‘THE COSTER’S LAUREATE.’*

New Zealand Graphic, Volume XVI, Issue IV, 25 January 1896, Page 89

‘THE COSTER’S LAUREATE.’*

The most startling thing that meets us on the threshold of this biography of Mr Albert Chevalier, popularly known as ‘ The Costers’ Laureate,’ is the fact that the real name of that gentleman, given in full, is ‘ Albert Onesime Britannicus Gwathveoyd Louis Chevalier.’ Why his sponsort were as prodigal of Christian names as if the future comedian had been heir to the Dukedom of Buckingham, is not explained ; but the sort of triple nationality which these appellations suggest is explained by the fact that he claims origin from three races, ‘the Gallic, the Welsh, and the Hibernian.’ His biographical coadjutor, Mr Bryan Daly, who figures as a sort of chorus to the drama in which the protagonist is Mr Chevalier himself, thinks that to this latter circumstance may be attributed his hero’s ‘ mimetic power, plaintive minstrelsy, and natural humour.’ For bis surname at all

events he is indebted to his father, M. Chevalier, who at the period of his son’s birth in 1862 held the post of French master at the Kensington Grammar School, and had among his pupils sons of the late Henry Compton, the well-known comedian, who patted Master Chevalier on the back when he was at the unripe age of eight, and moderated the burning desire to go upon the stage which had developed itself at that early period with some wise and not altogether discouraging words. The opportunity came some years later when, after a few essays in amateur performances in the suburbs, Albert obtained an engagement at the Prince of Wales's Theatre,

and adopting the name of ‘ Knight,’ which, it will be observed, is the English equivalent of Chevalier, appeared at that house (Sept., 1877) in the modest part of Ma?jer Skraggs in the old farce of ‘To Parents and Guardians,’ which had been revived at that house by way of afterpiece, with Mr Arthur Cecil, Mr W. Yonnge, Mr Kemble, and Miss Augusta Wilton in the cast. He is not ashamed to confess that he originally entered the theatre in the still more humble capacity of ‘ super.’ The promotion was decidedly creditable to Mr and Mrs Bancroft’s discernment. Mr Chevalier soon resumed his family name, and as a member successively of the companies of the Court, the Globe, the Strand, the St. James’, and othertheatres, attained to a respectable position on the London stage as a comedian ; but his gift of eccentric characterisation, and his musical talents, however, which had already found an outlet in the form of song writing for burlesques and a temporary engagement in Mr Van Biene’s travelling operatic company, gradually impelled him to the music hall stage, and it is here that his chief triumphs have been won. Mr Chevalier’s coster songs need no introduction to the reader. Their winning melodies, their genuine humour and pathos, and their close observation of the life and manners of the class who delight in the trousers and waistcoats ornamented with close set rows of mother-of-pearl buttons, and the gaily bedizened bonnets and hats which have since furnished so much occupation for the pencil of Mr Phil May, have long rendered them popular far and wide. The Chevalier collection of coster songs now number, we are told, just fifty, of which about forty are his own creations. There is, we believe, no trace of coarseness or other offence in any one of the ditties, and, though they sketch the peculiarities of the poor costers with mingled sympathy and humour, there is certainly no attempt to hold these humble and useful folk up to ridicule. On the contrary, their good qualities are brought into relief with a gift of truthful observation which few writers since Dickens have possessed, and it is said that the costers themselves are proud of their Laureate. Unfortunately Mr Chevalier, though inimitable both in the composition and the interoretation of these productions, does not possess the gift of biographical writings; nor is his coadjutor much more happily endowed in this way. Hence these chapters consist very largely of bare facts and dates, and extracts from newspaper criticisms in association with letters of friends and professional anecdotes which are rather apt to be wanting in point. The following little story, however, shows that Mr Chevalier’s peculiar gifts, though on the whole widely appreciated, are

NOT FOR ALL MARKETS. ‘lt was at the Town Hall, Streatham. One of the audience, a lady, rose from her seat in the early part of the evening, whilst Chevalier was rendering “ 'Appy 'Ampstead ” in his very best costerese, and proceeded to the door. An attendant proffering her a passout check, respectfully asked if she intended to return. The ladv gave him a withering look as she replied, “ No, indeed.” Then tossing up her head and passing indignantly from the hall, she was heard to exclaim, “ Hump—and they call this an English gentleman.” ’ One must be able to appreciate the feeling of jealousy with which a leading performer who persistently monopolises the most conspicous position on the boards is regarded by his comrades in order to fully appreciate the following story of a suburban star : THE CENTRE OF THE STAGE. ‘ I will call him Brown—a great transpontine favourite, who sought fresh woods and pastures new in a West-end theatre. The night he parted from his old associates a call was posted on the notice-board for the entire company to attend rehearsal the following morning. Next day the actors met, and forming a circle round the centre of the stage, they all knelt down and respectfully kissed the hallowed spot. No one had ever been able to get near it during Brown’s engagement !’ The following anecdote has. we believe, been published before, but it may bear repetition : ‘ Encouraging.—During my engagement at the old Court Theatre, a budding dramatist submitted to the late John Clayton a very, very bad play for perusal. Clayton read, and returned it, with the following characteristic letter : “My dear Sir,— " I have read your play—“Oh, my dear Sir. “Yours truly. “John Clayton.’” The volume is accompanied by numerous illustrations, including portraits of Mr Chevalier both in costume and in his habit as he lives or lived.

*‘Albert Chevalier, a Record by Himself; Biographical and other Chapters by Brian Daly.’ John Macqueen.