Complete Works of Bram Stoker

by Bram Stoker

  There were not many occasions when such measures were necessary. I only mention them now lest any of those friends should deem me wanting, in even such a partial record as this, did I not mention that Henry Irving had constant and loving friends who held any power in their hands at his disposal, and were alike glad and proud to help him in the splendid work which he was doing. Let me, as the only mouthpiece that he now can ever have, since I alone know all those friends, say that to the last hour of his life he was grateful to them for their sympathy, and belief, and timely help; and for all the self-confidence which their trust gave to him.

  III

  When after his long illness in 1898-1899 the proposition of selling his interest in the Lyceum was made to Irving by the Lyceum Theatre Company — the parent Company — the terms suggested were these:

  He was to convey to the Company his lease — of which some eighteen years were still to run, and all his furniture and fittings in the theatre. He was for five years — the duration of the contract — to play an annual engagement of at least a hundred performances at the Lyceum on terms which were mentioned and which were between 10 per cent. and 25 per cent. less than he was in the habit of receiving in any other theatre. He was to hand over to the Company one-fourth of all his profits made by acting elsewhere, he guaranteeing to play on tour at least four months in each year. He was to give the Company free use of such of his scenery and properties as were not in his own use.

  He was to pay all the expenses of production of plays in the first year, and in the other years 6o per cent. of the same. For the first season he was to guarantee the Company a minimum of roo for their share of each performance. He was to pay all the stage expenses, and half of the advertisements.

  For this the Company were to pay him down 26,500 in cash and £12,500 in fully paid shares in proportion of the two classes, viz., £roo,000 6 per cent. preference shares and £70,000 ordinary shares.

  I protested to Irving against the terms. I had already worked out the figures of results, according to such data as were available, of this scheme and also of an alternative one, in case he wished to abandon or alter the one on which we had already decided. The difference was that, according to the alternative scheme, he would at the end of five years, in addition to the total of profits realisable by the Company scheme, be still in possession of his theatre, scenery, and property of all kinds.

  That I was correct has been shown by the unhappy result of the Company enterprise. The Company lost almost persistently except in the seasons when Irving played. The one exception was, I believe, when William Gillette played Sherlock Holmes, a piece which Irving recommended the directors to accept. I was present at its first night in New York, and saw at once its London possibilities.

  The Company lasted from the beginning of 1899 till the end of the season of 1902. During this period of less than four years the total amount in cash accruing to the Company from Irving’s acting was roughly £29,000.

  In estimating this amount I took as the basis of the Company’s expenses the cost of running the theatre in our own time for the number of weeks covering the time of Irving’s seasons with the Company. This allowed as liberal an amount as our own management, which was carried out on a much more generous scale. I excluded only the item of rental, which, as the Company was its own landlord, would be represented by the productiveness of the capital. The above amount would, roughly, have paid during each of the whole four years in which the contract lasted the preference shareholders their whole 6 per cent. and the ordinary shares over II- per cent. in each entire year, leaving seven whole months of each year, exclusive of summer holidays, for earning the 4 per cent. dividend on the £120,000 mortgage debentures, and increasing the dividend on the ordinary shares.

  It will from the above figures be seen that the contract which Irving made with the Lyceum Company was not in any way a beneficial one for him, but an excellent one for them.

  I am particular about giving these figures in detail, for at some of the meetings of the Company there was the usual angry “ heckling “ of the directorate regarding losses; and there were not lacking those who alleged that Irving was in some way to blame for the result. But I am bound to say that when, at the meeting in 1903, I thought it necessary to put a stop to such misconception and gave the rough figures showing the results of his playing during the time the contract existed, my statement was received even by the disappointed shareholders with loud and continuous cheers — the only cheers which I ever heard at a meeting of the Company. I honestly believe that there was not one person in the room who was not genuinely and heartily glad to be reassured from such an authoritative source as myself as to Irving’s position with regard to the Company.

  The cancellation of the contract between Irving and the Lyceum Theatre Company was in no way due to any fault or default of his. It became necessary solely because the Company was unable to fulfil its part. The London County Council, in accordance with some new regulations, called on the Company to make certain structural alterations in the theatre. The directors said they could not afford to make them as their funds were exhausted; and so the theatre had to remain closed. At that time Irving had already undertaken vast responsibilities with regard to the play of Dante, for which he had made contracts with painters and costumiers, and had engaged artists. It was vitally necessary that he should have a theatre wherein to play; and so there was no alternative but to annul the contract. Even as it was, he had to take upon his own shoulders the whole of the vast cost of the production upon which he had entered as a joint concern.

  In fine, Irving’s dealings with the Company may be thus summed up. He received in all for his property, lease, goodwill, fixtures, furniture, the use of his stock of scenery and properties, and a fourth of his profits elsewhere, £39,000 paid as follows: cash, £26,500; shares, £12,500. He repaid by his work £29,000 in cash. The shares he received proved valueless.’ He gave, in fact, his property and 2500 for nothing; — and he lost about two years of his working life.

  I should like to say, on my own account, and for my own protection, inasmuch as I was Sir Henry Irving’s business manager, that from first to last I had absolutely no act or part in the formation of the Lyceum Theatre Company — in its promotion, flotation, or working. Even my knowledge of it was confined to matters touched on in the contract with Irving. From the first I had no information as to its purposes, scope or methods, outside the above. I did not take a single share till it began to look queer with regard to its future; I then bought from a friend five shares for which I paid par value. This I did in order that I might have a right to attend the meetings. Later, in 1903, when shares were selling at all sorts of prices I bought some in the open market. This was simply as a speculation, as I regarded the freehold of the Lyceum as a valuable property which might eventually realise a price which would make my investment at the prevailing figures a good one. These shares I protected on the winding-up and re-construction of the Company with an assessment of 25 per cent. of their face value. But finally, seeing the conditions under which the new Company was 1 The preference shares at the break up sold for, as well as I remember, seven pence for each fully paid share of one pound sterling. He would never sell his shares lest his doing so might injure the property of the Company. They were only parted with at the winding up, when the Receiver sold, on his own authority, all unapplied-for shares. about to work, I sold them in the usual way through my broker.

  As a matter of fact I was on the Atlantic or in America at the time the parent company or syndicate — to whom it was that Irving had sold his property — was formed. When I arrived home this association had become merged in the Lyceum Theatre Company which had been floated, and of which the whole capital had been subscribed. Not for nearly a year afterwards did I even see a copy of the prospectus of the Company.

  CHAPTER LXXIV

  THE TURN OF THE TIDE

  High-water mark — A succession of disaster’s — Pleurisy and pneumonia — ” Like Gregory Brew
ster “ — Future arrangements decided on — Offer from the Lyceum Company — Health failing — True heroism — Work and pressure — His splendid example — The last seven years — Time of Retirement fixed — Singing at Swansea — Farewell at Sunderland — Illness at Wolverhampton — Last performances in London — Last illness — Death — A city in tears — Lying in state — Public Funeral.

  I

  “THERE is a tide in the affairs of men.” For twenty-five years it flowed for Henry Irving without let or lull. From the production of The Bells in November 1871 he became famous; and thence on he bore himself so well that with the exception of the disgruntled few who grudge success to any one, he was accorded by all an unquestioned supremacy in his chosen art. For a full quarter of a century there was nothing but ever-increasing esteem and honour and position; an undeviating prosperity which made all things possible to the ambitious actor. True, the success was accompanied throughout by endless labour and self-sacrifice, and by grinding responsibility. His life was more strenuous than the lives of most successful men. For an actor’s work is altogether personal, and when in addition to the practice of his art he undertakes the added stress and risk of management such, too, is altogether personal. But, after all, labour and responsibility are the noblest roads by which a man may travel towards honour. By any other way success is merely the outcome of hazard.

  But the tide must turn some time — otherwise the force would be not a tide but a current. The turning came on the night of 19th December 1896 — the night of the production of Richard III. A night of unqualified success — as should be when high-water mark is reached. A night which seemed to crown the personal triumph of the years. After the performance and when the cheering crowd had taken their reluctant way, Irving had a large gathering on the stage. Such had become a custom on first and last nights of the season, and now and again on marked occasions. They were very delightful opportunities for large and comprehensive hospitality, enjoyed, I think, by all. So soon as the curtain fell the scenery would be put rapidly into the “ scene docks “ and the stage left clear. Then the caterers, Gunter’s, who had everything ready, would place long tables round three sides of the stage and prepare a cold “ standing “ supper for all who were expected. During this time Irving would have rapidly changed his costume for evening dress; so that by the time the waiting guests in the auditorium were beginning to file in on the stage through the iron door in the proscenium 0. P., he would meet them coming from his dressing-room. I used to stand at the door myself so as to see that no chance guests whose presence was welcome were denied. For very often there were in the house some whom Irving would like to welcome, and of whose presence we were ignorant to the last. The whole proceeding was an informal one. There were no invitations except such verbal ones as I conveyed myself. On such occasions there would be from three to six hundred guests on the stage, an enormous number of whom were persons whose names were at least widely known; representatives of art and letters, of statesmanship and the various forms of public life; of the great social world, of the professions, of commerce — of the whole great world of personal endeavour.

  On this particular occasion there was a large gathering. When the curtain went up on the empty proscenium, the big stage seemed a solid mass of men and women. One could tell Irving’s whereabouts by the press of friends thronging round to congratulate him on the renewal of his success in Richard III. of twenty years before.

  Little by little as time wore away the crowd thinned. When the last had gone Irving and a very dear friend of his, Professor (afterwards Sir James) Dewar, went for a while to the Garrick Club. After the strain of such a night sleep was shy and the kindest thing that any friend could do was to keep with him and talk over matters old and new, so as to make a break between strain and rest. That night was a strangely exciting one to Irving. On it he had reproduced after a lapse of just twenty years one of the greatest and most surprising successes of his earlier life. For Richard III. when he played it in 1877 was a new thing to all who saw it. Clement Scott, writing of it in the Daily Telegraph, had said:

  “The enjoyment derived from the performance was undoubtedly heightened by the pleasurable astonishment with which the playgoer made the unexpected discovery of a new source of dramatic delight. It is not often that a frequenter of theatres can recall in the course of a long experience one particular night when the channels of thought seemed to be flushed by a tide of new sensations.”

  On the night of its revival all the old triumph came back afresh. No wonder that the player was too high-strung to rest. From the Garrick the two friends walked to Albemarle Street where Dewar had his rooms in the Royal Institution. There they sat and smoked for a while and discussed the philosophy of Acting and the form of education which would be most beneficial for Irving’s sons. When Irving rose to go home — he lived literally “ round the corner “ in 15A Grafton Street, Dewar went with him. Irving insisted on his going in for a few minutes. This he acceded to, anxious that the super-wearied man should not feel lonely at such a time. After a cigar Dewar left. It was then coming daylight, and Irving announced his intention of taking a bath before turning in. Dewar left him tranquil and now ready for his needed rest.

  The stairs in the Grafton Street “ upper part “ were steep and narrow, and Irving in the dim light of morning stealing to the internal staircase slipped a foot on the top stair. Unfortunately on the narrow landing stood an old oak chest. His knee as he slipped struck this, and the blow and the strain of recovery ruptured the ligatures under the knee-cap. When in the morning the surgeon who had been sent for saw him he declared that it would be utterly impossible for him to play for some time. Further advice was even more pessimistic, placing the period at months.

  The disaster of that morning was the beginning of many which struck, and struck, and struck again as though to even up his long prosperity to the normal measure allotted to mankind.

  It was ten weeks before he was able to play again. Ellen Terry had gone to Homburg — whither she had been recommended — the day after Cymbeline — which had preceded Richard III. — had been taken off. It was the end of January before she could give up her “ cure “ and return to London. She played Olivia for three weeks with good effect. We had tried Cymbeline for a week after Christmas; but with Irving and Ellen Terry out of the cast the receipts were such that though the salaries rent and such running expenses had to be paid in any case, it was cheaper to close than go on. The entire income did not nearly pay the expenses of keeping the theatre open instead of shut.

  That accident of a foot-slip cost Irving two months and a half of illness and an out-of-pocket expense of over six thousand pounds. This instead of the prosperous winter season which had already seemed assured.

  II

  A little more than a year afterwards, February 1898, came the burning of the storage, which I have already described, and the effect of which was so permanently disastrous in crippling effort. Eight months after that came the greatest calamity of his life.

  The disasters of these three years, 1896-7-8, seemed cumulative and consistent to the “Unhappy master, Whom unmerited disaster Follows fast and follows faster.”

  The first struck his activity; the second crippled his resources; the third destroyed his health.

  III

  To any human being health is a boon. To an actor, qua actor, it is existence. During the provincial tour in the autumn of 1898 all was going well. We had got through the earlier weeks of the tour when we had, through very hot weather, played some of the lesser places and were now in the big cities. Birmingham and Edinburgh had shown fine results of the week’s work in each place, and we were in the midst of the first week in Glasgow — always a stronghold of Irving. On the Thursday night, 13 th October, we were playing Madame Sans Gene to a fine house and all was going splendidly. Just before the curtain went up on the second act, in which Napoleon makes his appearance, Irving sent for me to my office. I came at once to his dressing-room. I found him sitting d
own dressed for his part. His face was drawn with pain at each breath. When I came in he said:

  “I think there must be something wrong with me. Every breath is like a sword-stab. I don’t think I ought to be suffering like this without seeing some one.” As I saw that he was really ill, I asked if I might go and dismiss the audience. But he would not hear of it. Never in his life have I known him let any pain of his own keep him from his work. He said:

  “I shall be able to get through all right; but when I have seen a doctor we may have to make some change for to-morrow.” I hurried off to send for a doctor, and as his call came he went on the stage. The doctor arrived during the last act, but he could not see him till the end of the play. Then the doctor said he feared he was seriously ill, and hurried him off to his hotel — and to bed. A careful examination showed that he had both pneumonia and pleurisy. Two nurses of special excellence were picked out and preparations were made for a lengthy illness.

  The bill for next night was The Merchant of Venice and Norman Forbes, almost without preparation, played Shylock. The tour went on by Irving’s wish, for the livelihood of some seventy people depended on it. The ten weeks which it lasted cost him a very considerable sum of money.

  The cause of his illness was a chill received the previous Sunday. That day the Company went from Edinburgh to Glasgow, but he remained as he had an engagement to lunch at Dalmeny with Lord Rosebery. In the afternoon he drove back to Edinburgh and took train. At that time, however, the new station of the North British Railway was in process of erection and had reached a stage in which the road from Princes Street down to the level of the line was blocked during reconstruction; so that it was necessary to walk down. There had been a good deal of rain that afternoon and the torn roadway was full of water-pools. In walking through the imperfectly lighted way he got his feet wet and had to sit in this condition in a carriage without a foot-warmer during the hour’s journey to Glasgow. He did not feel the ill effects immediately, but the seeds of the disease, or rather the diseases had been laid.