Complete Works of Bram Stoker

by Bram Stoker

  For the plays there were over two hundred and sixty scenes, many of them of great elaboration. In fact, each scene, even if only a single cloth at back with wings and borders, took up quite a space. There were in all more than two thousand pieces of scenery, and bulky properties without end. The armour and “ hand “ properties were stored in the theatre. And the prime cost of the property destroyed was over thirty thousand pounds sterling.

  But the cost price was the least part of the loss. Nothing could repay the time and labour and artistic experience spent on them. All the scene painters in England working for a whole year could not have restored the scenery alone.

  As to Irving, it was checkmate to the “ repertoire “ side of his management. Given a theatre equipped with such productions, the plays to which they belong being already studied and rehearsed, it is easy to put on any of them for a few nights. There is only the cost of carting and hanging the scenes and generally getting ready — small matters in the vast enterprise of putting on a big play. They had had their long runs, and though they were good for occasional repetitions, few of them could be relied on for great business over any considerable period. Several of them were held over for a second run, of which good things might have been fairly expected. For instance, Macbeth was good for another season. It was taken off because of the summer vacation when it was still doing enormous business. Ravenswood, too, had only gone a part of its course when the Baring failure, as I have shown, necessitated its temporary withdrawal. Henry VIII. and King Arthur and Becket and Faust were certain draws. When for repertoire purposes in later years several were required, Louis XI, Charles I., The Bells, The Lyons Mail, Olivia, Faust, and Becket were all reproduced at an aggregate cost of over eleven thousand pounds.

  The effect of the fire on Irving was not only this great cost, but the deprivation of all that he had built up. Had it not occurred he could have gone on playing his repertoire for many years, and would never have had to produce a new play.

  The fire was so fierce that it actually burned the building of the railway arches three bricks deep and calcined the coping stones to powder. The Railway Company, therefore, not only made a rule that in no case was theatrical scenery ever to be stored on their premises, but actually refused to allow us to reinstate or to have use for the term of their lease. They were prepared to fight an action over it, but the scenery having all been burned, we had no more present use for so large a storage, and we compromised the matter.

  CHAPTER LXXIII

  FINANCE

  The protection of reticence — Beginning without capital — An overdraft — — A loan — A legacy — Expenses at commencement of management — Great running expenses — Sale to the Lyceum Company — Irving’s position with them

  I

  So much that is erroneous regarding Irving’s financial matters has been said at any time from the beginning of his success on to the day of his death — and after, that I think it well to speak frankly of the matter now. Indeed there is no reason that I know of why it should not be made public. During his lifetime, ever since his business affairs were conducted on a big scale, we observed for purely protective reasons a very strict reticence. It must be remembered that a theatre, and especially a popular one, is a centre of great curiosity. Every one wants to know all about it, and curiosity-mongers if they cannot discover facts invent them. The only possible safeguard that I know of is strict reticence at headquarters, and the formulation of such a system of accounts as makes it impossible for lesser officials to know any more than their own branch of work entails. To this end all our books at the Lyceum were designed and kept. Not one official of the theatre outside myself knew the whole of the incomings and the outgoings. Some knew part of one, some knew part of the other; not even that official who was designated “ treasurer “ knew anything of the high finance of the undertaking. The box-office keeper made entry of daily receipts and checked over the nightly booking-sheet so as to secure accuracy in his own work; but he had no knowledge whatever of the cash receipts at pit or gallery, where all is ready money. The treasurer made to the bank such lodgments as I gave him; he paid treasury to the actors and staff on each Friday according to the list which I gave him, and on every Tuesday he paid such accounts as were settled in cash and such of my own cheques as I gave to his keeping for the purpose to be paid according to my list. But he did not pay all the salaries — did not know them. Certain of them I myself paid, and these were not of the smaller amounts. He did not pay all the trade accounts; not the larger of them in any case. The weekly accounts of the heads of departments — carpenters, property, wardrobe, gas, electric, supers, chorus, orchestra, &c. — having been thoroughly checked in the office and vouched for by the stage manager, were paid in bulk to the heads of the departments, who distributed the amounts, and returned to me the receipted accounts with vouchers. In fact, the minor books kept by the various departments of both receipts and expenditure had practically only one side. Such officials either received money for handing in to me or paid out money given to them for the purpose. None of them did both. Thus it was that we kept our business to ourselves. Even in such a matter as free admissions none except those in the “ office “ knew of them. They did not go through the box-office at all, but were sent out under my own instruction in each individual case. Even the “ bill orders “ — the equivalent given in kind to those small traders who exhibit in their windows bills of the play of “ double crown “ or “ folio “ size, were not distributed in the usual way through the “ bill inspector,” but sent out in properly directed envelopes by the clerical staff. The account-books of the theatre were kept by myself and rigidly preserved in a great safe of which I alone had the key. The safe stood in the room which Irving and I and Loveday used in common, so that the books were always available for Irving’s purposes when he required them. The accounts were very carefully audited by chartered accountants whose clerks made monthly check of details. Then at the end of each season the audit was completed by the accountants themselves, who made return to Irving direct in sealed envelopes.

  Thus I can say that all through Irving’s management from the time of my joining him in 1878 till the time of my handing over such matters as were in my care to his executors — by their own desire, after his will had been found, and before his funeral — no one, except Irving himself, myself, and the chartered accountants (who made audit and whose profession is one sworn to individual secrecy) knew Irving’s affairs. I am thus particular because the very reticence which we adopted as a policy and pursued as a system was a wise protection, with of course such attendant possibilities as belong to a custom of strict reticence. Not once, in all our long connection of friendship and business, have I given to any one without Irving’s special permission a single detail of his business. It was not until 1904, when I was writing an article by request of the Editor of the Manchester Guardian, apropos of his return to Sunderland after an absence of nearly fifty years, that we made known even approximately the vast total of his takings during his management. I quoted figures in that article — which in modern form the paper designated as “ an appreciation “ — with Irving’s consent, and ran up to London from Derby, where we were then playing, to verify them. When we were arranging the matter I reminded him that I had never in all the years given a figure unless he had asked me to. Whereupon he said:

  “But you are always free to use what figures and anything else of mine you will. You know, my dear fellow, what confidence I have in your discretion. You are quite free in the matter, now and always I “ With this permission I feel at ease in now dealing publicly with matters regarding which I have been silent for so many years. I deal with them now because I regard them as good for Irving — for that memory which he valued more than life.

  When Irving took over the Lyceum from Mrs. Bateman he had then accumulated no fortune. He received only a salary up to the time of Colonel Bateman’s death. He then had salary — an extraordinarily mild one considering all things — and a p
rospective share of profits, which under the circumstances did not amount to much. Practically such little as he had in the autumn of 1878 was rather in the nature of a treasury balance than of capital. Of course, in his tour he was earning good money, and this came in a “ ready “ form; but the expenses which he was incurring in the reorganising and beautifying the Lyceum were vastly in excess of his present earning. When I came to London and took over his financial matters his bankers, the London and County Bank, had already arranged with him a large overdraft, some ‘12,000, for which he had given bills. This debt and all others incurred in preparation of his long campaign at the Lyceum were duly paid. Throughout his whole managerial life his payment was twenty shillings in the pound, with added interest whenever such was due or possible.

  When he was undertaking the provincial tour in the autumn of 1878 — the first under his own management, his friend, Mrs. Hannah Brown, the life-long friend and companion of the Baroness Burdett-Coutts, pressed on him a loan of fifteen hundred pounds. She had wished him to accept a larger sum, but he limited the amount to this. Indeed he took it at all to please her; such a sum went but a small way in the vast enterprise on which he had entered. Unhappily she died before he began to play in his own theatre. The sum which she had lent was repaid to her executor in due season.

  When he first knew her, Mrs. Brown was a very old lady. She had been immensely struck with his power, and had recognised before most others the probable destiny that lay before him. When she was almost if not entirely blind he used to often go to see her and the Baroness, in the house in Stratton Street or elsewhere as they resided. Of course, all this I only know from being told it, for Mrs. Brown had died just before I came to live in London. Lady Burdett-Coutts told me of the great affection which Mrs. Brown had for the clever man whose genius she so much admired, and whose friendship was such a delight in her old. age. Not long after Irving’s death, when I was dining with her and Mr. Burdett-Coutts, she said:

  “I don’t think he ever passed the house in her later years without coming in to see her, if only for a moment! “ Others, too, of the old friends have spoken to me of Mrs. Brown without stint; and of her Irving often spoke to me himself. She used to go to the Lyceum time after time. During the long run of Hamlet she went some thirty times. For her pleasure the Baroness rented from the management a box at the Lyceum. This was not in itself unique for she had already a box at Drury Lane Theatre and another at Her Majesty’s Opera House. I was told that when the old lady was dying — she was then I believe about or over eighty — that she spoke of Irving and his future, mentioning him as: “ My poor brave boy! “ Irving was then forty, but he was still a “ boy “ to a woman of her great age.

  Mrs. Brown had very considerable means of her own, and a bequest paid by her executor to Irving was five thousand pounds. This was handed to him at the final settlement of her affairs in, strange to say, bank notes. That evening he told me of it when he arrived at the theatre. When he did so I opened the door of the safe thinking that he intended to place it there in safety until the next morning, when it could be lodged in bank. I was mightily surprised when he told me that he had not got it with him. He smiled at me as he said:

  “I was afraid to carry it with me. I never in my life had so much money close to me! “ “ What have you done with it? “ I asked. “ I left it in my room at home! “ “ Is it put by safely? “ I asked again. “ Oh yes! “ he added quickly, as though justifying himself. I had an idea that it was not quite safe and went on with my queries:

  “Where is it? “ He smiled, I thought superiorly, as he answered: “ In my hat-box!”

  “You locked it, I hope? “ Again the smile: “ What would be the use of that? If I had locked away anything it would only have called attention to it. The hat-box is simply lying there as usual with the lid half off. No one would dream of suspecting it — not in a thousand years!”

  This illustrates, I think, in a remarkable way the subtlety of his own character, and the method by which he judged others. He had passed the possibilities “ through his mind,” and was so content with his knowledge that he backed it with a fortune. Later on there was a boy who did take things from his rooms. He was, however, found out and the property recovered, all except Edwin Forrest’s watch of which a part had been probably melted down.

  That legacy of five thousand pounds was, so far as I know, and had there been other I should certainly have known, the only money which Irving received for which he did not work, through all the long course of his years of much toil. I mention it now specifically because one of the unkindly, presuming that his ignorance of fact was the ignorance of others also, made after the actor’s death a statement that he had been “ subsidised.” It ought not to be necessary to contradict such reckless statements — they ought never to have been made; but having been made it is best to let the exact facts be known. The best of all bucklers, for the living or the dead, is simple, honest truth.

  The needs of the theatre were very great; at the beginning almost overwhelming. On my first taking over the responsibility of business affairs I acquired a wide experience of what is known as “ pulling the devil by the tail.” When Irving took the Lyceum its entire holding capacity was £228. Sometimes under extraordinary pressure, when every inch of standing room was occupied, we got in a little more; but only once in the first two seasons did we cover £250. That was on Irving’s “ Benefit,” as it was then called.

  The autumn of 188i was devoted to enlarging and improving the house. At a cost of over 12,000 it was made to hold another £100. Thence on, various improvements and certain dispositions of the seating were effected, which brought up the holding power to a maximum of about £420, though on very special occasions we managed to squeeze in a little more. Some idea may be formed of the vast expense of working such a theatre as the Lyceum, and in the way which Irving worked it, when I say that on that theatre he spent in what we called “ Expenses on the House “ a sum of 6o,000. During my time the “ Production account “ amounted to nearly £200,000.

  The takings for his own playing between the time of beginning management, 3oth December 1878, and the day of his death, 13th October 1905, amounted to the amazing total of over two million pounds sterling.

  II

  Only those who have experience of the working of a great theatre can have any idea of the vast expenditure necessary to hold success. A play may be a success or a failure, and its life must have a natural termination; but a theatre has to go on at almost equal pressure and expense through bad times and good alike. It is necessary for the management to have a large reserve of strength ready to be used if need arises. This implies ceaseless expenditure; a portion of which never can be repaid because the plays which involve it have to be abandoned. It is really too much work for one man to have to think of the policy of the future, and of carrying it into effect, whilst at the same time he has to work as an artist in the running play. No monetary reward would atone for such labour; only ambition can give the spur. Things, therefore, are so constituted in the theatrical world that the ambitious artist must be his own manager. And only those strong enough to be both artist and man of business can win through. The strain of ceaseless debt must always be the portion of any one who endeavours to uphold serious drama in a country where subsidy is not a custom. In the future, the State or the Municipality may find it a duty to support such effort, on the ground of public good. Otherwise the artist must pay with shortened life the price of his high endeavour. Light performances may and generally do succeed, but good plays seriously undertaken must always be at great risk to the venturer. For more than twenty-five years Irving did for England that which in other nations is furthered by the State; and his theatre was known and respected all over the world. This entailed not only hospitality in all forms to foreign artists, but to many, many strangers attracted by the fame of his undertaking, and anxious to meet so famous a man in person. This duty Irving never shirked; he had ever a ready hand for any stranger, and in the
long career of his ministration of the duties of hospitality he actually aided, so far as one man could do, the popularity of his own country amongst the nations of the world. Such men are the true Ambassadors of Peace, as well as National benefactors. Reputation for hospitality and charity is a factor in the enlargement of the demands made on these. When duty called Irving was never found wanting, in this or any other form.

  But still through all it must be remembered that the more he had to spend the harder he had to work to earn the wherewithal to do it. When I came to him first, six performances each week in heavy plays was deemed sufficient work for the strongest; but as time went on a matinee was added. And for some twenty years seven performances a week was the working rule. In light, amusing, or unemotional plays this is not too much; for when a run is on, the ordinary work of rehearsal is suspended. But for heavy plays it is too much. Still what is one to do who is playing for the big stakes of life. Brain and body, nerve and soul have to be ground up in the effort to hold the place already won. Irving was determined from the very first to strain every nerve for the honour of his art; for the perfecting of stage work; for his own fame. To these ends he gave himself, his work, his fortune. He forewent very many of the ordinary pleasures of life, and laboured unceasingly and without swerving from his undertaken course. He gave freely in its cause all the fortune that came to him as quickly as it accrued. It was only when through shocks of misfortune and the stress of coming age he was unable to put by the large sums necessary for further developments, that he had to forestall the future temporarily. Bankers are of necessity stern folk and unless one can give quid pro quo in some shape they are pretty obdurate as to advances. Therefore it was that now and again, despite the enormous sums that he earned, he had occasionally to get an advance. Fortunately, there were friends who were proud and happy to aid him. Such never lost by their kindness; every advance was punctiliously met, and the attachment between him and such friends grew ever and ripened. It would be invidious to mention who those friends were. Some perhaps would not like their names mentioned, and so “ the rest is silence.”