Charles Dickens

Thus Covent-Garden is the garden, Drury-Lane the lane, the Victoria the vic, and the Olympic the pic. Actresses, too, are always designated by their surnames only, as Taylor, Nisbett, Faucit, Honey; that talented and lady-like girl Sheriff, that clever little creature Horton, and so on. In the same manner he prefixes Christian names when he mentions actors, as Charley Young, Jemmy Buckstone, Fred. Yates, Paul Bedford. When he is at a loss for a Christian name, the word 'old' applied indiscriminately answers quite as well: as old Charley Matthews at Vestris's, old Harley, and old Braham. He has a great knowledge of the private proceedings of actresses, especially of their getting married, and can tell you in a breath half-a-dozen who have changed their names without avowing it. Whenever an alteration of this kind is made in the playbills, he will remind you that he let you into the secret six months ago.

The theatrical young gentleman has a great reverence for all that is connected with the stage department of the different theatres. He would, at any time, prefer going a street or two out of his way, to omitting to pass a stage-entrance, into which he always looks with a curious and searching eye. If he can only identify a popular actor in the street, he is in a perfect transport of delight; and no sooner meets him, than he hurries back, and walks a few paces in front of him, so that he can turn round from time to time, and have a good stare at his features. He looks upon a theatrical-fund dinner as one of the most enchanting festivities ever known; and thinks that to be a member of the Garrick Club, and see so many actors in their plain clothes, must be one of the highest gratifications the world can bestow.

The theatrical young gentleman is a constant half-price visitor at one or other of the theatres, and has an infinite relish for all pieces which display the fullest resources of the establishment. He likes to place implicit reliance upon the play-bills when he goes to see a show-piece, and works himself up to such a pitch of enthusiasm, as not only to believe (if the bills say so) that there are three hundred and seventy-five people on the stage at one time in the last scene, but is highly indignant with you, unless you believe it also. He considers that if the stage be opened from the foot-lights to the back wall, in any new play, the piece is a triumph of dramatic writing, and applauds accordingly. He has a great notion of trap-doors too; and thinks any character going down or coming up a trap (no matter whether he be an angel or a demon-- they both do it occasionally) one of the most interesting feats in the whole range of scenic illusion.

Besides these acquirements, he has several veracious accounts to communicate of the private manners and customs of different actors, which, during the pauses of a quadrille, he usually communicates to his partner, or imparts to his neighbour at a supper table. Thus he is advised, that Mr. Liston always had a footman in gorgeous livery waiting at the side-scene with a brandy bottle and tumbler, to administer half a pint or so of spirit to him every time he came off, without which assistance he must infallibly have fainted. He knows for a fact, that, after an arduous part, Mr. George Bennett is put between two feather beds, to absorb the perspiration; and is credibly informed, that Mr. Baker has, for many years, submitted to a course of lukewarm toast-and-water, to qualify him to sustain his favourite characters. He looks upon Mr. Fitz Ball as the principal dramatic genius and poet of the day; but holds that there are great writers extant besides him,--in proof whereof he refers you to various dramas and melodramas recently produced, of which he takes in all the sixpenny and three-penny editions as fast as they appear.

The theatrical young gentleman is a great advocate for violence of emotion and redundancy of action. If a father has to curse a child upon the stage, he likes to see it done in the thorough-going style, with no mistake about it: to which end it is essential that the child should follow the father on her knees, and be knocked violently over on her face by the old gentleman as he goes into a small cottage, and shuts the door behind him.