Altogether the gallery audience do not seem to be of a gentle nature. One poor little lad shouted out in a crying tone, “that he couldn’t see,” and instantly a dozen voices demanded “that he should be thrown over.”
Whilst the pieces are going on, brown, flat bottles are frequently raised to the mouth, and between the acts a man with a tin can, glittering in the gas-light, goes round crying, “Port-a-a-a-r! who’s for port-a-a-a-r.” As the heat increased the faces grew bright red, every bonnet was taken off, and ladies could be seen wiping the perspiration from their cheeks with the play-bills.
No delay between the pieces will be allowed, and should the interval appear too long, some one will shout out--referring to the curtain--“Pull up that there winder blind!” or they will call to the orchestra, saying, “Now then you catgut-scrapers! Let’s have a ha’purth of liveliness.” Neither will they suffer a play to proceed until they have a good view of the stage, and “Higher the blue,” is constantly shouted, when the sky is too low, or “Light up the moon,” when the transparency is rather dim.
The dances and comic songs, between the pieces, are liked better than anything else. A highland fling is certain to be repeated, and a stamping of feet will accompany the tune, and a shrill whistling, keep time through the entire performance.
But the grand hit of the evening is always when a song is sung to which the entire gallery can join in chorus. Then a deep silence prevails all through the stanzas. Should any burst in before his time, a shout of “orda-a-r” is raised, and the intruder put down by a thousand indignant cries. At the proper time, however, the throats of the mob burst forth in all their strength. The most deafening noise breaks out suddenly, while the cat-calls keep up the tune, and an imitation of a dozen Mr. Punches squeak out the words. Some actors at the minor theatres make a great point of this, and in the bill upon the night of my visit, under the title of “There’s a good time coming, boys,” there was printed, “assisted by the most numerous and effective chorus in the metropolis--” meaning the whole of the gallery. The singer himself started the mob, saying, “Now then, the Exeter Hall touch if you please gentlemen,” and beat time with his hand, parodying M. Jullien with his _baton_. An “angcore” on such occasions is always demanded, and, despite a few murmurs of “change it to ‘Duck-legged Dick,’” invariably insisted on.