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The Exotic and the Everyday Regional Victorian Pantomime in Birmingham and the Black Country 1813-1914

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The Exotic and the Everyday Regional Victorian Pantomime in Birmingham and the Black Country 1813-1914 THE EXOTIC AND THE EVERYDAY REGIONAL VICTORIAN PANTOMIME IN BIRMINGHAM AND THE BLACK COUNTRY 1813 – 1914 by Ellen M. Couchman-Crook A thesis submitted to The University of Birmingham for the degree of MASTER OF ARTS BY RESEARCH Department of Drama and Theatre Arts School of English, Drama,and American and Canadian Studies College of Arts and Law Selly Oak Campus The University of Birmingham August 2017 1 University of Birmingham Research Archive e-theses repository This thesis is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. 2 ABSTRACT Until recently, major theatrical discussions excluded regional pantomime. This new research adds to the regional perspective, through the analysis of Aladdin pantomimes in Birmingham and the Black Country, from 1813 to 1914. Originally from the Arabian Nights’ Stories, Aladdin positioned within local contexts, reveals relationships between the exotic and theatrical Chinese locations and the everyday products and trade that informed the lives of local theatre audiences. Even though Aladdin had its origins in the Arabic tales, authors and audiences approached the pantomime through their existing knowledge of China. Later Aladdin productions continued to mirror the oriental undercurrents and societal synergy surrounding the dissemination of ideas concerning Chineseness. My critical analysis of Aladdin establishes the depiction of China through locally manufactured goods, the willow pattern plate, the tea trade and the art of Japanning. The interaction of pantomime and product was an affirmation of the association between the exotic and the everyday, and the connection that regional audiences made with the real China and the topsy-turvy unreal world of pantomime. The critical coexistence of these opposing elements enables a reassessment of the regional role of pantomime in local political, social and cultural development. 3 DEDICATED TO: Michael James Couchman-Crook and Rebecca Faye Couchman-Crook, Roy Couchman, Philip Crook and Eunice Campbell Crook, Mary and Tom Couchman, who never stopped believing in me, and the encouragement of Alf Crook, Nell Crook and Sheila Crook. 4 ACKNOWLEDGEMENTS I would like to thank the following people for their help, guidance and support: My supervisors Dr Caroline Radcliffe, Dr Kate Newey and Professor Russell Jackson The University of Birmingham for the award of a half bursary Dr Kate Newey and Professor Jeffrey Richards for inviting me to be part of the major Arts and Humanities Research Council (AHRC) project The Cultural History of Pantomime in England 1837-1901. This was a joint project between the University of Lancaster and University of Birmingham 2009-2012, and subsequently the University of Lancaster and the University of Exeter. For the assistance and enthusiasm of library staff at: Archives, History and Photography, Library of Birmingham Bilston Craft Gallery Birmingham Museum and Art Gallery Black Country Archives City Central Library, Hanley Dudley Archives Dudley Library English Heritage Library of Birmingham Sandwell Library Services Smethwick Library Stoke-on-Trent Library Stourbridge Library Theatre and Performance Collection, Blythe House, Victoria and Albert Museum 5 The British Library The British Museum The Cadbury Research Library at the University of Birmingham The Garrick Club, London The National Trust University of Birmingham Library University of Wolverhampton Library Victoria and Albert Museum Walsall Library Services Walsall Local History Centre Wednesbury Library Wightwick Manor and Gardens Wolverhampton Art Gallery Wolverhampton Library and Archives Service A thank you to the support of academics, university professionals and colleagues listed below: Professor Jeffrey Richards, Dr Peter Yeandle, Dr Janice Norwood, Dr Jill Sullivan, Dr Jim Davis, Dr Tracy Cattell, Dr Jill Sullivan and Dr Claire Robinson Nicola Taylor, CAL Academic Writing Advisor at the University of Birmingham. This thesis was copy edited for conventions of language, spelling and grammar by Nick Littler. Special mention to: Maggie Burns, Archivist (deceased), Library of Birmingham Katie Cadman, Curatorial Officer, Coalport China Museum, Ironbridge Museum Trust 6 Simon Sladen, Senior Curator and Cathy Hail, Curator at the Theatre and Performance Collections at the Victoria and Albert Museum Marcus Risdell, Curator at the Garrick Club David Ward, National Trust Volunteer Ned Williams, Local historian and author on theatrical histories. My thanks to family and friends: Mike Couchman-Crook, Rebecca Couchman-Crook, Roy Couchman, Philip Crook and Eunice Campbell Crook I also acknowledge assistance at the following conferences that supported my study: The “Sister Arts” in Pantomime: Music and Painting, Set Design, Costume, Dance (2010), Lancaster University Politics, Performance and Popular Culture in Nineteenth Century Britain (2011), Birmingham University Cultural, National and Imperial Politics of Pantomime (2012) University of Lancaster. Thinking Chinese Conference (2015) University of Central London, 1 April Stage and Theatre Research Award for funding towards conference costs (2012) And my thanks to many friends who have supported my work along the way. 7 TABLE OF CONTENTS List of Illustrations................................................................................... List of Graphs…………………………………………………………………. List of Abbreviations ………………………………………………………… Introduction.............................................................................................. p. 1 Scope and Methodology….…………………………………………………. p. 12 A Background to Aladdin: The Story of Aladdin…………………………………………………… p. 18 Aladdin’s Theatrical Legacy ………………………………………….. p. 23 A Background to Regional Theatre and Entertainment in Birmingham and the Black Country ………………………………………..…….. p. 27 Literature Review …………………………………………………………….. p. 32 Introducing Birmingham and the Black Country Industry and Products The Willow Pattern Plate……………………………………………..... p. 52 Tea ………………………………………………………………………. p. 55 Japanning and Japanese Cultural Influences…..…………………… p. 59 Chapter 1 Aladdin and The Willow Pattern Plate ................................. p. 63 The Mandarin’s Daughter or the Story of the Willow Pattern Plate……………………………………………….. p. 68 Aladdin by Charles Millward………………………………………….. p. 69 Aladdin and Imagined China…………………………………………. p. 89 Aladdin and Local Trading……………………………………………. p. 107 Aladdin and The Willow Pattern Plate’s Domestication…………… p. 112 Summary……………………………………………………………….. p. 117 8 Chapter 2 Aladdin and Tea...................................................................... p. 120 Aladdin, Tea and Trade in Empire……………………………………. p. 122 Aladdin, Tea and Endorsement of Chineseness……………………. p. 141 Aladdin, Tea and Social Change……………………………………… p. 157 Summary………………………………………………………………… p. 172 Chapter 3 Aladdin, Japanning and Japanese Cultural Influences....... p. 175 Aladdin, Local Industry and Trade in Japanese Ideas……………… p. 178 Aladdin and Consumer Advertising…………………………………… p. 186 Aladdin and the Kimono………………………………………………... p. 189 Aladdin, Cross-Dressing and Japan’s Exotic Sexuality…………….. p. 198 Summary………………………………………………………………… p. 218 Conclusion……………………………………………………………………… p. 222 Appendices Appendix A List of Aladdin, Exotic and Associated Local Pantomimes in Birmingham and the Black Country 1813-1914…………. p. 230 Appendix B Analysis and List of Local Theatres in Birmingham and the Black Country ……..……………………………………….. p. 277 Appendix C List of Chinese Related Productions 1800-1860s……. p. 306 Appendix D List of Statistical Data on Aladdin productions..………. p. 308 Appendix E Birmingham and Black Country Trade Directories Data p. 310 Appendix F The Family Friend Version of the Aladdin Story………. p. 312 Appendix G List of Wolverhampton Mayors 1850-1914……………. p. 313 Appendix H Topical Songs Quoted Within the Text ………………… p. 315 Bibliography ……………………………………………………………………. p. 324 9 LIST OF ILLUSTRATIONS Figure 1 ‘A Chanson for Canton’ (1858) Punch: 10 April: 151. p. 73 Figure 2 William Webb (c. 1830s) ‘A Toy Theatre drawing of the Street in p. 91 Pekin’, Aladdin [paper]. © Toy Theatre Gallery. Figure 3 Spode (c. 1850s) ‘Single and Two Storey Buildings as part of the p. 92 Willow Pattern Plate Design’, The Willow Pattern Plate [ceramic]. Author’s own. Figure 4 Satsuma Vase (c. 1885) [ceramics] 30 cm. Author’s own p. 185 Lacquered Box (c. 1830) [papier-mâché] 10cm x 15 cm. Author’s own. Pair of Spill Vases (1880-1890) [papier-mâché] 20 cm. Image courtesy Wolverhampton Arts and Culture. Figure 5 Maw and Co. Ltd. (1880s) Japanese Lady [ceramic] c. 40cm. p. 190 © Ironbridge Gorge Museum Trust. James Abbott McNeill Whistler (c. 1865) La Princesse du Pays de la Porcelaine [painting]. Freer Gallery of Art, Smithsonian Institution, Washington, DC. 10 Figure 6 William Webb (c. 1830s) ‘Princess in Aladdin’, Drawing of Characters, p. 192 Aladdin, Toy Theatre [paper]. © Toy Theatre Gallery. Walter Crane (1874) ‘The Princess in Aladdin’, The Frog Prince and Other Stories [paper]. The Mikado (1907) Poster cover for a re-issue of a 1907 recording [lithograph]. Courtesy of Gilbert and Sullivan Archive.
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