Read Ebook: The Strand Magazine Vol. 05 Issue 27 March 1893 An Illustrated Monthly by Various Newnes George Editor

Font size: 10 px 15 px 20 px 25 px 30 px 35 px

Background color: BlackWhiteGrayLight GrayDark GrayDim Gray

Text color: BlackWhiteGrayLight GrayDark GrayDim Gray

Apply/Save settings

Ebook has 671 lines and 44539 words, and 14 pages

XXL--MR. AND MRS. KENDAL.

If one had waited for a few months, "The Kendals" would have been getting settled in their new home in Portland Place. But, then, the happiest associations are always centred around the old, and the pleasantest and frequently the dearest recollections are gathered about the familiar. That is why I went to them once more to their home of many years at 145, Harley Street.

It would be difficult to realize a woman of more striking characteristics than she who was for so many years known as "Madge" Robertson, and notwithstanding a very important visit one morning in August twenty-three years ago to St. Saviour's, Plymouth Grove, Manchester, when she became the wife of Mr. William Hunter Grimston, there are many who still know and speak of her by her happily-remembered maiden name. From that day husband and wife have never played apart--they have remained sweethearts on the stage and lovers in their own home. At night--the footlights; by day--home and children. Mrs. Kendal assured me that neither her eldest daughter, Margaret, nor Ethel, nor Dorothy--the youngest--nor "Dorrie," who is now at Cambridge, nor Harold, a "Marlborough" boy, would ever go on the stage. Home, husband, and children--home, wife, and children, are the embodiment of the life led by the Kendals.

Together with Mr. Kendal we sat down in the drawing-room, and were joined for a moment by Miss Grimston, a quiet, unaffected young girl, who looked as though she could never rid herself of a smile, either in her eyes or about her mouth--a young maiden who suggested "sunshine." She was carrying Victoria, a pet dog. The mother's whole thoughts seemed to go out to her daughter.

"Our Jubilee dog," she cried. "I bought her on Jubilee Day, and, curiously enough, Mr. Kendal bought one too, neither of us telling the other we were going to make such canine purchases."

Then, when Miss Grimston had left the room, her mother turned to me quietly, and said:--

"The image of my brother Tom. The same hair, the same expression of eyes, the same kind and loving ways. I think he lives in my girl. Come with me and you shall see his portrait."

It hung in Miss Grimston's boudoir--an apartment the walls of which were decorated with pictures of the Com?die-Fran?aise Company, the original designs for the dresses in "A Wife's Secret"; while over the mantel-board are Mr. and Mrs. Kendal in "The Ironmaster," and many family portraits are about.

"It is so amusing to hear people talk and write about my eldest brother Tom and me playing together as children," she said. "My mother was married when she was eighteen, and my brother was born when she was nineteen; I was born when she was forty-eight, and was her twenty-second child! So my brother was a grown man with a moustache when I knew him. I was brought up with his two children--little Tom and Maude, my own nephew and niece."

What a delightful story it was! Little Madge Robertson used to dress up as a policeman and take Maude into custody before Tom, the younger, as the judge. And this was the trial:--

"What is the prisoner charged with, constable?" asked the judge.

"Murder, my lord," replied the representative of law and order.

"Prisoner, are you guilty?"

"Yes, my lord," answered the poor prisoner.

"Prisoner, have you anything to say why sentence should not be passed upon you according to law?"

The prisoner always got off, and dear old William Robertson would watch this little scene and roar with laughter.

"Yes," Mrs. Kendal said quietly, as we again looked at "Tom's" picture, "my brother was kindness itself, even from his infancy. I remember hearing how, when he was a very small boy and living with his aunt, he went out one summer's day with a new velvet jacket on. He caught sight of a poor little beggar child his own size, who was in tatters, and, beckoning him across, at once divested himself of his new coat, put it on the wondering youngster, and ran away home as fast as he could. His aunt questioned him, and upon finding out the true circumstances of the case, and not wishing to damp the kind spirit in the little fellow's heart, said:--

"'Well, we'll go and try to find the boy you gave it to, and buy your jacket back.'

"Fortunately the search was successful, and the coat was bought back for no less a sum than half-a-sovereign.

"And in later years it was just the same with Tom. He could never pass by a common cookshop, in front of the windows of which was often a crowd of men, women, and children, looking on with longing eyes, without getting them inside and giving them a fill to their hearts' content. When out driving it was no different. He would stop the horse, and have all the watching hungry ones inside, and the next moment they would be revelling in the satisfying properties of thick slices of plum-pudding and roast beef."

The house throughout is most artistic. Mr. Kendal is a painter of great merit, and he "knows" a picture as soon as he sees it. Pictures are his hobby; hence there is not a room in the house--even to the kitchen--which does not find a place for some canvas, etching, or engraving. The entrance-hall is at once striking, with its quaint thirteenth century furniture, bronzes, and Venetian ware. There are some fine engravings of Miss Brunton--who became Countess of Craven--Kemble, Garrick, Phelps, and Mrs. Siddons. A picture of Mrs. Kendal in "The Falcon" was done at the express wish of, and paid for by, the late Poet Laureate. Tennyson said it reminded him of a woman he liked and admired. In the shadow is a fine bust of Macready, given by the great actor to the father of Mrs. Kendal; resting against the fireplace on either side are the two lances used in "The Queen's Shilling," and close by are two huge masks representing a couple of very hirsute individuals. They came from California, and represent "The King of the Devils" and "The King of the Winds."

The entrance to the dining-room is typical of all the other door decoration in the house--a carving of cream enamel of beautiful design and workmanship. The walls of this apartment are terra-cotta, with a finely carved oak-panelling. It is a little treasure room of canvases, the gem of which is probably C. Van Hannen's "Mask Shop in Venice"--a painter of a school which Luke Fildes, R.A., has done so much to popularize. Macbeth is represented by a couple of delightful efforts, and there are samples of the skill of Eugene Du Blas, Crofts, John Reid, Andriotti, Sadler, De Haas, Rivers; a grand landscape by Webb--nearly all of which are Academy works. The decorative articles are as artistic as in some cases they are peculiar. Running about above the oaken fireplace, amongst choice bronzes and blue ware, and a black boy who is trudging along with a very useful clock on his back, are many quaint animals of polished brass--even mice are not missing, with wonderfully long tails--that sparkle and glisten in the firelight. Ascending the staircase you find etchings after Alma Tadema, Briton Riviere, and others; the walls are covered with them.

Here are a series of delightful pictures showing Mr. and Mrs. Kendal in Gilbert's "Sweethearts," and I am reminded that the gifted actor and actress were the first to appear before the Queen after a period of five-and-twenty years, during which Her Majesty had never seen a play, the performance that night consisting of "Sweethearts" and Theyre Smith's "Uncle's Will." And as one takes note of many rare works--the bedroom is almost entirely given up to Dor?'s marvellous creations, though near the window is a splendid specimen of the photographer's art: a head of Miss Mary Anderson--one cannot fail to observe the family spirit everywhere--sometimes portraits of children, sometimes small and dainty pencil studies made of them by their father. Occasionally theatrical sketches by Mr. Kendal appear. Here are some of the principal members of the old St. James's Company, who used to give Mr. Kendal sittings between the acts--here a capital bit of artistic work depicting a scene from "The Squire," made from stray memorandums and with the aid of a looking-glass for securing the actor-artist's face.

Leaving Mr. Kendal for a time, Mrs. Kendal and I returned to the drawing-room. It overlooks Harley Street and is a handsome two-roomed apartment, the prevailing tone of blue, cream, and gold harmonizing to perfection. It is positively one huge collection of curios.

The screen at the far end is rather shuddery, not to say creepy, to those of nervous temperament. It is decorated with tomahawks of fearful and wonderful shapes and sizes, and other Indian implements of warfare.

"These came from California," Mrs. Kendal explained. "No sooner are you out of the train than the Indians tomahawk you! Look at this bow and arrow."

But perhaps the portrait of the late Duchess of Cambridge, which Mrs. Kendal now holds in her hand, is more interesting than them all. "Her late Royal Highness," Mrs. Kendal said, "always addressed me and wrote to me as Mrs. Grimston. She was paralyzed in her right hand and wrote with her left; perhaps that is why this letter, written in pencil and with great effort, is treasured more than it otherwise would have been."

It was one of the last letters written by Her Royal Highness. The letters and words were wonderfully legible; it read:--

"DEAR MRS. GRIMSTON,--One line only to thank you for sending me the stalls for my dressers, who enjoyed your and Mr. Grimston's charming acting immensely. My first deaf one was able to follow perfectly, thanks to your having kindly let her have the book previously. Again thanking you,

"I remain,

"Yours very sincerely, AUGUSTA."

And in a little cabinet in the far corner is a beautiful S?vres bowl. In the bowl is a telegram from "Princess Mary," asking Mrs. Kendal to come to St. James's Palace at once. Written on a black-edged envelope were these words: "To dearest Mrs. Grimston Kendal. A little souvenir. Found amongst the last wishes of her late Royal Highness the Duchess of Cambridge."

It is only just possible to hasten through the collection of substantial reminiscences which add to the charm of this corner of the house. The quaint white china hare was given to Mrs. Kendal many years ago by Mr. John Hare, when playing together at the Court. A curious but vividly suggestive idea of Japanese wit, in the shape of a couple of characteristically dressed figures, typifies "Health" and "Wealth"; the figure, representing "Health" has a countenance of the deepest red, the other a face all golden and as resplendent as the sun. In a small frame is the letter from the Goethe Club of New York, making Mrs. Kendal an honorary member. She is the only woman member of this club. And this pretty little doll dressed as a Quakeress--a charming compliment to the recipient--was presented by the Quakeresses of Philadelphia, who never, never, never go the play, yea, verily! So they sent this as a tribute of their admiration for the talents and character of the woman who has been called "The Matron of the Drama."

We sat down on a settee in front of the fire. The cushions were of white lawn marked with the initial "M.," and were worked by the late Lady Eglinton.

Mrs. Kendal's happy and homely face is familiar to all. She has a truly tender and sympathetic expression there at all times. Her hair was once that of the fair one with golden locks, now it is of a rich brown colour--very neatly and naturally trimmed about her head. She is very kind--very motherly; just the woman you would single out in time of trouble and ask, "What would you advise me to do?" I gathered these impressions whilst listening to many things she said of which I need not write. Her views on theatrical life are strong, nay, severe. She is not afraid to speak, and she hits hard and sends her shots home. But you cannot mistake the earnestness of her manner, the true intent of her motives.

"I am only a common-place woman," she said to me. "I used to be ever so light-hearted--now, I'm a morbid creature. Here we are sitting down by the fireside. I may tell you happy reminiscences that may make one merry, and all the time I should be thinking about--what? Cancer! I return to my dressing-room from the stage at night. As I am passing along a fellow player may turn to me and say, 'How well the play has gone to-night!' I am only thinking of those who have trod that same stage before me. What are they now? Dust--earth--worms!"

I stirred the fire, and the bright glow from its burning embers lit up the corner where we sat. And we talked together.

Margaret Brunton Robertson was born at Great Grimsby on March 15th, 1849--curiously enough these lines will be read on the anniversary of her birthday. Her grandfather, father, and uncle were all actors.

"I lived alone with my father and mother," she said, "and the only real recollection I have of my father is his fine white beard, which he grew towards the latter days of his life, and a little advice he once gave me.

"'Always count twenty,' he said, 'when you are walking across the quay at Bristol, then you won't hear the sailors swear!' Yet he would use very bad language to me when he was teaching me my parts; for you know I commenced acting at a very early age. I was only three when I made my first appearance--and I ruined the play. It was at the Marylebone Theatre in the 'Three Poor Travellers,' and I was a blind child. My nurse was in the front row of the pit--that is, in the very first row, for there were no stalls. All I thought about was my new shoes--a very pretty, dainty little pair, and as soon as I stepped on the stage, I opened my eyes, caught sight of the delighted face of my nurse, and cried out:--

"'Oh! nursey, dear, look at my new shoes!'

And they were hard times for little Madge--she worked like the brave little woman she was. Her childish thoughts were constantly with her parents--how best could she add to the weekly income. And this is what the same little Madge would do. Night after night, after playing in a serious piece, she would appear in burlesque, sing, dance, and crack her small jokes with the best of them. It was hard work that made her a woman--it was dearly-bought experience that gave birth to the sympathetic heart she has to-day.

"I was dressed in my mother's clothes," Mrs. Kendal said, "and I fear I must have looked a fearful guy!"

At rehearsal Phelps looked upon the young woman.

"And who--who is this child?" asked the great actor.

"Madge Robertson," the manager answered; "a rare favourite here. It was a choice between her and a very old woman, Mr. Phelps."

"Then let the young woman play, by all means," Phelps said.

What a night it was! At the end of the play they wanted her on again, but Phelps was obdurate. A party of men came round, and threatened to throw Phelps into the Humber! Phelps remained firm.

The only play of her brother's in which Mrs. Kendal has appeared was "Dreams," when the Gaiety first opened. At this time the managers always tried to induce Mrs. Kendal to appear in a riding habit--a costume in which she looked strikingly handsome.

"Alfred Wigan played in 'Dreams,'" continued Mrs. Kendal. "His wife was one of the kindest women I ever met. She gave me a gold bracelet for a very curious little service I used to render her husband every night. He had to sing a song in 'Dreams,' and one or two of the high notes were beyond his reach. I used to take these notes for him, and the audience never guessed the truth."

Share on: WhatsApp @Hash Facebook Tweet