RICHARDSON’S SHOW.

Globe, Volume XXIII, Issue 2183, 23 February 1881, Page 3

RICHARDSON’S SHOW.

[“ Era."] Representatives of the drama in these days regard the travelling theatre of past times with something like scorn, yet simple old John Richardson undoubtedly did not a little in hie day to interest the public in theatrical mat. ters. His tragedies might be got through in twenty minutes, and his farces in five, but thousands in that primitive way got an idea of histrionic art. Tima was when Richardson’s Show was regarded as the foremost attraction in every fair, and it was ever the glory of Bartholomew Fair. Besides,,Jack Richardson claims the merit of having introduced to the modern stage some of the finest performers we have had, and therefore deserves not to be forgotten by playgoers of the present day. John Richardson had no great good fortune in his introduction to the world, for he first saw the light of life in the workhonso of Great Marlow, in Buckinghamshire, and in those days the youth thus starting in life had to fight his way. Richardson did not find his youthful prospect# very brilliant at Great Marlow, and accordingly started for London, where his first experience was that of working in a cow shod. Here he became stage-struck, and there is a story that he attempted ifaml.it at a penny gaff, where, being recognised by some of his employer’s customers, he was so frequently referred to during his performance as “ Skybluo ” that he retired from the boards in disgust. But he afterwards joined the company of Mrs Penley, who gave a rough kind of dramatic entertainment nt a tavern in Shadwell. This was a very miserable affair, and the youthful actor was frequently almost in a state of starvation. The company tried the country as town failed, and wont to several towns and villages in Kent, but so constant were the failures that Richardson retired from theatrical life and turned broker in Drury lane, and eventually, having saved some money, he took the Harlequin Tavern, near Drury lane Theatre, in 1796. He had not long been there ere he was induced to start on a dramatic campaign, and the first appearance of “ Richardson’s Show,” which afterwards became so popular, was at Bartlemy Fair, in the above year. The first floor of a public-house was turned into a temporary theatre of a very rude kind, the approach to which was by a ladder, and the hardworking performers had to go through their pieces twenty-one times a day. The length of the performances depended greatly upon the audiences, for if the visitors were many the entertainment was short, and the proprietor was warned when another audience was ready by one of his company rushing in to inquire if “ John Audloy was there.” Upon this hint the curtain was dropped at once, and the dramatic scene brought to an immediate climax, so as to prepare for another performance. The simplicity of the system was marvellous, and no matter what the drama might be, it must have a ghost and a broadsword combat in it, or it failed to please. John Richardson soon found himself much better off than he had ever been before, and proceeded to build throe grand caravans to travel about the county. The first experiments with the “ carry wans ” failed, but soon “ Richardson’s Show ” became decidedly popular, especially at Bartlemy, Greenwich, and other great fairs, where the receipts were very large. One of the brightest reminiscences of Jack Richardson was the fact that Kean was for a short time a member of his company. He affected to look down upon Maoready because ho had never acted in the show. Kean’s mother having obtained an engagement for herself and her sons, Edmund and Henry, in Richardson’s Show, a a performance was given at Windsor, Edmund Kean playing in “The Magic Oak” and Fielding’ #8“ Tom Thumb.” It was in the day# when George the Third was king, and the showman was astonished to receive a command from the Castle for Master Edmund Kean to perform at Court, some influential persons having seen the lad at the show being struck with his remarkable talent. Young Kean, although very successful at the Castle, did not leave the show for some time, his last performance being in 1806, at Battersea Fair, when he played Norval and Motley in “ The Castle Spectre,” for which ho received the noble salary of 5s per day. His dramatic efforts were sometimes Varied with a little tumbling. Spite of his rough and ready style of entertainment, Richardson had a keen idea of the sort of man likely to become an actor. He could readily judge if an aspirant hod the requisite talent to rise in his profession, and frequently he got hold of clever young men who afterwards became famous. One of these was William Oxberry, who was seen by Richardson at a private theatrical entertainment in Queen Anne street. He was engaged by Richardson, and travelled with him for a couple of years, after which ho got upon the regular boards and became, as most playgoers know, a famous comedian. A ridiculous adventure occurred to Oxberry on the way to Ascot Races. He went with others in a boat across the river, and being upset, and having no change of clothing, he donned a theatrical suit, and promenaded the course as an Oriental chief. Another talented man Richardson engaged was Mr Seville Faucit, author of “ The Miller’s Maid” and other plays, and the father of Miss Helen Faucit. There are performers still before the public whoso first experiences of acting were gained in Richardson’s Show, which seen in “ full fig” was rather an imposing affair. Richardson looked after his own business, and was to be seen in the gangway keeping up an incessant din with the gong, totally regardless of the fact that the brass band was frequently drowned by it. The old man believed in the advantage of “ making a noise in the world.” He was quite a character himself, dressed in velveteen knee breeches, worsted stockings, an old brown coat, a check neckerchief, and a hat of antiquity. It has been stated that the old man wore the velveteen breeches for eighteen years, but we should hardly imagine they could have held together so long. The company adopted the cheapest and most effective system of advertising—that is, they paraded in costume outside the show ; and Richardson, while not despising the scowl of the stage villain or the spangles of the tragedian, placed great reliance on the attractions of the clown. The dresses were frequently better than those of the regular theatre, for, as the old showman used to say, “ People see ’em by daylight; anything does for candlelight.” It was not always fortunate for an actor to have good lungs who belonged to Richardson’s company. He was sure to be chosen to shout “ Walk up I walk up! ladies and gentlemen. The only booth in the fair! Be in time! bo in time!” One of his actors named Oartlich had a legacy of one hundred pounds when Richardson died because of his success in this department. He could shout “Walk up! walk up!” so as to be heard above the thunder of the gong, the bray of the band, and the hubbub of the merrymakers. As for the interior of the theatre it was one huge gallery made of planked seats rising from the stoge. Money was taken for boxes, pit, and gallery, but the visitors “ paid their money and took their choice”—that is,if they could get any choice, for it was generally a case of first come first served. The prices for many years were two shillings boxes (which nobody could discover), one shilling pit, and sixpence gallery, and the caravan when full hold about a thousand persons. The old man had every consideration for the lives and limbs of his patrons, and his care respecting the strength of the timber and planks, and also his nervous alarm on the subject of firs, deserves to he chronicled. Often at holiday times the audiences would be riotous, but the old man was as firm as a rook in quelling a disturbance. It was no uncommon thing to tee “ The Royal Dane ” or some other histrionic celebrity assisting old Richardson to haul out some refractory visitor who annoyed the rest of the audience. Ho had bat one theory of the drama, “ a broadsword combat, a few short but very fiery speeches, blue or red fire, and a bleeding ghost.” Ho had great belief in a bleeding ghost. The evidence of a dark crime thus supernaturally displayed he thought greatly impressed an audience. In fact he was a “ realist ” of a very pronounced type. The titles of his pieces speak for themselves. Here are a few :—“ The Monk and the Murderer; or, the Skeleton Spectre,” "The Hall of Death; or, Who’s the Murderer,” “The Secret Avenger; or, the Hour of Retribution,” &c. As for spectres they figured in everything. There were “ spectre bride#,” “ spectres of the castle,” “ spectres of the deep,” spectres of the rocks, of the mountains, of the cataracts. During the latter part of bis career, when fairs began to be described in the newspapers, Richardson’# Show was frequently noticed and the old man was rather proud of having his performances mentioned, like the “ reg’lar thaayters.” Sometimes for fun well-known actors would pay the show aviait. They had only to mention their names to be admitted free, lor

said the old man. “ I never take# money from brother perfessionals.” He was a kind hearted and charitable man, and frequently gave large sums in charity. Once at St. Albans, when a fire oeonrred which caused great distress, he not only gave performances in aid of it, but olso subscribed £IOO in cash. Ho built himself a cottage in Horsemonger lane, whore he occasionally lived during the latter years of his life ; but ha much preferred the freedom of the “ wan,” and even in his last illness was with difficulty persuaded to leave it, to die in his own house, which event occurred in November, 1836, when he was turned seventy years of age. He had not been particularly hungry after money, but he left a fortune of over £20,000.