many improvements in actors and acting since I was at the Haymarket, I
have never seen artificial comedy acted as it was acted there.

Not that I was much good at it myself. I played Julia in "The Rivals"
very ill; it was too difficult and subtle for me--ungrateful into the
bargain--and I even made a blunder in bringing down the curtain on the
first night. It fell to my lot to finish the play--in players' language,
to speak the "tag." Now, it has been a superstition among actors for
centuries that it is unlucky to speak the "tag" in full at rehearsal. So
during the rehearsals of "The Rivals," I followed precedent and did not
say the last two or three words of my part and of the play, but just
"mum, mum, mum!" When the first night came, instead of dropping my voice
with the last word in the conventional and proper manner, I ended with
an upward inflection, which was right for the sense, but wrong for the
curtain.

This unexpected innovation produced utter consternation all round me.
The prompter was so much astounded that he thought there was something
more coming and did not give the "pull" for the curtain to come down.
There was a horrid pause while it remained up, and then Mr. Buckstone,
the Bob Acres of the cast, who was very deaf and had not heard the
upward inflection, exclaimed loudly and irritably: "Eh! eh! What does
this mean? Why the devil don't you bring down the curtain?" And he went
on cursing until it did come down. This experience made me think more
than ever of the advice of an old actor: "Never leave your stage effects
to _chance_, my child, but _rehearse_, and find out all about it!"

How I wished I had rehearsed that "tag" and taken the risk of being
unlucky!