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A Study of the Management of Charles Kean at The A STUDY OF THE MANAGEMENT OF CHARLES KEAN AT THE PRINCESS’S THEATRE; l850-l859 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By BUDGE THRELKELD, B. A., M. A. **** The Ohio State University 1955 Approved by Adviser Department of Speech PREFACE When a person approaches a subject with the idea in mind of using that subject for the purpose of a detailed study, he does so with certain provisions. In this instance I was anxious to do a dissertation which would require an extended use of The Ohio State University Theatre Collec­ tion and which would enable me, at the same time, to do original research. The recent collection, on microfilm, of prompt books of theatrical productions during the nineteenth century provided an opportunity to explore that area in search of a suitable problem. The. possibility of doing research on the management of Charles Kean at the Royal Princesses Theatre was enhanced when tentative probings revealed that the importance of Kean*s management was recog­ nized by every authority in the field. However, specific and detailed information about the Princesses Theatre and its management was meagre indeed. Further examination of some of the prompt books prepared by Kean for his outstand­ ing productions at the Princesses convinced me that evidence was available here that would establish Kean as a director in the modern sense of the word. This was an interesting revelation because the principle of the directorial approach to play production is generally accepted to date from the advent of the famous Saxe-Meiningen company. Kean*s work ii ill at the Princess’s preceded that of the Saxe-Meiningen com­ pany by several years. A more extensive inquiry into the background of this concept of theatre development revealed that a study of the theatre during the nine year tenure of Charles Kean at the Princess’s would be a rich and rewarding experience. The first chapter of this thesis is devoted to a gen­ eral survey of the London theatre for an arbitrary period of forty-three years prior to Kean’s management at the Prin­ cess’s Theatre. The period I8OO-I850 was deemed sufficient to establish the background from which Kean emerged as an actor-manager. Chapter II is devoted to the history of the Prin­ cess’s Theatre from its opening in I826, as an exhibition house, to its closing in 1902. The period from l850-l859 is necessarily more detailed than the periods which pre­ ceded and followed it. Kean’s contribution to the English theatre was made at the Princess’s during the 1850-l8?9 period. Chapter III presents a study of the theatrical cal­ endar of the theatre during the period in question. The annals of the theatre are examined to reveal the total num­ ber of pieces produced under Kean’s direction, the range of offerings and the development of the long run system. Chapter IV is given over to a study of the prompt iv books in The Ohio State University Theatre Collection relating to the innovations in staging by Eean which reflect the concept of using scenery as environment for the play. The primacy of the stage picture is considered in relation to Kean's work as a director. Chapter 7 attempts to illustrate through analysis of prompt book materials that Kean was in complete control of all phases of productions. The prompt books reveal that he coordinated all of the elements of theatrical production into a unified whole. Chapter 71, of course, sets up the results of the investigation and conclusions are drawn based upon these result. The Appendices to this study are comprised of much of the data compiled for the research. Appendix A is a com­ plete calendar of the Princess's Theatre during the period in question. Appendix B includes a list of the plays pro­ duced at the theatre under Kean's management with the following divisions: (1 ) name of play, (2 ) author, (3 ) type of play, (^) date of first production at the Princess's, and (5) the total number of productions at the Princess's during the period studied. Appendix C is made up of excerpts of notices and reviews of some of the productions as they appeared in The London Times. No attempt was made to include all of the reviews because many of them were repi- V tious and only those which could throw additional light upon the areas of research involved were included, I am indebted beyond measure to many individuals who helped me during the study and preparation of this thesis. Most particularly I should like to thank Dr. Everett M. Schreck, Associate Professor, Department of Speech, who proved to be a most helpful and encouraging adviser. I wish also to thank Dr. John H. McDowell, Professor, Department of Speech, and Director of The Ohio State University Theatre Collection, whose influence and prestige opened many doors and made possible the acquisition of additional materials for my use, I wish also to thank Dr. Charles J. McGaw, Associate Professor, Department of Speech, who made himself available to help me in many ways, and I am indeed grateful. My sincere thanks go to Gladys Rohrig and Dale Kittle, curators of The Ohio State University Theatre Collection, for their spirited help with material in the collection, I appreciate the help offered by the wonderfully adept and cooperative library staff of The Ohio State University. The one person to whom I am most indebted is my lovely wife, Mildred, for this is truly "our" degree. To Paul Camp who unknowingly answered the prayers of »St. Budgie" Vi TABLE OF CONTENTS CHAPTER PAGE I, THE THEATRE IN LONDON PRIOR TO THE ACT OF 1 8 ^ 3 ................... 1 The state of the d r a m a ......... h The patent theatres .......................... 9 Activity at the patent theatres.......... .. 12 Leading actors and actresses of the p e r i o d ........... l6 The rise of the minor t h e a t r e s .............. l8 The audience of the period .......... 22 The act of 184-3.............................. 27 II. THE ROYAL PRINCESS'S THEATRE, OXFORD STREET ...................................... 32 The history of the theatre from 1 8 2 9 - 1 9 0 2 .................................. 32 Charles John Kean, (I8II-I868) 39 The Princess's Theatre: 1850-1859 ...... 4-5 A description of the theatre ........ 56 III. THE ANNALS OF THE PRINCESS'S THEATRE: 1850-1859 ............................. 64- The method of establishing the chronology .......................... 65 Principles of Kean's management in vii viil regard to programming........... 66 Observations on the expense of the productions in relation to the profits .................................. 77 IT. STAGING AT THE PRINCESS’S THEATRE I UNDER KEAN’S MANAGEMENT AS 'RELATED ' TO THE USE OF SCENERY AS ENVIRON­ MENT FOR THE P L A Y ............................ 85 The importance of the prompt books ...... 85 Scenery and stage effects............. 98 Scenery as environment .................. Ill Lighting ...... ........................ Il8 Special effects....................... 121 V. THE MANAGEMENT OF CHARLES KEAN AS RELATED TO THE DEVELOPMENT OF A MODERN DIRECTORIAL CONCEPT .................... 127 The director ...... .................... 127 Direction of groups and use of l e v e l s .......................... 132 Notes from The Tempest; further use of levels ................ I60 Observations on other productions .....«« 168 VI. RESULTS AND CONCLUSIONS.......................... 175 APPENDIX A CALENDAR OF THE PRINCESS’S THEATRE: l850-l859 .................... I83 APPENDIX B PIECES PERFORMED AT THE PRINCESSES THEATRE DDRING THE TENURE OF CHARLES KEAN AS MANAGER: l850-l859 262 APPENDIX C REVIEWS AND ARTICLES APPEARING IN ™ LONDON TIMES: l850-l859 ........ 26? BIBLIOGRAPHY...................... 297 LIST OF TABLES TABLE PAGE I. Number of New Productions per Season ........ 67 { L x LIST OF FIGURES FIGURE PAGE 1. Ground Plan, Act 7, The Wife * s S e c r e t .............101 2* Design for Act 7, The Wife^s Secret ............ 102 3. Act I, scene 2, and Act II, scene 2, The Wife ^ s Secret •••••••••«•»•• 103 Design for Act 17, scene 1, The Wife ^ s Secret. ...••.•••«••o.e 10^ 5. Design for Act III, scene 3, The Wife^s Secret . ......................... 105 6. Revelation Scene Following 1st Appearance of Ghost in Act I, The Corsican Brothers •••••••••••«• ll6 7* Revelation Scene, Act II, scene h, The Corsican Brothers « ......................... 117 8. Courtyard Within the Castle of îfecbeth. Act II, scene 1 . ............ 1^3 9. The Banquet Scene, Act III, scene 4-, Macbeth ............ 1^7 10. Chart of Actor's Positions on the Stage, The Banquet Scene, Act III, scene Macbeth •••••..•o.•••«». 1^8 11. The Trial Scene, Act III, scene 1, The Winter's Tale .............. 157 xi Xii 12* Chart of Actor*s Positions on Stage, The Trial Scene, Act III, scene 1, The Winter *s Tale ........... 158 CHAPTER I THE THEATRE IH LONDON PRIOR TO THE ACT OF 18^3 We are specifically concerned in this study with some of the principles of theatre management as they applied to the operation of the Princess's Theatre during the tenure of Charles Eean. It is necessary, however, to establish the background of the study from a historical point of view in order to make clear the importance of Kean's management in relation to the development of new concepts of modern theatre practice. It has often been said that there is nothing new in theatre* This is, of course, true in a large sense. The stage as a medium of action in order to move, instruct, or entertain a group of people is much the same as it ever was. The physical form of the area of action has been mod­ ified. Archaeologists and theatre scholars have made pos­ sible the tracing of the physical theatre from Ancient Greece through its various froms to its present intimate and enclosed structure.
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