NOTE TO USERS This reproduction is the best copy available. UMI “The Citadel on Stage: The Rise and Decline of Garrison Theatre in Halifax” By Alex D. Boutiller A thesis submitted in partial fulfilment of the requirements for the Master of Arts in Atlantic Canada Studies at Saint Mary's University Halifax, Nova Scotia September 2005 Alex B outiller A pproved By: Dr. Colin Howell Supervisor Dr. Janet Hill U‘ R eader Dr. Ron McDonald External Examiner Library and Bibliothèque et 1^1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre référence ISBN: 0-494-09946-1 Our file Notre référence ISBN: 0-494-09946-1 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet,distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform,et/ou autres formats. paper, electronic and/or any other formats. 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Canada ABSTRACT The Citadel on Stage: The Rise and Decline of Garrison Theatre in Halifax by Alex Boutiller This thesis traces theatre and other entertainments provided by French explorers and British military contingents stationed at garrisons in Annapolis Royal, Fort Amie, and Halifax, Nova Scotia, from 1606 to 1906. The narrative argues that politics, religion, and economics were involved in the social and cultural aspects of theatre and spectacle performed by garrison officers and men during that time. However, the main focus is the rise and decline of the garrison theatrical tradition in Halifax, from 1773 to 1874, in order to understand why the officers and men of the British military produced and acted in stage plays; why the men found it necessary to play the women’s parts, and how the female actors were selected; why the repertoire of the garrison amateurs consisted mainly of comedy and farce; and what caused the decline and eventual grand finale of garrison theatre in Halifax. 13 October 2005 TABLE OF CONTENTS Page Acknowledgements ....................................................................................................... i Prelude ........................................................................................................................... ii Prologue ......................................................................................................................... 1 Act I The Citadel on Stage ......................................................................... 5 Act II The Rise of Garrison Theatre in Halifax ......................................... 24 Act III The Decline of Garrison Theatre in Halifax ................................... 66 A fterpiece....................................................................................................................... 95 Epilogue......................................................................................................................... 104 Works Cited ......................................................................................................................112 ACKNOWLEDGEMENTS I want to give a standing ovation to both my advisors. I owe a debt of gratitude to Dr. Colin Howell for his intellectual stimulation, and for introducing me to the drama of history. I am equally indebted to Dr. Janet Hill whose sage review of my thesis prompted me to throw out the extra ballast, thus making the narrative flow much better: her comments and contagious enthusiasm for theatre were a great inspiration to me. Special thanks to Dr. Margaret Harry, whose door was always open, and who intuitively knew the answers to my questions before I asked them. I am especially indebted to Doug Vaisey, Head of Reference and Research at the Patrick Power Library, for all the articles and books he located for me. As well, I want to express particular thanks to all the librarians at Saint Mary’s University who were always ready and willing to help me with my hunting and gathering of sources. Sincere thanks to the staff at the Public Archives of Nova Scotia, and to the staff at ‘Special Collections’, Dalhousie University, both of whose staff guided me through the labyrinth of relevant material. I also wish to acknowledge with kind thanks past researchers (listed in works cited) who wrote articles illuminating the nooks and crannies of garrison theatre. I wrote this thesis during the winter of 2004-05, and through it all I was kept warm and content by my confidante, Rosanne Dempsey, whose patience with my frustrations, words of encouragement, and love for my approach made it possible. And last but not least - my mother’s wit - she was the quickest one-liner I ever met. Of course I alone take responsibility for what is said in this thesis. Prelude The central topic of the following thesis, “The Citadel on Stage: The Rise and Decline of Garrison Theatre in Halifax”, is the garrison theatrical tradition. The thesis focuses mainly on theatre produced and performed by the officers and men of the British army and navy stationed in Halifax during the years 1773-1874. Overall I look at garrison theatre from its begimrings on board British naval vessels, to its rise and decline in Halifax; covering a period of over 300 years. Throughout the work I inquire into, and search for answers to why the officers and men of the British military produced and acted in stage plays; why the men found it necessary to play the women’s parts, and how the female actors were selected; why the repertoire of the garrison amateurs consisted mainly of comedy and farce; and, most importantly, what caused the decline and eventual grand finale of garrison theatre in Halifax? Seeking answers to these questions, I probe into the conventions of honor and gentility that coexisted with the magnificent insouciance inherent in the character of the culture of the British military officers in that era. I look at the spectacles and drama taking place in the city of Halifax itself during the 102 year period I focus on, and consider the financial problems and difficulties which exasperated professional troupes from the United States who up until confederation, at different times, interacted with the garrison amateurs. I also take a brief look at garrison theatre in Annapolis Royal, as well as in Boston, New York, and Philadelphia to show how the main venue eventually became Halifax. In addition, I scan amateur acting companies in Halifax from 1846 onward, as well as other spheres of entertaimnent in the mid 1800’s, all of which contributed to the decline of garrison theatre. Ill Besides other entertainments and theatres, there were additional influences at play that gave rise to, and also caused the decline of garrison theatre: the British colonial institutions of politics, religion, and economics that dominated in Halifax until 1867. I examine these institutions to show how their exclusive privileges gave them control of the Nova Scotia environment, and how these privileges eventually brought about conflict and resistance to change, which ironically gave rise to change. The history of theatre is social history, and the social scene was influenced by economic conditions, political activities, and religious persuasion. But the scope of social history includes all classes of society, and the attitudes, behavior, and culture of those societies. Therefore, as my narrative unfolds I generalize on two classes, the privileged elite and the working poor, who made up Halifax society during most of the garrison era. Both of these classes were responsible for the gradual changes taking place in society; changes that brought about the emergence and intrusion of a different society, the end of an era, and the demise of the garrison theatrical tradition. These things being so, it seemed to me best to tell the story as life is acted out on stage; that is to say by a series of scenes divided by intervals of time. As I have arranged the text in chronological sequence there will be a good deal in common between one scene and the next. Since the method, then, is to present the thesis as a drama there will be a prologue, and the scenes will be staged in three acts,