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Century British Ballad Opera I M. V/2- ASPECTS OF THE EIGHTEENTH CENTURY BRITISH BALLAD OPERA: A STUDY IN POPULAR THEATRE Timothy E. Scheurer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillmènt of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1976 Approved by Doctoral Committee KlAo- ABSTRACT C-0 ?<*X The purpose of this study was to examine in depth a specific genre of popular theatre: the ballad opera. In 1728 the success of John Gay’s The Beggar’s Opera spurred other playwrights to attempt this form of drama; as a result, a new dramatic genre developed and flourished for over twenty years. To understand the success of the ballad opera an investigation was made into the cultural and artistic climate during the early eighteenth century. Managers and playwrights at this time attempted different forms of drama and entertainment to accommodate the heterogeneous tastes of their audiences. The ballad opera proved to be the most popular of all these forms. The ballad opera's formula for success was based on its being a hybrid genre which drew heavily on farcical plots and devices, satire, and music for its basic structure. Ballad opera authors followed the tenets of Whig satire to ’’good-naturedly" attack two social vices: marriages arranged between people of differing ages or intellectual capabilities, and the "art of Thriving," which dealt with professional people or greedy parents seeking monetary interest or social preferment to the exclusion of virtue or benevolence. The folk ballads and popu­ lar songs used in the ballad opera reinforced the structure of the plays and provided a familiar musical idiom loved by the audience. The Licensing Act of 1737 helped curtail future work in the ballad opera and opened the doors for the sentimental comic operas of the late eighteenth century. Comic opera relied on the same musico-dramatic form as ballad opera, but it obviated the role of satire; it also Ill adopted the new galante style of music; and it placed more emphasis on morality in its themes. The ballad opera and the comic opera provide the modern critic with a barometer to judge the artistic temper of the eighteenth century; moreover, they are important to the history of theatre because they reveal the roots of modern musical comedy. Acknowledgments This study of the eighteenth-century British ballad opera is at once the end product and the beginning of a long standing interest in and love for popular musical theatre. I hope in the process of writing this study I have provided some worthwhile conclusions about the nature of musical comedy and eighteenth-century drama, and, at the same time, I hope I have provided future critics with a tenable critical framework and methodology which can be implemented in scholar­ ship devoted to musical theatre. There are a great -many people to whom I owe a debt of gratitude for their guidance and encouragement while I was writing this disserta­ tion. I am grateful to my advisor Dr. Paul E. Parnell whose knowledge of Restoration and eighteenth-century drama was the single most im­ portant factor in aiding my research and helping keep the major thesis of this work in focus. I am grateful also to Dr. Donna G. Fricke who helped extensively in my research of Augustan satire and who provided me with many valuable editorial suggestions. To Dr. Ray B. Browne I owe thanks for opening up the field of Popular Culture which played an important role in the formulation of my critical methodology. I am also obliged to Mr. Rex Eikum of the Bowling Green State University College of Musical Arts for his valuable assistance in helping me research the field of eighteenth-century opera and for giving of his time to serve on my committee. I owe an especial thanks to Dr. Wallace DePue of the Bowling Green State University College of Musical Arts for guiding my musical training in theory and composition for the past two years. I am also grateful to two good friends, Ms. Barbara Ann Smith V and Ms. Barbara Sue German, who gave their valuable time to help read this manuscript. Special thanks go to Mrs. Dorothy Betts who was not only my typist but also one of my best editors. I am, however, especi ally grateful and obliged to my wife Pamela who made the most valuable contribution through her love, understanding, and interest in this dissertation and my career; there is no way I can fully repay her for the time spent typing, reading, and offering sorely needed encourage­ ment when my enthusiasm or confidence was flagging. vi TABLE OF CONTENTS Page 1. BACKGROUNDS: CULTURAL CLIMATE FOR A POPULAR PHENOMENON. ... 1 2. THE DRAMATIC CONVENTIONS OF CHARACTER, PLOT, AND THEME IN THE BALLAD OPERA..................................... 24 3. SATIRE AND THE BALLAD OPERA.................................... 55 4. THE CONVENTIONS OF SONG IN THE BALLAD OPERA....................89 5. IN THE WAKE OF THE BALLAD OPERA: EIGHTEENTH-CENTURY BRITISH COMIC OPERA........................................... 133 6. NOTES ON THE MUSIC OF THE BALLAD OPERA AND THE COMIC OPERA . .172 7. CONCLUSION................................................... 191 BIBLIOGRAPHY................................................. 198 APPENDIX 215 vii List of Figures 1. "Over the Hills and Far Away" from The Beggar1s Opera. .216-17 2. "Thomas, I Cannot" from The Beggar’s Opera ................... 218 3. "Le Printemps Rappelle aux Armes" from The Beggar’s Opera. 219 4. "Around the Plains" from The Generous Free-Mason............ 220 5. "Muir land Willy" from The Generous Free-Mason.......... .. 221 6. "One Evening Having Lost My Way" from The Beggar’s Opera ... 222 7. "Ye Nymphs and Sylvan Gods" from The Mock Doctor............ 223 8. "Diogenes surly and proud" from The Lovers Opera ....... 224 9. "Red House" from The Lovers Opera......................... - • 225 10. "Buff-Coat" from The Lovers Opera............................. 226 11. "When the Kine had giv’n a Pailful" from The Lovers Opera. 227 12. "From Aberdeen to Edenborough" from The Lovers Opera........ 228 13. "Dee’l take the Wars" from The Lovers Opera...................228 14. "Sweet Nelly, my Heart’s Delight" from The Lovers Opera. ... 229 15. "Make your Honours, Miss" from The Lovers Opera. .......... 229 16. Music from The Beggar’s Wedding............ .................. 230 17. "Come hither, good People" from The Generous Free-Mason. ... 231 18. "White Joak" from The Generous Free-Mason.....................232 19» "Vain Belinda" from The Female Parson: or. Beau in the Sudds . 233 20. "The Bonny Gray-Eyed Morn" from The Beggar's Opera.......... 234 21. Original music and lyrics to "Cold and Raw" from Chappell's Popular Music of the Olden Time............................... 235 22. "Oh, the Broom" from The Beggar's Opera.......................236 23« "Fond Echo" from Silvia; or, the Country Burial. ....... 237 vili 24. "Ah how sweet’s the cooling Breeze" from Silvia; or. The Country Burial. ............... .................... ............ 238 25. "Under the Greenwood Tree" from The Jovial Crew............ «239 26. "Hey Boys up go we" from The Devil to Pay ...................240 27. Air 22 (Finale) from The Lottery............................... 24-1 28. "Irish Trot" from The Beggar's Opera............ -............ 242 29. "An Old Woman Cloathed in Gray" from The Beggar's Opera ... .243 30. Air 5 "Set by Mr. Seedo" from The Mock Doctor.................244 31. "Abbot of Canterbury" from The Lover His Own Rival. ..... .245 32. Air 7 "Set by Mr. Seedo" from The Mock Doctor ............. .246 33- "Still in Hopes to get the better" by Thomas Arne from Love in a Village......................................... 247-48 34. "Gentle Youth, ah! tell me why" by Thomas Arne from Love in a Village ......................................... 249-50 35. "I Lock'd Up All My Treasure" by Charles Dibdin from The Quaker.................... .....................................251 36. "The Lads of the Village" by Charles Dibdin from The Quaker. .......................... .......... 253-54 37- Thomas Morley's madrigal (original version) "Now is the month of Maying" from Richard Sheridan's The Duenna .... 256-57 CHAPTER ONE Backgrounds: Cultural Climate for a Popular Phenomenon Emmett L. Avery has suggested that the various entertainments offered London theatre-goers in the early eighteenth century bear a 1 strong kinship with vaudeville. What gave vaudeville its distinctive character was that it was defined in part by the type of entertainments it offered and in part by the audience which attended the theatre. American vaudeville, for instance, experienced great growth during the halcyon days when the United States was known as the "melting pot" of the world. The American-vaudeville bill reflected this feeling; seem­ ingly everyone from J. P. Morgan to the latest Irish or Jewish immi- A grant fresh off the boat could find something to his liking within the vaudeville palaces. For example, Brooks Atkinson, in his Broadway (New York: Macmillan, 1974), p. 120, states that the opening of the great Palace Theater in New York featured the following playbill on March 24, 1913: The Palace Girls, dance ensemble; Ota Gygi, Spanish court violinist; La Napierkowska, pantomimist and dancer; "Speaking to Father," comedy skit by George Ade, with Milton Pollack; "The Eternal Waltz," flash act based on operetta, with thirty people, including Mabel Berra and Cyril Chadwick; McIntyre and Harty, who were replaced by Taylor Holmes, monologist, after the matinee performance; Four Vanis, wire act; Hy Mayer,
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