PUNCH AND JUDY

Press, Volume LXXVI, Issue 23053, 22 June 1940, Page 15

PUNCH AND JUDY

The Story of the Old Favourites

(SPECIAL!,-? WRITTEN FOR THE PRESS.) [By ERIC BAKER.]

ONE does iiot have to be extraordinarily ancient to remember times when the Punch and Judy show was a tremendous attraction for young and old. Indeed, in spite of its age, the “play” is still popular in big cities overseas and occasionally it is seen at children’s gatherings in Christchurch. Many here can recall the Punch and Judy presentations at Wainoni, which reigned fof a long period as the playland of Christchurch. They can remember, too, that the famous scientist, the late Professor A. W. Bickerton, who promoted Wainoni amusement park, was never absent from the audience when hook-nosed Punch was jerking about on his wires. The professor laughed as heartily as the smallest boy. ■fhe “play” has been running for about 280 years—with a falling off in the last 80. While “rogues and vagabonds” in sixteenth century England were strolling towards the undreamed of glories of Shakespeare, their fellows in the streets and fairs of Italy were developing a new and popular form of entertainment. It was despised by the highbrows but swept from Italy the erudite comedy of the learned, delighted Europe for 200 years, and strongly influenced the works of Goldoni and Moliere. It gave to England such pantomime characters as Harlequin, Pantaloon, Columbine

and, indirectly, Clown, From it was derived the Punch and Judy show. The date of Punch’s arrival in England as a puppet is uncertain, but most of the evidence seems to indicate that he crossed with the Royalists in 1660. In 1688 a poem appeared in England in which it

On my first New Year at the bays was stated that Punchinello had been thrice shown to the King. There are earlier mentions of Punch, one in 1669 by Samuel Pepys, who was pleased to hear some poor people call their fat child Punch, which had become “a word of , common use for all that is thick and short.” In 1709 very successful performances of “The Old Creation of the World” were given in Bath by one Powel, a showman of great ingenuity and skill. “Punch and his wife were introduced dancing in the act,” wrote Steele in the “Tatler,” while in several papers he goodnaturedly bantered the showman, on these lines: “I know the whole bf his tricks and that it is only by means of these wires that the eye of the spectator is cheated and hin-

dered from seeing that there is a thread on one of Punch’s chops which draws it up and lets it fall at the discretion of the said Powel.” A more disreputable Punch is mentioned by the essayist. May Fair had been temporarily suppressed and Steele spoke of a show : woman who had been famous for her puppets. “I cannot but be solicitous of her,” he said, “how she had disposed of that rake-hell Punch whose lewd life and conversation had given so much scandal that he did not a little to contribute to the ruin of the Fair.” Punch and Judy is properly performed in three acts. As far as amateur performers go one person can manage the whole show, provided only two characters are on the stage at the same time, and that he can change his voice to suit the different characters. The professional showman, however, can bring ventriloquism into his performance and, with practice, operate three or more characters at once, if required. That in earlier days it was quite an important part of the show life of England is proved by the drawings of the famous George Cruikshank and John Leech, apnearing approenough, in “Punch.” The characters, in order of their appearance, are Punch, Judy and child, Dog Toby, Scaramouch, Pretty Polly, Jack Ketch, the Constable, and the Devil. The prologue runs; Ladies and Gentlemen, pray how you do? If you all happy, me all happy too; Stop and hear my merry little play. If me make you laugh, me need not make you pay. Just before the final curtain falls, there is a terrific combat between the Devil and Punch, ending in, the painful death of the former.