The Business of Pantomime: Regional Productions 1865 to 1892

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The Business of Pantomime: Regional Productions 1865 to 1892 Sullivan, Jill Alexandra (2005) The business of pantomime: regional productions 1865 to 1892. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/11078/1/416891.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] The Business of Pantomi*me: Regional Productions 1865 to 1892 Jill Alexandra Sullivan M. A. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy January 2005 ,,O'C- O-MNGNý, 4ý 1' /?srr, ' L\>1 Abstract has Whilst in recent years the study of nineteenth-century popular theatre and culture expandedinto the music hall, fairgroundsand 'minor' theatres.embracing melodrama and spectacle, the Victorian pantomime has attracted little attention. More especially. the widespread and dynamic productions of the English provincial theatres have been largely excluded in discussionsthat repeatedlyfocus on the London stage. My thesis is centred on the Theatres Royal of Nottingham and Birmingham, two towns sited in the English Midlands, but with markedly different population sizes, socio- economic structures and national status. My argument, however, is not predicated on comparison but rather on siting the pantomimes within the very specific local contexts of each town. The relationship between the pantomime and the town engages with a notion of audience, identifiable through textual and promotional materials. The argument in my thesis moves from an overview of production styles at the two theatres to a specific analysis of the the financing and promotion of the pantomime at Nottingham in the mid- 1860s. Using extant financial records, I have established how the pantomime was produced in times of local hardship, and how a production affected by low expenditure and failing revenue was promoted to its potential audiences. The emphasesof advertising and the promotional techniques engaged by the theatre managements, together with those of the local newspapersalso enable a reassessmentof the role of the pantomime author. The traditional understanding of authorship as related to ownership of the text is re- considered in relation to the role the pantomime author played in the promotion of the production, and his real and construedrelationship to the theatre and town for which he was writing. Moreover, the available empirical evidence has served to foreground the pantomime text as an expression of local concerns and political interests that were particular to each town and displayed an acute awareness of issues of regional identity and status. Acknowledgments I would like to acknowledgeand thank the following people for their help, guidanceand support: My supervisors Professor Josephine Guy and Dr Joanna Robinson The University of Nottingham for a fee-waiver scholarship, awarded for the duration of my research, as well as two library grants that enabled necessarytravel to London and Birmingham. Also, the Department of English Studies for awarding me the Barry Brown Bursary in 2001. Library staff at: The John Johnson Collection, Bodleian Library, Oxford Birmingham Central Library, Local Studies Library Birmingham City Archives British Library, Colindale British Library, St. Pancras; more especially Kathryn Johnston and her colleagues in the Manuscript Department Bromley House Subscription Library, Nottingham Hallward Library, University of Nottingham Nottingham Central Library, Local Studies Library Nottinghamshire Archives Public Records Office, Kew My father for his endless support, and my late mother who would have been so proud All my friends and converts to the joys of pantomime Colleagues and sympathetic managers at City of Nottingham LEA and the Healthy Schools Programme Team Ursula Holman for her hospitality on my visits to London To those who have helped answer my questions by letters and emails, at: Manchester.Central Library Liverpool Public Library The Theatre Museum The Mander & Mitchenson Collection Helen Whybrew at the Theatre Royal, Nottingham And for advice, help and information that I have receivedfrom the following people: Colleaguesin the Departmentof English Studies,University of Nottingham ProfessorDavid Mayer, regardingpantomime, and for the loan of selectedbooks of words Dr Shaf Towheed Dr Ann Featherstone The Trusteesof the Malt Cross Music Hall, Nottingham and the many helpful recommendationsand commentsthat I have received from fellow delegatesat conferencesin Englandand America. Abbreviations used in this thesis. In footnote references, the titles of the following local newspapers have been abbreviated as follows: The Nottingham and Midland Counties Daily Express Express The Nottingham Daily Express NDE The Nottingham Daily Guardian NDG The Nottingham Journal NJ The Birmingham Daily Post BDP The Birmingham Daily Gazette BDG The Birmingham Daily Mail BDM The pagination of nineteenth-century newspapers can be inconsistent. I have therefore provided page numbers for all references. The front page of a newspaper is referred to throughout as p. 1, to avoid confusion. Twenty-first century journal titles that feature regularly in this thesis are also abbreviated in footnote references: TheatreNotebook TN Nineteenth Century Theatre NCT New TheatreQuarterly NTQ Theatre Survey Ts Nineteenth-century pantomime titles were often rather lengthy, therefore to avoid cumbersomefootnotes I have adopted the shorter versions of all titles throughout. The full titles are given in Appendix A. Table of Contents page nwnbers Acknowledgments List of Abbreviations Introduction Chapter I Review of Secondary Sources Chapter 2 'such an odd compound': An Introduction to the Genre and an Overview of Local Production 37 Chapter 3 'the sheet anchor of the drama at the present moment': Managing the Pantomime 76 Chapter 4 'Written expressly for this Theatre': Pantomime Authorship 123 Chapter 5 'local hits and topical allusions' 148 Chapter 6 'THE GORGEOUS CHRISTMAS PANTOMIME: Case Studies: Dick Whittington 1880 184 Conclusion 211 Glossary of Pantomime Terms 214 Appendix A Pantomimes, Authors and Managers 217 Appendix B Weekly Income and Expenditure Figures for the Theatre Royal, Nottingham for the Seasons 1865-66 and 1866-67 222 Appendix C Identified References from the Pantomimes at the Theatres Royal of Birmingham and Nottingham, for the Years 1866ý1871,1876,1881,1886,1891 224 Appendix D Topical Song 'When the World Turned Upside Down" 239 Bibliography 241 Introduction At the beginning of February 1886, the Birmingham Daily Post carried an advertisement for the pantomime at the town's Theatre Royal. Other than the title, times of performance and seat prices, the central feature of the advertisement was a quote from 'The Theatre, London Magazine for February, 1886'. The quote read: 'Robinson Crusoe,' at the Birmingham Theatre Royal is, in my estimation, far and away the best of the provincial pantomimes in general excellence of scenery, costumes, and acting, to say nothing of its music, which surpassesthat in all other productions in point of melody and liveliness. Let me advise such of my readers as care to see a brisk, well-constructed, amusing, and thoroughly enjoyable pantomime, to lose no time in fmding their way to Euston, and travelling thence by the well-ordered, fast, and punctual trains of the London and North-Western Railway to Birmingham, there to see 'Robinson Crusoe' at the Theatre Royal. I will answer for it that the pantomime at the Birmingham Theatre Royal is the best to be seen in the country this year. ' In this thesis, I intend to extend the study of Victorian pantomime and draw critical attention, like the Euston passengers, out of the metropolis to the provincial towns of Birmingham and Nottingham. The focus of my study will be the Theatres Royal of each town, and the means by which the individual theatre managementsattracted local audiences to their Christmas pantomimes. Such research is necessary to foreground the regional identity of provincial theatreand to broadencritical understandingof nineteenth- century pantomime. The Times in the mid- I 860s was able to report on the increased number of pantomime productions in the provinces, and there was some critical awareness of the standards of productions at regional theatres, as emphasised
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