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Popular Theatre in Manchester 1880-1903: Commercial Entertainment, Rational Recreation and Politics

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Popular Theatre in Manchester 1880-1903: Commercial Entertainment, Rational Recreation and Politics POPULAR THEATRE IN MANCHESTER 1880-1903: COMMERCIAL ENTERTAINMENT, RATIONAL RECREATION AND POLITICS by CLAIRE ROBINSON A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Drama School of English, Drama and American and Canadian Studies College of Arts and Law The University of Birmingham September 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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/dissertation 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. ABSTRACT This thesis investigates the leading popular theatres in central Manchester between the years 1880-1903. It was a time of rapid change that saw the rise of mass entertainment in which the theatres and music halls played a major part. This is a study of theatre as industry, rather than the content of what could be seen on its stages. These developments are discussed as part of a nascent night time cultural economy being driven by the comparative rise in wages and reduction of working hours of the urban workforce. With the power to choose how to spend their disposable income and how to use their leisure time, the growing working and lower middle classes as consumers could exercise influence over the purveyors of commercial entertainment and demand what they wanted to see. The series of case studies investigate the networks of sociability that emerged and operated in and between the managements of the theatres and connected them with the rising press. Theatre, and specifically pantomime, is seen at the centre of a series of interlocking narratives that connected the industrial city, rational recreation, the ‘bohemian’ network of socialist writers and artists and audiences in late nineteenth century Manchester. For CHARLES JACKSON ROBINSON 1884-1975 and DONALD ROBINSON 1919-1990 ACKNOWLEDGEMENTS I would like to thank the following people for their help, guidance and support: My supervisor Professor Kate Newey The Arts and Humanities Research Council for the award of a fully funded doctoral scholarship as part of the major research project The Cultural History of Pantomime in England 1837-1901. This is a joint project between the University of Birmingham and Lancaster University. Library staff at: The University of Birmingham Library British Library, Colindale The Co-operative Society Archive, Manchester The Greater Manchester Police Museum and Archive The John Rylands Library at the University of Manchester, Special Collections Liverpool Central Library, Special Collections and Local Studies Library Manchester Central Library, Special Collections and Local Studies Library The People’s History Museum and Archive, Manchester The Royal Northern College of Music Library, Special Collections Stockport Central Library, Local Studies Library The Templeman Library, the University of Kent, Special Collections The Working Class Movement Library, Salford Thanks for the support, advice and discussions on the topic to the following people; Dr Peter Yeandle, Professor Jeffrey Richards, Professor Melanie Tebbutt, Professor Russell Jackson, Dr Dave Day, Dr Janice Norwood, Dr Jill Sullivan, Dr Fiona Cosson and Dr Karen Laird. My fellow doctoral researchers: Rona Murray, Dr Victoria Garlick, Tracy Cattell, Ellen Couchman-Crook and Dr Stephen Etheridge. To my mother who has supported me throughout, my late father, and long suffering friends too numerous to mention. CONTENTS Introduction 1 Chapter 1 The Bankruptcy of Captain Bainbridge 44 Chapter 2 The Pantomime and Music Hall Debates in the Manchester Guardian, 1889 84 Chapter 3 Charles Rowley and the Ancoats Brotherhood 130 Chapter 4 Robert Blatchford and the Clarion 166 Chapter 5 Robert Courtneidge and the State of the Drama 205 Chapter 6 The Hardacre Case 244 Conclusion 283 Appendix 1 – The Manchester Theatre Managers. 1880-1903 290 Appendix 2 – The Manchester Pantomimes. 1880-1903 291 Appendix 3 – The Manchester Pantomime Authors. 1880-1903 292 Appendix 4 (i) – The Babes in the Wood, Theatre Royal, Manchester. 1883-1884 293 (ii) – Cinderella, Theatre Royal, Manchester. 1891-1892 294 Bibliography 295 ILLUSTRATIONS Figure 1 Peter Street, Manchester in the 1890s. 1 Painting – Artist: H. E. Tidmarsh © Courtesy of Manchester Libraries, Information and Archives Appendix 4 (i) – The Babes in the Wood. Theatre Royal, Manchester. 1883-1884 293 (ii) – Cinderella. Theatre Royal, Manchester. 1891-1892 294 TABLES Table 1 - The Central Manchester Theatres 5 Appendix 1 – The Manchester Theatre Managers 1880-1903 293 Appendix 2 – The Manchester Pantomimes 1880-1903 294 Appendix 3 – The Manchester Pantomime Authors 1880-1903 295 Note Part of Chapter One appears in an earlier form, in Day, Dave (ed.) (2013) Sport and Leisure Histories. Manchester: Manchester Metropolitan University. INTRODUCTION Figure 11 The above illustration shows Manchester’s bustling Peter Street in the 1890s, looking towards Deansgate from a vantage point which today would be standing outside Central Library. The second building down, on the left, is the Theatre Royal, with the Free Trade Hall beyond. On the right is the entrance to Mr Hardacre’s Comedy Theatre. This is the spatial and temporal location of my thesis. In 1994, in their survey of the Manchester Theatres, Wyke and Rudyard advocated that: 1 Painting – Artist: H. E. Tidmarsh © Courtesy of Manchester Libraries, Information and Archives 1 Considerable research is also needed to unlock the business and managerial methods of those who operated the theatres. In general, theatre histories have given insufficient attention to box-office receipts, yet for lessees the difference between revenues and costs was the central fact of life. [...] Here the fact that our knowledge of the lives, let alone business methods and dealings, of lessees of the stature of Fred Barney Egan, J. Pitt Hardacre and Richard Flanagan, rarely exceed that available in their press obituaries is an obvious barrier.2 Twenty years later, it is still the case that little academic research has been published about the history of popular theatre in late Victorian Manchester. The three research questions in my thesis have emerged from some of the gaps in knowledge identified by Wyke and Rudyard. I intend to begin to address their overdue challenges by examining the theatres of central Manchester’s ‘theatreland’ between the years 1880 to 1903. The quotation above forms the basis of my first research question – who were the managers of the city’s leading theatres and how did they operate their theatres? Their names are known already and their tenure, and the pattern of movement of managers around the Manchester theatres, can be seen in Appendix One. My research provides a more in-depth understanding of their backgrounds and careers, and the diverse routes that brought them into theatre management and informed their policies and ambitions. This information is vital to develop an understanding of the social and business relationships at the basis of the networks that evolved around and between them. 2 Wyke, Terry, Nigel Rudyard and Manchester Central Library, (1994) Manchester Theatres. Manchester: Bibliography of North West England. pp. 12-13 Of the managers noted by Wyke and Rudyard above, Frederick Bailey Egan, known as ‘Barney,’ had died in 1877, outside the scope of my thesis. Richard Flanagan, noted for his spectacular Shakespearian revivals and his later association with the work of Annie Horniman, is only mentioned briefly. See Gooddie, Sheila (1990) Annie Horniman: A Pioneer of the Theatre. London: Methuen. John Pitt Hardacre, however, as an influential manager in the Manchester theatres of the day, is a significant figure in my research and the focus of Chapter Six. 2 My second research question emerges from Wyke and Rudyard’s observation of the functioning of the relationship between the theatres and the press: A further important and largely neglected theme in the history of Manchester’s theatre is the role played by the press. The rise and apparently increasing influence of the dramatic critic has only been lightly sketched and in truth, we know little about the journalists who wrote about the local theatre.3 Here, I go beyond a discussion of the local journalists who wrote dramatic criticism, to establish the existence of networks that connected journalists and theatre managements and discover mutually beneficial relationships that saw some of those journalists author plays and pantomimes that were produced on the stages of Manchester theatres. In some cases, as we shall see, the journalists also became involved in more practical roles with the productions. I have been unable to find any previous academic references to these networks. Whilst Robert Blatchford and the Clarion are mentioned in histories of socialism and journalism, the Clarion journalists writing for, or connected to, the theatre that I examine in Chapters Four, Five and Six do not appear to have attracted the attention of scholars previously. My research into the networks and the Clarion, therefore, contributes to new academic knowledge about the history of theatre in Manchester. The third thorny question posed by Wyke and Rudyard that I consider is ‘Where did the boundaries of the theatre end and music hall begin?’4 I suggest that this is somewhere in the evolution of late Victorian pantomime, and that a symbiotic relationship developed between the two forms of commercial entertainment, with pantomime acquiring the function of a bridge between theatre and music hall. Music hall for its part can be seen as having undergone a metamorphosis into variety 3 Ibid., p. 14 4 Ibid., p. 7 3 theatre as it aspired to be judged as respectable. I examine this notion with particular reference to the rising popularity of mass entertainment in Manchester.
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