes' book one is most struck by the multiplicity and occasional felicity of the "word-plays." Here, for instance, is what Pierotto says when he is asked to take a cup of wine:—

Two of Donizetti's operas—"L'Elisir d'Amore" and "La Fille du Régiment"—were travestied by Mr. W. S. Gilbert; the former under the title of "Doctor Dulcamara, or the Little Duck and the Great Quack," the latter under that of "La Vivandière, or True to the Corps." "Doctor Dulcamara" was played at the St. James's, with Frank Matthews in the title-part. "La Vivandière" (1868) was written for the Queen's Theatre, where it employed the talents of Miss Henrietta Hodson, Mr. Toole, Mr. Lionel Brough, Miss Everard (the original Little Buttercup), and Miss Fanny Addison.

Of Verdi's operas two have been singled out for special attention—"Il Trovatore" and "Ernani." The first of these suggested H. J. Byron's "Ill-Treated Trovatore," seen at the Adelphi in 1863, and another version by the same hand, played at the Olympic seventeen years after. Byron also wrote a travestie of "Ernani," which he called "Handsome Hernani" (Gaiety, 1879); but in this he had been anticipated by William Brough, whose work was seen at the Alexandra Theatre in 1865.

Three travesties have been founded on the "La Sonnambula" of Bellini. The first, which was played at the Victoria Theatre in 1835, was from the pen of Gilbert Abbott a'Beckett, and entitled "The Roof Scrambler"—a title explained in lines spoken by Rudolpho and Swelvino:—

Molly is the name here given to Amina; Swelvino, of course, is Elvino. He is a sexton, and has plighted his troth to Lizzy; but before the piece opens, he has transferred his affections to Molly Brown, a charity girl—"a Greasy Roamer over the tops of houses." Swelvino and Molly are about to be married, when there arrives at the village Rodolpho, the new Inspector of Police, who introduces himself as follows:—

Molly, walking in her sleep, enters Rodolpho's apartment, and is found there by Swelvino, but is vindicated, like her prototype in the opera, by being subsequently discovered in a somnambulant condition. The story of "La Sonnambula" is, in fact, followed closely, but caricatured throughout. W. Rogers, who was the Swelvino, and Mitchell, who was the Molly, appear to have been highly successful in exciting the hilarity of their audiences. The latter portrayed the heroine as "a waddling, thick-set, red-and-ruddy, blowzy-faced goblin, with turn-up nose and carroty hair, wrapt in a pea-soup or camomile-tea-coloured negligée, and carrying," in the sleep-walking scene, "a farthing rushlight in one of Day & Martin's empty blacking-bottles." Of Swelvino's appearance we may judge from a remark made by Molly to her lover:—

The two other skits upon the opera were the work of H. J. Byron, who produced the first at the Prince of Wales's in 1865, under the title of "La! Sonnambula! or the Supper, the Sleeper, and the Merry Swiss Boy; being a passage in the life of a famous 'Woman in White': a passage leading to a tip-top story." Miss Marie Wilton was the Merry Swiss Boy (Alessio); Miss Fanny Josephs was Elvino; Mr. Dewar, Rodolpho; "Johnny" Clarke, Amina; Miss Bella Goodall, Lisa; Mr. Harry Cox undertaking the rôle of "a virtuous peasant (by the kind permission of the Legitimate Drama)." This was Miss Wilton's first production at the Prince of Wales's, and it was a great success. In 1878 Byron brought out at the Gaiety a piece which he called "Il Sonnambulo, or Lively Little Alessio." In this he introduced several variations on the operatic story; making the Count (Edward Terry) the somnambulist, instead of Amina—in burlesque of Mr. Henry Neville's sleep-walking scene in Wilkie Collins's "Moonstone." Miss Farren was the lively little Alessio, and Mr. Royce the "local tenor," Elvino.

Of Bellini's "Norma" the first burlesque produced was that which W. H. Oxberry, the comedian, contributed to the Haymarket in 1841. In this the title-part was played by Paul Bedford, with Wright as Adalgisa and Mrs. H. P. Grattan as Pollio. The piece had no literary pretensions, and it would be unfair to compare it, in that or any other respect, with "The Pretty Druidess, or the Mother, the Maid, and the Mistletoe Bough," which Mr. W. S. Gilbert wrote for the Charing Cross Theatre (now Toole's) just twenty-eight years later. This was one of the best of Mr. Gilbert's operatic travesties, the dialogue being characterised by especial point and neatness. Here, for example, is the advice given by Norma (Miss Hughes) to the ladies presiding over the stalls at a fancy fair. Hamlet's address to the players is very happily suggested:—

The "Gazza Ladra" of Rossini lives on the burlesque stage in the counterfeit presentment furnished by Byron's "Maid and the Magpie, or the Fatal Spoon." This was one of the writer's greatest triumphs in the field of travestie. Produced at the Strand in 1854, with Miss Oliver as Ninette, Miss Marie Wilton as Pippo, Bland as Fernando, and Clarke as Isaac (the old-clothes man), it at once hit the public taste, as it well deserved to do, for it is full of clever writing and ingenious incidents. The best scene of all, perhaps, is that in which the broken-down Fernando reveals himself to Ninette—a happy satire upon a familiar melodramatic situation:—

In a mock love-scene with Ninette, Gianetto (Miss Ternan) draws the following comic picture:—

Turning to the burlesques of opera of the German school, we begin, naturally, with Mozart, whose "Don Giovanni" found humorous reflection in two pieces, by H. J. Byron and Mr. Reece. The former's "Little Don Giovanni"[45] belongs to 1865, when it was performed at the Prince of Wales's, with Miss Wilton (Mrs. Bancroft) as the hero, Clarke as Leporello, Miss Fanny Josephs as Masetto, Mr. Hare as Zerlina (probably his only appearance on the stage in petticoats), Miss Sophie Larkin as Elvira, and Miss Hughes as Donna Anna. Don Giovanni was the last burlesque part written by Byron for Miss Wilton, and, moreover, it was the last burlesque part she ever played. She records in her Memoirs that an amusing feature of the piece was the spectacle presented in the last act by the Commandant's horse, which, in allusion to a recent freak in Leicester Square, had been covered with a variety of spots, and "looked like an exaggerated Lowther Arcade toy." Mr. Reece's burlesque was called "Don Giovanni in Venice," and came out at the Gaiety in 1873.

In 1842 Macready revived at Drury Lane Handel's delightful "Acis and Galatea," and the opera was promptly caricatured by W. H. Oxberry in a piece produced three days afterwards at the Adelphi. The travestie of "Acis and Galatea" which was seen at the Olympic in 1863 was from the pen of Mr. Burnand. Its full title was "Acis and Galatea, or the Nimble Nymph and the Terrible Troglodyte"; and the Nimble Nymph (described as "a Nymph of the Sea, who also visits the land—a nymphibious young lady") was played by Miss Hughes. The puns were prolific, and so were the parodies, the best of which are written in caricature of the absurd English translations in the operatic "books of the play." Here, for example, is a setting of the trio in "Trovatore"—"Il tuo sangue":—

Six years after the production of Mr. Burnand's piece, Mr. T. F. Plowman brought out at Oxford "a piece of extravagance," to which he gave the name of "A Very New Edition of Acis and Galatea, or the Beau! the Belle! and the Blacksmith!"

Of Meyerbeer's operas three have been burlesqued in England—"Dinorah," "L'Africaine" and "Robert le Diable." The first of these was parodied in "Dinorah under Difficulties," a burlesque by William Brough, which dates back as far as 1859 (at the Adelphi). "L'Africaine" was handled by Mr. Burnand six years later at the Strand. Three years more, and "Robert le Diable" was being travestied at the Gaiety by Mr. Gilbert, under the title of "Robert the Devil, or the Nun, the Dun, and the Sun of a Gun."[47] This last is on the old lines of "palmy-day" burlesque, and has not much in it that is characteristically Gilbertian. The lyrics are written chiefly to operatic airs, and there is no room, therefore, for rhythmical invention. In the dialogue, however, one comes across an occasional passage which strikes one as quite Gilbertian in its cynicism. Take, for example, these lines from the scene in which fun is made of the Tussaud "Chamber of Horrors":—

Some of the puns in the piece are worth recording. Thus, Alice says of a porter, to whom half a crown has been given:—

Again, Gobetto says of Robert:—