20 This and the Speeches which follow were accidentally omitted in their right places.
[The first anniversary festival of the General Theatrical Fund Association was held on the evening of the above date at the London Tavern. The chair was taken by Mr. Dickens, who thus proposed the principal toast:]
Gentlemen — In offering to you a toast which has not as yet been publicly drunk in any company, it becomes incumbent on me to offer a few words in explanation: in the first place, premising that the toast will be “The General Theatrical Fund.”
The Association, whose anniversary we celebrate to-night, was founded seven years ago, for the purpose of granting permanent pensions to such of the corps dramatique as had retired from the stage, either from a decline in their years or a decay of their powers. Collected within the scope of its benevolence are all actors and actresses, singers, or dancers, of five years’ standing in the profession. To relieve their necessities and to protect them from want is the great end of the Society, and it is good to know that for seven years the members of it have steadily, patiently, quietly, and perseveringly pursued this end, advancing by regular contribution, moneys which many of them could ill afford, and cheered by no external help or assistance of any kind whatsoever. It has thus served a regular apprenticeship, but I trust that we shall establish to-night that its time is out, and that henceforth the Fund will enter upon a flourishing and brilliant career.
I have no doubt that you are all aware that there are, and were when this institution was founded, two other institutions existing of a similar nature — Covent Garden and Drury Lane — both of long standing, both richly endowed. It cannot, however, be too distinctly understood, that the present Institution is not in any way adverse to those. How can it be when it is only a wide and broad extension of all that is most excellent in the principles on which they are founded? That such an extension was absolutely necessary was sufficiently proved by the fact that the great body of the dramatic corps were excluded from the benefits conferred by a membership of either of these institutions; for it was essential, in order to become a member of the Drury Lane Society, that the applicant, either he or she, should have been engaged for three consecutive seasons as a performer. This was afterwards reduced, in the case of Covent Garden, to a period of two years, but it really is as exclusive one way as the other, for I need not tell you that Covent Garden is now but a vision of the past. You might play the bottle conjuror with its dramatic company and put them all into a pint bottle. The human voice is rarely heard within its walls save in connexion with corn, or the ambidextrous prestidigitation of the Wizard of the North. In like manner, Drury Lane is conducted now with almost a sole view to the opera and ballet, insomuch that the statue of Shakespeare over the door serves as emphatically to point out his grave as his bust did in the church of Stratford-upon-Avon. How can the profession generally hope to qualify for the Drury Lane or Covent Garden institution, when the oldest and most distinguished members have been driven from the boards on which they have earned their reputations, to delight the town in theatres to which the General Theatrical Fund alone extended?
I will again repeat that I attach no reproach to those other Funds, with which I have had the honour of being connected at different periods of my life. At the time those Associations were established, an engagement at one of those theatres was almost a matter of course, and a successful engagement would last a whole life; but an engagement of two months’ duration at Covent Garden would be a perfect Old Parr of an engagement just now. It should never be forgotten that when those two funds were established, the two great theatres were protected by patent, and that at that time the minor theatres were condemned by law to the representation of the most preposterous nonsense, and some gentlemen whom I see around me could no more belong to the minor theatres of that day than they could now belong to St. Bartholomew fair.
As I honour the two old funds for the great good which they have done, so I honour this for the much greater good it is resolved to do. It is not because I love them less, but because I love this more — because it includes more in its operation.
Let us ever remember that there is no class of actors who stand so much in need of a retiring fund as those who do not win the great prizes, but who are nevertheless an essential part of the theatrical system, and by consequence bear a part in contributing to our pleasures. We owe them a debt which we ought to pay. The beds of such men are not of roses, but of very artificial flowers indeed. Their lives are lives of care and privation, and hard struggles with very stern realities. It is from among the poor actors who drink wine from goblets, in colour marvellously like toast and water, and who preside at Barmecide beasts with wonderful appetites for steaks — it is from their ranks that the most triumphant favourites have sprung. And surely, besides this, the greater the instruction and delight we derive from the rich English drama, the more we are bound to succour and protect the humblest of those votaries of the art who add to our instruction and amusement.
Hazlitt has well said that “There is no class of society whom so many persons regard with affection as actors. We greet them on the stage, we like to meet them in the streets; they almost always recal to us pleasant associations.” 21 When they have strutted and fretted their hour upon the stage, let them not be heard no more — but let them be heard sometimes to say that they are happy in their old age. When they have passed for the last time from behind that glittering row of lights with which we are all familiar, let them not pass away into gloom and darkness — but let them pass into cheerfulness and light — into a contented and happy home.
21 Hazlitt’s Round Table (Edinburgh, 1817, vol ii., p. 242), On Actors and Acting.
This is the object for which we have met; and I am too familiar with the English character not to know that it will be effected. When we come suddenly in a crowded street upon the careworn features of a familiar face — crossing us like the ghost of pleasant hours long forgotten — let us not recal those features with pain, in sad remembrance of what they once were, but let us in joy recognise it, and go back a pace or two to meet it once again, as that of a friend who has beguiled us of a moment of care, who has taught us to sympathize with virtuous grief, cheating us to tears for sorrows not our own — and we all know how pleasant are such tears. Let such a face be ever remembered as that of our benefactor and our friend.
I tried to recollect, in coming here, whether I had ever been in any theatre in my life from which I had not brought away some pleasant association, however poor the theatre, and I protest, out of my varied experience, I could not remember even one from which I had not brought some favourable impression, and that, commencing with the period when I believed the clown was a being born into the world with infinite pockets, and ending with that in which I saw the other night, outside one of the “Royal Saloons,” a playbill which showed me ships completely rigged, carrying men, and careering over boundless and tempestuous oceans. And now, bespeaking your kindest remembrance of our theatres and actors, I beg to propose that you drink as heartily and freely as ever a toast was drunk in this toast-drinking city “Prosperity to the General Theatrical Fund.”
Last updated Monday, December 22, 2014 at 10:49