Had
not GEORGE ROBEY invented for application to himself the descriptive
phrase, "The Prime Minister of Mirth," it should be at once affixed to
the Law Courts' fun-maker; but, since it is too late to use that, let
us think of him as "The Chancellor of the Exchequer of Mirth."
CHARLES DARLING'S success is the more remarkable because he keeps so
still. He sits in his chair as steadily as another of his outdistanced
rivals, SAM MAYO ("The Immobile Comedian," as he is called), remains
standing. He has few gestures; he rarely, if ever, sings, and I have
never seen him dance; and yet the way in which he "gets over" is
astonishing. "Laughter holding both his sides" is the most constant
attendant of this theatre.
What is the secret? Well, first and foremost it is of course to be
sought in the genius of the actor himself; but contributory causes are
the acceptivity of the audience, which is more noticeable in the Law
Courts than in any other London theatre, and the willingness of his
fellow-performers to "feed" him, as stage-folk have it; that is to
say, provide him with materials upon which (again resorting to stage
language) he may "crack his wheezes.
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