Theatre Production - The Clandestine Marriage

A STORY is told in the Biographia Dramatica, on the authority of a gentleman who, it seems, had it from the mouth of Mr. Colman himself, that Garrick composed two acts of the "Clandestine Marriage," which he sent to Colman, desiring that he would put them together, or do what he would with them, and that the latter took Davy at his word, by putting them into the fire, and writing the play himself. We believe the story to be a gross fabrication; but whether by the gentleman in question or George Colman we cannot tell. It has been generally understood that Garrick's share in this comedy was Lord Ogleby and the courtly family; and Colman's, Sterling and the lowbred city family - a fair conclusion, since Lord Ogleby, in many points, bears a striking resemblance to Lord Chalkstone, in Garrick's farce of "Lethe." In the advertisement originally prefixed to the play, both parties acknowledge themselves equally responsible for the whole, and express their obligations to Hogarth's "Marriage a la Mode," from whence they derived their materials. But "wits have short memories," they forgot to mention that the characters of Lord Ogleby, Mr. Sterling, and Brush, were borrowed from a farce entitled "False Concord," acted at Covent Garden, March 20th, 1764, for the benefit of Mr. Woodward, the author of which was the Rev. James Townley, formerly master of the Merchant Taylors' School. In this piece were three capital characters - Lord Lavender, a vain superannuated nobleman; Mr. Sudley, a wealthy soap boiler; and a pert valet. These, with the dialogue of some of the scenes, nearly verbatim, were transferred to the "Clandestine Marriage." Garrick in his prologue recommends:

That each should neighbourly
assist his brother,
And steal with decency
from one another.

When, therefore, this comedy was published ("False Concord" has never been printed), the reputed authors should have admitted Mr. Townley into co-partnership with them.

An Explanation by the Webmaster
The author of this article is making a point about plagiarism (which was once rife in theatrical circles) and dual standards. "The Clandestine Marriage", written by David Garrick and George Colman, was first produced at Drury Lane in February 1776, only two years after the aforementioned performance of "False Concord" from which some of its scenes were 'borrowed'. The point that the latter play was never published is an important one, since at that time protections and remedies did exist for published written works but not for those which were merely performed in public. So it seems that the two most respected English dramatists of their time had few scruples against taking credit for the work of others, knowing no doubt they could do so with virtual impunity. Why did they not acknowledge the contribution of Rev. Townley? Self-agrandisement in keeping all the credit for themselves, or self-enrichment in keeping all the profit for themselves? Either way, Garrick then added insult to injury by preaching what he self-evidently did not practice - or perhaps he just meant that other people should not steal from him!

"I vow and protest there's more plague than pleasure with a secret; especially if a body mayn't mention it to four or five of one's particular acquaintance."
Betty, in the " Clandestine Marriage," Act r., Scene I.

Miss Betty, we have reason to know, was a shrewd if somewhat garrulous maid, and her young mistress soon found reason to agree with the common sense view of the business that her sympathetic abigail expressed.

A purse-proud City merchant could scarcely be expected to choose the suitors for his daughters' hands by a sentimental standard. Raised by dint of hard work to fortune and position, Mr. Sterling knows what money can buy. "What signifies your birth and education and titles? Money, money! that's the stuff that makes the great man in this country. "Ah, Lovewell!" he says, "an English merchant is the most respectable character in the universe. S'life, man, a rich English merchant may make himself a match for the daughter of a nabob."

To him, therefore, an impecunious baronet, with estate heavily mortgaged, is a good bargain at Ł80,000. An alliance with so noble a family as that which claims Lord Ogleby for its head is one which any citizen would be proud to purchase at a good round figure. So thinks Mrs. Heidelberg, Mr. Sterling's widowed sister, and so thinks Miss Sterling, the destined bride. Love and a cottage are not at all to her taste, "give me indifference and a coach and six!" she exclaims, as she proceeds to display her costly jewels to her sister.

PRESS REVIEW

(Daily Mail [London, UK] - 18th March, 1903)
'THE CLANDESTINE MARRIAGE'
OLD COMEDY REVIVED AT THE HAYMARKET THEATRE

Mr. Cyril Maude has done useful service in bringing to the attention of modern playgoers several of the comedies which delighted their forefathers. "The School for Scandal" and "The Rivals" and "She Stoops to Conquer" are for all time. But it is questionable whether there was one per cent, of last night's audience at the Haymarket Theatre acquainted, except by name, with "The Clandestine Marriage," the work of George Colman and David Garrick. It is to be hoped that the interest aroused by the successful performance of yesterday may induce the presentation of other "old masters " - notably "John Bull" and "The Road to Rain."

The story - which is now, by the way, nearly a hundred and fifty years old - depicts the proverbial difficulties attending the course of true love. The heroine attracts the affections of Sir John Melvil, who has plighted his word to her elder sister. Fanny has another suitor in the person of old Lord Ogleby - an elderly nobleman strongly provoking the sympathy of an audience. For when he learns the true state of affairs, and of the clandestine alliance of two fond lovers, he acts as a friend to both, assisting to bring the play to a happy and cheery conclusion.

The decrepit, vain, rouged, and painted elderly dandy Lord Ogleby was drawn by Mr. Cyril Maude with a strong and determined hand. There was a dressing-room scene, insignificant intrinsically, which showed the Haymarket manager at his best, and once again proved how great an appreciator he is of humorous situations, and how skilfully he can encrust a comparatively meagre part with effective and telling detail. "The Clandestine Marriage" will owe whatever measure of success it earns largely to this capable and clever piece of acting - one of the best studies of senility seen for a long time, and quite different in character from the tragic grimness of Sir Henry Irving's Gregory Brewster.

The play as a whole inevitably seemed old-fashioned, and there was a naive crudeness about the "curtains" calculated to inspire a modern dramatist with horror. But. Mr. Maude's performance made amends for much.

Amid such surroundings, and with a brilliant marriage for one daughter in prospect, the affection of Fanny and Lovewell could only appear preposterous, so that it is scarcely surprising that the young couple take matters into their own hands and get married secretly. It seems that an opportunity may occur of obtaining the powerful assistance of Lord Ogleby - a kinsman of Mr. Lovewell. That nobleman is expected to pay a visit to the city magnate at his country house to make acquaintance with his nephew's destined bride and her family, and with him comes Sir John himself.

Very profuse and overpowering is the worthy cit.'s reception. My lord is overcome with the attentions thrust upon him by his host and hostess. Affecting a youth and sprightliness he is far from enjoying, it is his vanity not to refuse the various tours round the property arranged for him. "That vulgar fellow, Sterling," he says, "with his city politeness, would force me down his slope last night to see a clay-coloured ditch, which he calls a canal; and what with the dew and east wind my hips and shoulders are absolutely screwed to my body."

As to this complaint, Brush - his valet - can throw a little light upon the matter. "My lord is a mere corpse until he is revived and refreshed from our magazine here. When the restorative pills and cordial waters warm his stomach and get into his head vanity frisks in his heart, and then he sets up for the lover, the rake, and the fine gentleman." Very entertaining is the spectacle of the old roue being gradually transformed under the skilful hands of Brush and Canton, into the elegant man of fashion.

Scarcely has the process been completed, when Sterling waits on his lordship to suggest further excursions. Will Lord Ogleby come and see the ruins recently repaired at great cost? Will his lordship take a walk in the twisting, zigzag, crinkum-crankum paths in the garden, or mount to the high octagon summer-house, fixed on the mast of an old East Indiaman, from which a view of the road may be obtained? Will his lordship, at any rate, join the ladies in the garden? This latter invitation is more to his lordship's taste.

In truth, Miss Fanny has made an impression on the old man. Her artless ways have fascinated him, and her attempt to gain his goodwill has been interpreted by the susceptible peer into an expression of preference for himself, and the poor young wife, eager only to gain his countenance for the tie she had secretly formed, in reality encourages a tender passion of the growth of which she is unaware. To complicate matters still further, Sir John Melville finds his position insupportable. The vulgarity and pride of Miss Sterling disgust him, while the quiet charms of Miss Fanny equally fascinate him.

He contemplates his marriage with aversion, made all the stronger by the contrast between Miss Sterling and her sister. This irksome state of affairs rapidly culminates in an avowal by him to the young wife, whose terror and dismay at the position may easily be imagined. The interview between the two is, however, interrupted by the sudden appearance of Miss Sterling, who, incensed against Sir John, and upbraiding her sister, rushes off to Mrs. Heidelberg for comfort and assistance.

The lawyers are in the house, the settlements are drawn up and concluded, and only await signature, when Sir John hurriedly interrupts the informal council, and requests an urgent interview with Sterling at which he acquaints him with the change in his affections, and offers to waive thirty thousand pounds of the eighty thousand that was to have accompanied the elder sister. Won over by the economical aspect of the case, Mr. Sterling undertakes to support Sir John, if Mrs. Heidelberg's objections can be overcome. But Mrs. Heidelberg will not be appeased. If Fanny ousts her sister, Mrs. Heidelberg will leave England and take up her residence with the Vandersprackens, and her very considerable fortune will go with her.

"Why, your offer of thirty thousand pounds," says Sterling, "was very fair and handsome, to be sure, Sir John, but if I was to accept it against her will, I might lose a hundred thousand; so you see the balance is against you." There is only one hope against this overwhelming obstacle. The influence of Lord Ogleby may weigh greatly with Mrs. Heidelberg, who loves a lord, and Sir John determines to seek the countenance of his august relative. Thus, while Fanny turns to the amorous peer to gain his sympathetic assistance for her marriage with Lovewell, and Miss Sterling seeks it to obtain redress against Sir John, Sir John approaches him that he may obtain Fanny for a wife, and the old lord-deeply moved by a pretty girl's distress, which he attributes from her nervous, ambiguous phrases to his own conquest - desires nothing better than to make her Lady Ogleby.

Upon all this Lovewell looks in despair. Lord Ogleby has confided in him; Sir John has equally favoured him; and while the two men are making advances to his wife, he is obliged to adopt a passive attitude. The position cannot, of course, last long, and the young couple, confronted at midnight by the whole house roused by Miss Sterling - confess their marriage, and, at the intervention of Lord Ogleby, are taken into favour.