CHAPTER XX
OF THEATRICAL DRESS
The time has long gone by when the dress of his own period would serve the turn of the actor in any character in any play, irrespective of the century in which its story passed. That condition of affairs has no place even in the mental treasure-trove of the oldest playgoer, who saw Edmund Kean, and never lets you forget it.
Although it has not been stated that the most audacious actor ever ventured to play Hamlet in a tall hat, solecisms no less grave have in the long ago been committed and condoned, even applauded. Imagine Othello addressing the "most potent, grave, and reverend signiors of sixteenth-century Venice in a stiff-skirted coat, breeches and waist-coat of the English fashion of George II.'s day, with a full-bottomed wig, a three-cornered hat, and a black face! Yet that was how Garrick dressed the part, and, notwithstanding, thrilled his audience to enthusiasm; whilst handsome Spranger Barry won even Colley Gibber's applause when he acted the dusky Moor dressed in a full suit of gold-laced scarlet, a small cocked hat, knee breeches, and silk stockings! Then, picture Macbeth, as Garrick played him, in a 1750 suit of black silk, and silk
236
