It is quite new in American theatres for the orchestra to be put into such frequent requisition behind the scenes, as is the case in Irving’s representations. The special engagement of a tenor (Mr. J. Robertson) to sing the ballad in “Much Ado” is an unheard-of extravagance. Mr. Robertson also gave very valuable assistance in the quartettes and choruses introduced with fine effect in “The Merchant,” “The Bells,” and other plays; which reminds me that among the saddening incidents of the tour were the sudden recall to England of Mr. Johnson, the low comedian, to the sick-bed of his wife; and the withdrawal of Mr. Norman Forbes from the cast of “The Merchant,” through illness. We left Forbes at one of the cities, with a serious attack of rheumatic fever. The “under-studies” had to be employed, necessitating many new rehearsals. Mr. Howe, at a moment’s notice, undertook the part of Dogberry, and played it admirably; while Mr. Carter took the part of Richard in “Louis XI.,” and Mr. Harbury gave extra and efficient service in the graveyard scene in “Hamlet.” Mr. Andrews was cast for the part of Lancelot in “The Merchant,” replacing Mr. Johnson, and Mr. Lyndal played Claudio in “Much Ado” in such a way as to entitle him to the compliments of Irving, which were generously and ungrudgingly given.
“Cincinnati,” said Irving, “has great aims in the direction of art. It has a grand public hall, endowed by a local philanthropist, in which it gives musical, operatic, and dramatic festivals. This year the opera occupies its enormous stage. The Festival Committee gave me a dinner at the Queen City Club. It was a most interesting reunion.[44] The city is very picturesque, I should say, if one could only have seen it; but it was choked with snow, and in a continual mist or fog. The ice in the river broke up before we left,—a wonderful sight it was: a great rising flood, filled with ice and snow,—along the wharves silent ships, and steamers,—surprising to look down upon from the hills. As the city has grown the people have had to build on the heights, and the street-cars are hauled up on elevators—you drive your carriage upon these platforms and are raised to the roads above,—it is something like going up in a balloon. A mist hung over the river, the water was rising rapidly, and people were expressing fears that the place would be flooded, as it had been a year or two previously.[45] There is a German quarter. It is called ‘Germany,’ and has all the characteristics of the Fatherland in its beer-gardens, concert-rooms, theatres, and general mode of life. Next to the native Americans the Germans are the most influential people. They have several newspapers printed in their own language, and in the regular German type.[46] The sudden rises of the Ohio appear to be the chief drawback. They are very philosophical about it, and try to console themselves on the ground that, if they suffer from water, they have not been burned out, as some other cities have. Cincinnati has a noble ambition: it aims at becoming a great centre of culture, more particularly in art and science. It is making a magnificent start in its Schools of Design, its art leagues, its University, and the Museum which is being built in Eden Park. I was struck with an incident related to me by a friend of yours. One of the newspaper offices was burned down. The fire took place while the paper was at press. Seeing that it was impossible to save the machinery they put on the highest speed and worked off the sheets until the place was too hot to hold them; and the men stepped out with the printed sheets almost as the ceiling fell in upon the machinery. By the aid of a neighbor, and the presses of a rival who had failed, they came out the next day with a full report of the calamity, in which, I believe, some lives were lost. An example of American enterprise that, eh?