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Queen Victoria and the Theatre of Her Queen Victoria and the Theatre of her Age By the Same Author NOT SHAKESPEARE SHAKESPEARE’S VICTORIAN STAGE VICTORIAN THEATRICAL BURLESQUES Queen Victoria and the Theatre of her Age Richard W. Schoch Reader in Drama and Theatre History School of English and Drama Queen Mary, University of London © Richard W. Schoch 2004 Softcover reprint of the hardcover 1st edition 2004 978-1-4039-3297-6 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2004 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y. 10010 Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin’s Press, LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN 978-1-349-51634-6 ISBN 978-0-230-28891-1 (eBook) DOI 10.1057/9780230288911 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Schoch, Richard W. Queen Victoria and the theatre of her age / Richard W. Schoch. p. cm. Includes bibliographical reference (p. ) and index. 1. Victoria, Queen of Great Britain, 1819–1901 – Knowledge – Performing arts. 2. Performing arts – Great Britain – History – 19th century. 3. Theater – Great Britain – History – 19th century. 4. Queens – Great Britain – Biography. I. Title. DA555.S36 2004 941.081Ј092 – dc22 2003055850 10987654321 13 12 11 10 09 08 07 06 05 04 For Annabel and Richard Cellini This page intentionally left blank Contents List of Illustrations ix Acknowledgements xi Prologue xiii Part I At Home 1 1 Paying a Visit to the Crown 3 2 En Amateur 16 3 Our Little Theatre 37 4 Hush Money 61 5 Suspended, not Destroyed 70 6 For One Night Only 89 Part II In London 103 7 At the Play 105 8 The Lions Repaid All 117 9 Royally to Play a Native Part 126 10 Little People (Good and Bad) 136 11 Vulgar Victorian Trash 146 Part III The Queen’s Example 159 12 The Queen is Alarmed 161 13 Arise, Sir——! 173 14 Refuge at the Foot of the Throne 185 Epilogue: A Giddy Whirl of Theatre-going 195 Notes 203 Bibliography 222 Index 227 vii This page intentionally left blank List of Illustrations 1. Watercolour of Apollo in his Chariot, from Charles Kean’s production of The Winter’s Tale, Princess’s Theatre, London, 1856 (Egron Lundgren). The Royal Collection © 2003, Her Majesty Queen Elizabeth II. xv 2. Princesses Helena and Louise in Les Deux Petits Savoyards, performed at Windsor Castle, 1854. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 17 3. Sketch of the royal children in a tableau inspired by John Milton’s L’Allegro and Il Penseroso, presented at Osborne House, 1852 (E.H. Corbould). The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 21 4. The royal children in the tableau ‘Spirit of the Empress Helena’, presented at Windsor Castle, 1854. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 23 5. Tableau ‘Homage to Queen Victoria’, presented at Osborne House, 1888. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 27 6. Tableau of ‘India’, presented at Balmoral Castle, 1888. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 28 7. Princess Victoria of Prussia and Hon. Alexander Yorke in Caught at Last, performed at Balmoral Castle, 1889. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 33 8. Programme for Macbeth, performed in the Rubens Room at Windsor Castle, 1853. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 39 9. Painting of a scene from Macbeth, performed in the Rubens Room at Windsor Castle, 1853 (Louis Haghe). The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 41 10. Queen Victoria’s sketch of a scene from King John, performed in the Rubens Room at Windsor Castle, 1852. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 54 11. The Waterloo Chamber, Windsor Castle, set up for a command performance, c. 1891. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 76 12. Programme for Macbeth, Her Majesty’s Theatre, London, 19 January 1858. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 143 ix x List of Illustrations 13. Queen Victoria’s sketch of the tableau of ‘The Duel’ from Charles Kean’s production of The Corsican Brothers, Princess’s Theatre, London, 1852. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 155 14. Watercolour of a scene from Dion Boucicault’s The Colleen Bawn, Adelphi Theatre, London, 1861 (Egron Lundgren). The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 156 15. The Princess Royal’s watercolour of ‘The Entry of Bolingbroke into London’ from Charles Kean’s production of Richard II, Princess’s Theatre, London, 1857. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 188 16. Queen Victoria’s Christmas Table, Windsor Castle, 1857. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 189 17. Drury Lane Theatre’s page in the ‘Address from the Theatrical Profession on Queen Victoria’s Golden Jubilee’, 1887. The Royal Collection © 2003, Her Majesty Queen Elizabeth II. 197 Acknowledgements My greatest debt of thanks is to Her Majesty Queen Elizabeth II for her gracious permission to quote from materials in the Royal Archives and to obtain photographic reproductions of items from the Royal Collection. Without such permission this book could not have been written. I am espe- cially grateful for the assistance I received from the curators, archivists and librarians at Windsor Castle. The Hon. Lady Roberts, Curator of the Print Room, offered a warm welcome and provided expert guidance, most especially on artworks created by Queen Victoria and the Princess Royal. Susan Owens, the Assistant Curator, helpfully pointed me toward materials that I would otherwise not have consulted. She was ably assisted by Rhian Glover. Frances Dimond, Curator of the Royal Photographic Collection, generously produced a wealth of material on private theatricals and tableaux vivants staged at Balmoral and Osborne. At a crucial juncture in my research she found – with amazing speed – just the right images. Lisa Heighway, the Assistant Curator, also provided invaluable help. Pamela Clark, Registrar of the Royal Archives, put at my disposal an abundance of manuscript materials, including the many volumes of Queen Victoria’s journal. She also read the entire typescript and offered several needed corrections. I am also grateful to Jill Kelsey, Deputy Registrar, for her kind and generous help, particularly at a moment when many items had to be consulted in a short period of time. Further archival research for this book was conducted at The British Library, The Folger Shakespeare Library, The Harvard Theatre Collection, The London Library, The Shakespeare Centre and The Theatre Museum (London). I remain grateful to the staff of these institutions for their expert assistance, most espe- cially Annette Fern, formerly of the Harvard Theatre Collection. Permission to quote from unpublished manuscripts has been granted by The Harvard Theatre Collection, The Houghton Library. Research for this project began at the Folger Shakespeare Library, where I held an NEH Fellowship during the 2000–1 academic year. Much of the book was written during the 2001–2 academic year, when I was granted teaching release through a Leverhulme Research Fellowship. I am grateful to the Leverhulme Trust for the luxury of extended time to read, to think and to write. My colleagues in the School of English and Drama at Queen Mary, University of London, have been unfail- ingly supportive. Lisa Jardine, most especially, encouraged this project from the outset. I remain thankful for her vote of confidence. xi xii Acknowledgements At Palgrave Macmillan, Emily Rosser has been an enthusiastic and enterpris- ing commissioning editor. Stanley Wells and Joseph Bristow, who read an early draft, offered timely and valuable advice which improved the book immeasurably. All their suggestions have been silently adopted. For any errors or omissions that remain, the author bears sole responsibility. Among the friends and colleagues, in both the United Kingdom and the United States, who offered moral support – and canny appraisals of my work – are Cynthia Burns, James Daybell, James Greenfield, Jeremy Gross, Russell Hitchings, Steve Holman, Ari Lipman, George Marcotte, Kirk Melnikoff, Tony Morris, Bill Patterson, Daniel Pick, Peter Robinson, Christine Smith and Michael Waring. Luciano Rila, another semi-permanent fixture in Senate House, insisted upon much-needed coffee breaks when writing fatigue began to set in. Alan Stewart patiently listened as I talked my way through every research and narrative crux. Annabel and Richard Cellini, to whom this book is dedicated, have been the most wonderful friends. The warmth of their affection has sustained me from first to last. Prologue The Queen … likes farce and rubbish better than the high class drama! – The actor Charles Kean to Queen Victoria’s dresser, Mary Anne Skerret, 18551 In 1837, when an eighteen-year-old girl who liked going to see plays became Queen of England, both royalty and actors were held in low repute.
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