ROYALTY AT THE THEATRE.

Otago Witness, Issue 2051, 15 June 1893, Page 41

ROYALTY AT THE THEATRE.

Manners a*d Customs of Princes who Wish to See the Play. It is a universal, but erroneous, idea that royalty is on the free list of the London theatre?, and that a royal personage has but to signify his or her intention to patronise a certain place of amusement to cause quite a flatter of excitement in the bosoms of the managers, and make them feel that they are "more than repaid," and all that sort of thing. So far from this being the case, it is a fact that the crowned heads and their families pay an exorbitant price for their amusements, and are consequently regarded by managers as angek of tbe sort whose vhits are by no means few and far between. When the Prince of Wales, for instance, visits the theatre the expenditure for box hire alone amounts to £20. Thss is an unwritten law at coart, whether the house boasts of a royal box or not. The latter, as its name implies, is that set apart for kings, queens, and their blood relatives. It is surmounted by the crown of England, and is of course fitted in more sumptuous style than those that surround it. With one or two exceptions this box is not reserved exclusively forroyalties, and itcan be hired by any one who cares to pay the price — about twice as much as is charged for the private boxes. The exceptions are the Theatre Royal, Drury-lane, the Italian Opera, and the Haymarket Theatre. In the case of the Haymarket, the entrance to the royal seat is in a street back of° the theatre, Suffolk street, and it is reached only by passing through a private house. This house is leased conditionally upon the right-of-way being granted to princes of the blood. - Although the royal box is open to the public very few care to occupy it. The " upper ten " of London shun it, for to be s^en in that box is to be stigmatised as a rank outsider, a noveau riche, or a foreigner who knows no belter. Even where it becomes a case of Hobson's choice — take it or go without—those " in the know " keep as far in the background as possible. For when it is decided that the occupant is neither a royalty nor an ambassador, he comes in for a good deal of attention of a not very flattering description. The. " outward and. visible " sign of the

presence of royalty at the theatre is the Guard of Honour, composed of a corporal's guard of Grenadiers stationed outside the dcors. That is, it is so at those theatres which do not bear the title of royal, for in these exceptional cases, as atDrury-Jane, the Haymarket, and Covent Garden, the Guard of Honour is always mounted the year round while performances are given. This is in case royalty should make up its mind at the last moment to look in.

But if the Prince of Wales pays £20 and more for his entertainment, it must be admitted that there is also an increased trouble and expenditure incurred by the house, of which others have no idea. At the most im-portant—Drury-lane Theatre — there is a drawing room attached to the box, a drawing room beautifully upholstered in old gold and tapestry. A couple of bottles of wine, a box of cigars, and a case of the Prince's favourite cigarettes are laid on the table. There is also the programme — a white satin square — upon which the cast is printed in gold. This latter is supplied in compliance with ccurb etiquette. The wine and other refreshments are at the discretion of the management, and in some cases they are conspicuous by their absence. If it is the Princess of Wales whom they are entertaining the managers provide a bouquet, which is placed on the ledge of the box.

It is understood that when members of the royal family visit the theatre they are incognito, and unless'the orchestra strikes up the national anthem, the majority of the audience are not aware of thtir presence. If the anthem is played it is a sign that the visit is a formal one, and the audience rise as a mark of respect. — London Letter.