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The Stage Management of Henry Irving in America, 1883-1904

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The Stage Management of Henry Irving in America, 1883-1904 This dissertation has been microfihned exactly as received 67-16,333 SCHAFFER, Jr., Byron Smith, 1932- THE STAGE MANAGEMENT OF HENRY IRVING IN AMERICA 1883-1904. The Ohio State University, Ph.D., 1967 %)eech-Theater I University Microfilms, Inc., Ann Arbor, Michigan I Copyright by Byron Smith Schaffer, Jr. 1967 THE STAGE MANAGEMENT OF HENRY IRVING IN AMERICA 1883-1904 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Etyron Smith S ch affer, J r . , B .A ., M.A. The Ohio S ta te U n iv ersity 1967 Approved by A dviser Department of Speech ACKNOWLEDGMENTS To Dr. Allen Jackson for -work in England locating the Bram Stoker Scrapbooks, to Emily Parcher, Boston, Massachusetts for aid in locating newspaper accounts, to Mrs. Grace Schaffer for her co-operation with research in Washington, D. C. I am very grateful. I must acknowledge, too, the great aid given by The Ohio State Iftiiversity Theatre Collection whose financial assistance made the Bram Stoker Scrapbooks available to me. i i VITA. August 10, 1932 Bom - Lake Forest, Illinois 1954 B.A., Beloit College, Beloit, Wisconsin 1958-1959 Teaching A ssistant, Department of Theatre Northwestern University, Evanston, Illinois 1959 M.A., Northwestern University Evanston, Illinois 1959-1962 Assistant Professor, West Virginia Institute of Technology Montgomery, West Virginia 1962-1965 Teaching Assistant, Department of Speech The Ohio State University, Coltmbus, Ohio 1965-1967 Assistant Professor, Northern Illinois University, DeKalb, Illinois FIELDS OF STÜDÏ Theatre History Dr. John McDowell Dr. John Morrow Dramatic Literature Dr. Charles Ritter Theatre Production Dr. Roy C. Bowen Dr. Walter S. Dewey i i i lABLE OF C3DNTENTS Page ACKNGWLEDOIENTS......................................................................................................... i i v m ............................................................................................................................... i i i FIELDS OF ST D D Ï.................................................................................................... i i i GUIDE TO APPENDIX.............................................................................................. v CHAPTER I . INTRODUCTION........................................................................................... 1 A Justification of the Study, An Analysis of M aterials, A Short History of Henry Irving’s Career in Bigland Prior to 1883 n . PREPARATION AND ANTICIPATION ........................................................ 24 The Condition of the American Theatre in 1883 and Hairy Irving’s Preparations for tke ^ American Tours m . THE OLD LYCEUM IN THE NEW WORLD..................................................... 4? American Reaction to the F irst Two Irving Tours, 1883-1884, and 1884-1885 IV. A BOW TO THE AUDIENCE........................................................................ 86 Henry Irving’s Theories of Stage Management as Expressed in Newspaper Interviews, Feature Articles, and Speeches in the United States V. ILLUSION AND DISILLUSION ..................... 120 Irving’s Final Tours and the American Response, 1887-1888, 1893-1894, 1899-1900, 1901-1902, 1903-1904 VI. CONCLUSION.............................................................................................. 154 APPENDIX....................................................................................... •........................... 157 BIBLIOGRAPHr........................................................................................................... 230 iv GUIDE TO APPENDIX Page FIRST TOUR, 1883-1884 .......................................................................................... 157 SECOND TOUR, 1884-1885 ............................................................... 166 THIRD TOUR, 188?-1888 ........................................................................ 175 FOURTH TOUR, 1893-1894 .......................................................................................... 182 FIFTH TOUR, 1895-1896 .......................................................................................... 192 SIXTH TOUR, 1899-1900 .......................................................................................... 204 SEVENTH TOUR, 1901-1902 ..................................................................... 213 EIGHTH TOUR, 1903-1904.......................................................................................... 222 CmPTER I INTRODUCTION A JUSTIFICATION OF THE STUDY, AN ANALYSIS OF MATERIAIS, AND A SHORT HISTORY OF HENRY IRVING’S CAREER IN ENGIAND PRIOR TO 1883 During a period of twenty-one years, from October 29, 1883, to March 25, 1904, the English actor-^nanager Henry Irving and the company •under his leadership conducted eight extensive tours of the United States and Canada. The Irving "tours brought to America the first complete European productions in i t s h is to ry . The Lyceum company arrived in this country fully equipped with the costumes, scenery, lighting equipment, and trained technical personnel it had emplo]red in the mounting of its English successes. Such attention to harmonious detail and emphasis on ensemble staging, such lavish quality in presentation had never before been revealed to American audiences. The impact of Irving’s disciplined, consistent staging techniques was enormous, not only upon the select audiences of a few influential popu­ lation centers, but upon the entire continent from Ontario to Louisiana, and from Massachusetts to California. In essence, the American tours represent •the best of Henry Irving’s career in microcosm. Irving never introduced a major produc­ tion in this country "that had not already been subjected to -the scrutiny of his English critics. His failures he left on •the other side 1 2 of the Atlantic; the presentations he considered most representative and snooessfnl he brought to the United States, A consideration of these successes should provide an important evaluation of the Englishman’s achievements both here and in his homeland. More signifi­ cant, however, is that Irving's pronouncements upon his own work in this country were already tempered by the critical response in London, Ey the time he brought a production here he could predict within relatively narrow lim its the nature of the reception it would receive from audimaces and critics. His pronouncements on his methods, were, there­ fore, colored by extensive experience with the plays in production, and constituted a kind of defense-in-advance against those vho might attack his efforts. As a result, Irving's American analyses of his own work and methods were most indicative of his considered judgments, free from the hopes and pressures of opening night, Irving's discussions with the American press provide a unique explanation of his artistic theories. The English actor-manager's theories and practice of stage management and their influence upon the United States stage as perceived by his American contemporaries w ill be the principal concern of the following pages. H eretofore, s c h o la rly comment upon I r v in g 's stag e management in this country has been inadequate. Major American theatre historians have slighted the Irving contributions to native staging, Homblow, for instance, dispenses with the Englishman's tours in less than three fu ll pages devoted to his acting, and nowhere mentions the Lyceum's 3 splendid mountings.^ Bernard Hewitt provides a long quotation on the 2 stage effects in Louis XI. but then, undoubtedly influenced by Vardac, dismisses the Englishman’s contribution with the terse: "Later the moving picture theatre picked up where Irving le ft off."^ fhe d e a rth o f American comment i s n o t rem arkable. ¥e s h a ll see that there were numerous factors within Irving’s American career that tended to obscure his in itial influence upon United States stage management. Not the least of those factors is the content of the many biographies that have been written about the Englishman both during his career and since his death. Henry Irving le ft no memoirs. Although i t was reported -Idxat he was dictating an account of his early career to Austin Brereton, Irving’s unexpected demise limited the recitation to his "early, childish days. His life did not go unrecorded, however. Between 1883 and the present, twenty book-length accounts were written about Henry Irving’s career; of those twenty, eleven were published in England by men idio bad worked closely with Irving and were sympathetic with his undertakings,^ ^Arthur Homblow, A History of the Theatre in America (Phila­ delphia: J. B. Lippincott Company, 1919), H , pp. 235-37. 2 A. N. Vardac, From Stage to Screen. Theatrical Method from Garrick to G riffith (Cambridge: Harvard University Press, 1959). ^Bernard Hewitt, Theatre U.S.A. (New York: McGraw-Hill Book Company, I n c ., 1959), p. 253. ^Fercy Fitzgerald, Sir Henry Irving (Philadelphia; G. W. Jacobs & Co., 1906), p. 3. ^L. F. Austin, Austin Brereton (3 books), Gordon Craig, Percy Fitzgerald, Charles Hiatt, Mortimer Menpes, Walter H. Pollock, Clement S c o tt, Bram S toker. g four were •written in America by persons of similar convictions, two were n composed by Englishmen who disagreed with Irving’s dramatic objectives, and •the remaining •three were "the work of an anonymous suppor'ter, a g grandchild, and a s-tudent of public speaking from Arkansas, Curiously enough few of the accounts of his life give extensive
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