GAGGING ACTORS.

Otago Witness, Issue 2735, 15 August 1906, Page 59

GAGGING ACTORS.

The derivation of the word "cajt," a* used in theatrical parlance, is disputed. Tho "gag" was the old word for the jaw, ana actors generally were at one time called "gaggers." But "a bit of Rag" means to-day business or dialogue for which the actor and not the author is responsible.

There are gags and gags. Some are artistic eFoits to improve the situation, others arc merely devices of the comedian to attract more attention to himself.

On© of the beat gags ever made, from the artistic point of view, is that of Macready, who in a moment of inspiration afc the end of the fourth act of "Richelieu" exclaimed, "Oh ! for one hour ot youth »" _

There is a vast; difference between thi« and the gag business of the comedian who. playing the first gravadigger in "Hamlet," got out of the grave and treated the audience to a spade dance. Many an indifferent play has been' built up into success by gag dialogue and gaer business, but -the modern gagger, unless held in check by the vigilance of the stago manager, will turn a care fully -const ruoteel play into a medley entertainment. A famous gagger wac Mr J. L. Toole. He played trnatbrain -at Covent Gardens when T. P. Cooke, as William, took his farewell of the stage. "We landed th© shark." says William; "we cut it open, and what do you think we found in it?" The comedian should reply, "Why, the innards, of course!" But on this occasion Tool© gagged, "X don't know what you found," he exclaimed, "but I know what you didn't find— another T. P. Cooke."

Here is a specimen ot the Rags he introduced into "Ici on Parle Prancais.'* Henry Irving, playing the Frenchman, had to say, "Bring me a biftelc pommies da terre." "What!" exclaimed Toole, "a beef, steak on the staire ! You'll want a mutton chop on the tiles next." Fred Leslie was a chartered libertine in the matter of gauging. His great "gajc wheeze," after entertaining the audience with 10 minutes of his own interpolation, was, "We will now return to the libretto." A gag of which he was very fond was one that I fancy he brought back from America : "What did you have for breakfast?" ho was asked in the play. "I had a whisky and soda, a mutton, chop, and a dog." "Eh — what was the dog fort" "To Riv« the chop to." In burlesque period does not matter, but in plays with a serious interest it is just as well to steer clear of anachronisms. Some comedians are rather reckless in this respect. Mr Arthur Williams, another chartered libertine, had some capital gags in "Dorothy." But they occasionally horrified Mr B. C. Stcphcnson, the librettist. "Do try and remember the. period is 1750," he said oi)p day io tho genial comedian. Arthur Williams promised that he would bo more careful. But the next night, wh«n one of the characters offered to pay him in instalments, he gagged, "What ! Do you take me for a sewmjr machine?" Thea suddenly catching eight of Stephenson in a private Tx>x he added, "forsooth." That was to bring the gag back to "period." Some years ago, in an historical drama. *

well-fawwn comedian had a scene witk his sweetheart at the famous ball in Brussels on the eve of Waterloo-. Be played a long gagging scene, and nnished by telling- his sweetheart that he would ring her up on the telephoue after the battle, and let her know his fate.

Another "anticipatory" ga.g which I remember was quite sincerely made. It was at the Surrey, in a "period" melodrama. The- here* thought hia girf was- playinsr him false. So he took the shilling and pinned, the ribbons to his hat. At the end of the act he came on with the other recruits of the Tillage. "Oh* William," exclaimed the heroine, "what have you done?" "What have I done, faithless girl?" he should have replied. "I have enlisted*," but he gagged, "I have enlisted," he exclaimed, "and I am going to fight in the Thirty Years' War." When "Claudian" was produced at the Princess's, George, Barrett, that fine human low comedian, was oast for an uncongenial part. He played Belos, and from the first he saw that if he wanted laughs be wouid have to gag for them. But for a Cockney low comedian to gag in Byzantium, A-D. 362, was a little difficult ; and WHaon Barrett had on one occasion to remind feis~ brother gently that no citizen in the fourth century was so ignorant of agricultural matters as to- talk about "milking- the cocks and hens." Poor George admitted the contention, and exclaimed woefully, "Can't Wills, give me something a bit more up to date?"

Mr- Seymour Hicks, the quicksilver comedian of the twentieth century sfcagfe, is in the- peculiar position of being able to "urge on ms wild career" as a gafrcer without actually gagfcing, because, bernjr the writer of the plays in which he appears, he tannot be said to be departing from the author when, with Maxim-gun celerity, he fires off his lively impromptus. Here are two of his gags in "The Beauty of Bath." He is introduced to a lady, and asks her her name. "Mrs Wood," is the reply. "A^y splinters?" instantly says tho comedian.

In another scene he is- asked, "What is that' scratch on your face?'"' He says, "Oh, that's only a. birth, mark." "A birth mark !" "Yes; I was going over to- Paris, and I jot into the wrong feerth."