The Black Cat, John Todhunter [e ink epub reader txt] 📗

the "well-made" play. They are not content, like their predecessors, to leave their characters quite at the mercy of the actor who, in "creating" them, gave them whatever small resemblance to humanity they may have possessed. And as the play gains in vitality, the playwright begins to feel the absolute necessity for writing decent dialogue—not mere stage dialect that may be scamped and ranted ad libitum by the "star" to suit his own taste, or want of it, but real dialogue, which, while ideally reflecting the colloquial language of the day, taxes the intelligence and feeling of the actor to deliver properly.

This means real progress; for the dialogue is the very life of the play. It alone can bring out the essential import of the situation, the relation of character to character, at any given moment. An action, an incident, may have a thousand different shades of meaning or motive. Language, tone, and gesture give it its precise value. Plot and situations are at best but the skeleton; character and emotion are the flesh and blood. The treatment is everything.

We still want more of life, of the vital movements of our own time, upon the stage; and we shall get it by degrees. Sentimental melodrama, with its male puppet, who is hero or villain, its female puppet, who is angel or devil, may still continue to flourish among us; for it still satisfies the natural craving for romance, ideality, which the drama is bound to supply. But these things belong to a decaying phase of romance; and our so-called realism is but the first wave of a new romantic movement, on the stage as elsewhere. For when the old ideals become decrepit, we must go back to nature to get the stuff wherewith to make new ones.

As our dramatists advance with the times, people begin to go to the theatre to see plays, and not merely an actor in a part. The "well-made play," which was a piece of mechanical contrivance into which the puppets were ingeniously fitted, may some day develop into a work of art—a thing born rather than made—growing up like a flower in the imagination of the dramatist.

When that day comes, the actor, who used to "create" the part, will have to be content to let the part create him. The play will make the actor, not the actor the play; to the great benefit of both play and actor.

But why be so serious over an art whose end is only to amuse? To amuse? Yes; but we are not all equally amused by the same things. There may be forms of humour which tickle some people more exquisitely than even that magnificent making of tea in an old gentleman's hat, which convulses the Charley's Aunt audience. And if amusement be the object of the drama, we must take the word in an extended sense. I should myself roughly define a good play as one that, when adequately performed, can hold the attention of an unprejudiced audience from beginning to end, whether it amuses or merely interests them. It does not follow that because it may shock, or even bore, some worthy people it is a bad play. Even farcical comedy bores some people, with whom I cannot sympathise.

And now, if I have been rather hard upon the "well-made play," it must not be assumed that it is because I do not value construction. I do value it. But it should be vital, not academic, organic, not mechanical. Still, even mechanical construction is better than none at all. A play without plot is invertebrate, without bones. It is at his peril that a dramatist departs from accepted rules, even those respecting "strong" curtains and "strong" exits, though in certain cases weak curtains and weak exits may be more really dramatic. Then, valuable as dialogue is, it may be redundant, and make a play "flabby." The actor's rule, that all talk that does not carry on the action is bad, is worthy of all due respect. "You literary fellows want to say everything twice over," was the shrewd criticism of a stage-manager in a certain case. But an actor is often so absorbed in his own part that he does not easily estimate the bearing of any given speech, even his own, upon the whole play. "Cuts" at rehearsal are not unfrequently found to be too hastily made. Then, what is the action? Not merely the external incidents, but the shifting phases of thought, emotion, character, in the dramatis personæ. It is these that give the incidents their value, and so give dramatic interest to the plot, or story. The dialogue and the incidents are but two phases of the presentment of the story. The action may be rapid or slow, direct, or with episodes. All depends upon the treatment; and the play that one audience finds detestable may delight another.

If The Black Cat ever again come to the ordeal of the footlights, I can only hope that it may find an audience as sympathetic as that of the Independent Theatre.

OPERA COMIQUE, STRAND, W.C. THE INDEPENDENT THEATRE. Founder and Sole Director, J.T. GREIN.
Third Season, Fifteenth Performance. FRIDAY, 8th December, 1893, THE BLACK CAT,

A Play in Three Acts, by

JOHN TODHUNTER.
DRAMATIS PERSONÆ.

Arthur Denham     Mr. Bucklaw.
Fitzgerald     Mr. Neville Doone.
Cyril Vane     Mr. Orlando Barnett.
Constance Denham     Miss Hall Caine.
Blanche Tremaine     Miss Mary Keegan.
Miss Macfarlane     Miss Gladys Homfrey.
Undine     Miss Dora Barton.
Jane     Miss Forrester.

The Play produced under the direction of
Mr. H. de Lange.

The Action of the play takes place in Denham's Studio in London, at the Present Day.

The Black Cat. Act I.

Scene: Denham's Studio. Large highlight window in sloping roof at back. Under it, in back wall, door to landing. l of the door the corner is curtained off for model's dressing-room. r of door a large Spanish leather folding screen, which runs on castors, shuts off from the door the other corner, in which is a "throne," pushed up against the wall. Above the "throne" hangs a large square mirror in a carved black frame. In front of the "throne" is a light couch of Greek form, without back.

Fireplace, with chimney-breasts panelled in old oak, and high overmantel, in which are shelves and cupboards, l.

Against r wall an old oak cabinet, with carved cornice, and inlaid panelled doors. Close beside it stands on a pedestal a bust of Demeter. Near the cabinet, halfway up stage r c, an easel, on which is seen the back of a large picture.

Beyond the fireplace, and at right angles to it, a large sofa, or lounge, with square ends and back, broad low seat, loose cushions, and valance. In front of the fireplace an armchair, with a book face downward on one arm.

The walls of the studio are distempered in greenish-blue, the curtains of the model's dressing-room are in rich yellow plush or brocade, the couch and sofa covered in greenish-yellow stuffs.

Various artistic properties, tapestries, embroideries, etc., hanging up, or thrown carelessly over Chippendale chairs and the screen.

Canvases leaning against the walls, on which hang designs and figure-studies in chalk and charcoal, with landscape-studies in oil and watercolour, nailed up without much attempt at arrangement.

Near the front, just r of the armchair, an oblong carved oak table, with materials for wood-drawing, paint-box, water in a tumbler, etc., is set end on to the footlights.

At the upper end of this table Undine is discovered, as she sits with a slate and arithmetic book before her, her elbows on the table, her head supported on both hands, holding a slate pencil from which a bit of sponge dangles by a string.

Undine.

(pouting) I hate these old sums! Mother's always making me do sums in the holidays. It isn't fair. Seven times three is—what's father reading? (Rises, and takes up the book.) That's French, I know. Father's always reading French. G.Y.P. Gyp? I wonder what it's about. (Puts the book down, sits, yawns, and takes up the pencil.) Seven times three is—twenty-one. Put down one and carry two. Oh, but it's pence and shillings. I can't do pence and shillings! (Throws down the pencil; it falls off the table.) Horrid old things! they're always coming wrong. (She rises lazily, and stoops to pick up the pencil, then looks round her, stretching her arms and yawning.) I say, what fun to make a libation to Demeter! I will! Let's see. I wish I had mother's Greek dress. I must have one of father's rags. This'll do. (Drapes herself in a piece of embroidery, runs up stage, jumps on "throne," and poses before the mirror.) It's awfully jolly dressing up. But I have no wine. Oh, I know—I'll take some of father's painting water—though it's rather black-and-whity. (Takes up the glass, and approaches the statue.) Hail, Demeter! I have no wine for you, but here's some water. (Makes libation.) I suppose I should pray for something now. Oh, I do wish you'd stop mother persecuting me in the holidays like this! But you can't, you dear old thing. Father says the old gods are dead. I wish they'd come alive again. (Crosses to table.)

(Enter Denham. Undine drops embroidery, kicks it under the table, and sits.)

Denham.

Well, imp, what's up now? (He comes to the fireplace, and takes a pipe from the rack.) Rags again! I shall have to lock them up, I see. (Takes up the embroidery, and throws it over a chair.) Get to your work at once! Sit up straight. (He crosses l, seats himself in the armchair, lights his pipe, and takes up the book, Undine resumes her crouched position at the table.)

Undine.

(pouting) It's very hard to have to do sums in the holidays.

Denham.

(crosses to table behind Undine) You are behind your class, you know. (Looking over her.) Well, seven times three?

Undine.

Let's see—twenty-one?

Denham.

And how many shillings in that?

Undine.

I suppose two shillings and one penny.

Denham.

Nonsense! Don't suppose anything so un-English. How many pence in a shilling?

Undine.

Twelve—I suppose.

Denham.

Well, twelve from twenty-one leaves—

(Undine counts on her fingers)

How many?

Undine.

About eight, I think.

Denham.

Try again, stupid!

Undine.

But, father, I think there ought to be ten pence in a shilling.

Denham.

Why ought there, you monkey?

Undine.

Oh, because then, don't you see, you could count on your fingers all right, but now there are too many pennies for your fingers, and so you never can tell how many are over.

Denham.

Very convenient. But come now, twelve from twenty-one?

Undine.

(counting again) Nine?

Denham.

(resuming his book) All right then. Down with it in the pence column, and get on.

Undine.

(kissing him) Oh, you jolly old father! I should like to do my sums with you always.

Denham.

Heaven forbid! Get on! Get on! (Crosses to chair l.)

(A pause.)

Undine.

Father! Father!

Denham.

H'm!

Undine.

I say, Father!

Denham.

Do let me read in peace.

Undine.

But, father—

Denham.

Well?

Undine.

Do the Greeks worship Demeter now?

Denham.

No, not now.

Undine.

The old Greeks were the cleverest people that ever lived, and they had the nicest gods. Don't you wish there were goddesses now, father? (Rises, and leans against table.)

Denham.

(absently) Yes, of course.

Undine.

Goddesses sometimes fell in love with people, father—didn't they?

Denham.

People who didn't happen to be gods? It did occur sometimes, they say.

Undine.

And one might fall in love with you, father. That would be fun!

Denham.

That would be awful. But do stop this chatter, and get on.

Undine.

She'd give me all sorts of jolly things.

(A pause.)

Mrs. Denham (outside the door) In a quarter of an hour will do, Jane.

Denham.

Here comes mother!

Undine.

Oh, bother these horrid old sums! (Flops into chair.)

(Enter Mrs. Denham, with flowers. She comes to the cabinet to place them in a vase, and sees the water