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Queen Victoria's Patronage of Charles Kean, Actor-Manager

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Queen Victoria's Patronage of Charles Kean, Actor-Manager 71-7586 VANDER YACHT, Douglas R ., 1935- QUEEN VICTORIA'S PATRONAGE OF CHARLES KEAN, ACTOR-MANAGER. The Ohio State University, Ph.D., 19 70 T heater University Microfilms, A XEROX Company, Ann Arbor, Michigan © Copyright by Douglas R. Vander Yacht 1971 | i THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED QUEEN VICTORIA'S PATRONAGE OF CHARLES KEAN, ACTOR-MANAGER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State U n iv e rsity Douglas R. Vander Yacht, B. A., H. S. ******* The Ohio State University Approved by * -< Division of Theatre ACKNOWLEDGEMENTS I would like to express ray gratitude to a few of the many people whose aid, encouragement and inspiration were instrumental in writing this dissertation. I am indebted first of all, to Dr. John H. McDowell, whose careful scholarship inspired my genuine interest in theatre history. Dr. Roy Bowen's kind and gracious help has been a constant source of encouragement since my first visit to The Ohio State University in 1964. I am grateful to Dr. Arthur Housman for guidance and encouragement. I am deeply indebted to Dr. John C. Morrow for his valuable guidance and for making it possible for me to study in England, where this study took shape. In England, Mr. George Mash and his assistant, Mr. Tony Latham of the Enthoven Collection, Victoria and Albert Library and Mrs. Margaret Darville, head librarian at the Shakespeare Centre Library in Stratford, England were particularly helpful. Above all, I wish to thank my wife for her loving patience during all the long years of schooling. l i i VITA July 11, 1935 • • • Born - Bellingham, Washington I9 60 . B. A., Western Washington State College, Bellingham, Washington 1960-1962 .................. Teaching Assistant, Department of Speech, Purdue University, West Lafayette, Indiana « 1962 . M. S., Purdue University, West Lafayette, In d ia n a 1962-1963 .................. Instructor, Department of Speech, Western Washington State College, Bellingham, W ashington 1963-1968 .................. Instructor, Department of Speech and Drama, Westminster College, New Wilmington, Pennsylvania 1968-1969 ..... Laboratory Associate, Division of Theatre, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Theatre Studies in History of the Theatre and Criticism Professors Boss D. Smith and John H. McDowell Studies in Acting and Stage Direction. Professors William A. Gregory, Keith Michael, Charles R itter and Roy H. Bowen Studies in Playwriting. William Saroyan Studies in Scene Design and Modern Theatre Practice. Professors Samuel M. Marks and Howard Bay Minor Field: English Studies in Dramatic Literature Professors William A. Gregory, R. A. Cordell and John C. Morrow iv TABIE OF CONTENTS Page ACKNOWLEDGEMENTS............................................ i l l VITA............................................................................................................................................iv LIST OF ILUJSTRATIONS.................................................................................................v i i INTRODUCTION..................................................................................................................... I C hapter I . BRITISH ROYAL THEATRE PATRONAGE FROM ELIZABETH I TO VICTORIA.............................................................................................................11 Tudor Patronage Jacobean Patronage Restoration Patronage Georgian Patronage Conclusionsj I I . QUEEN VICTORIA'S THEATRE PATRONAGE, THE FIRST DECADE: 1837-1848 ...................................................................................... 69 Formative Influences State of the Realm, 1837-1848 Royal Entertainments, 1837-1838 Royal Entertainments, 1839-1847 The Year of Revolutions, 1848 Conclusions I I I . THE ROYAL WINDSOR THEATRICALS: 1848 ......................................... 118 I The Throne's Objectives Charles Kean: Master of the Revels The First Series of Performances Immediate Benefit to the Profession Conclusions IV. QUEEN VICTORIA'S THEATRE PATRONAGE, THE SECOND DECADE: 1849-1859 ..................................................................................... 152 The Royal Princess's Theatre Royal Patronage: The Public Theatres Royal Patronage: The Private Theatricals Public Patronage and Respectability v Page C hapter IV. QUEEN VICTORIA'S THEATRE PATRONAGE, THE SECOND DECADE: 1849-1859 (continued)................................................................. 152 The Poor Bor Scandal and the Plea for Knighthood Conclusions CONCLUSIONS.......................................................................................................................... 189 BIBLIOGRAPHY......................................................................................................................195 vi LIST OF ILLUSTRATIONS Figure Page Frontispiece: Engraving, The Merchant of Venice, first performance of the Royal Windsor Castle Theatricals, Rubens Room, Windsor Castle, December 28, 1848..................................................... l i 1. Pencil drawing by Queen Victoria, the royal children performing Racine's Athalie........................................................................ 72 2. Engraving, romanticized study of Charles Kean as Hamlet, c. 1838....................................................................... 86 3. Engraving, Kotzebue's The Stranger as performed for Queen Victoria, Prince Albert, the royal children and guests, Ruben's Room, Windsor Castle, 1849 ...................................................... 134 4. Engraving, Charles Kean as Hamlet, George Vandenhoff as the Ghost, as viewed from the Queen's dais, Ruben's Room, Windsor C a stle , 1849 ............................. 136 5. Engraving, the Keans in Kotzebue's The Stranger, Ruben's Room, W indsor C a s tle , 1849 .................................... ............................... 138 6. Ground Plan of Dress Circle, Princess's Theatre, 1883, showing royal box and related space for royal accommodations........................................................................................................ 156 7. Scene Design, Byron's Sardanapulus, "An Historical Illustration Based on Layard' s Excavations on the Site of Ancient Nineveh," Princess's Theatre, 1853...................... 170 8. Scene Design, The Merchant of Venice, "Revived with Authentic Views of Venice," Princess's Theatre, 1857 .... 174 9. Photograph, Charles and Ellen Kean in costume for Much Ado About N othing, 1859 ............................... 179 10. Engraving, Henry Irving and Ellen Terry being presented to Queen Victoria after performing Becket at Windsor Castle, 1893 ....................................................................................................... 182 v i i INTRODUCTION Smiling with pleasure as she recalled the hilarious antics of Bucks tone and Harley two nights previously in the new Ruben's Room theatre, Queen Victoria paused in her letter to King Ernest of Prussia, then continued: « Chevalier Bunsen has been helping us in an attempt to revive and elevate the English drama which has greatly deteriorated through lack of support by Society. We are having a number of perfor­ mances of classical plays in a small, specially constructed theatre in the Castle, and are collecting what still remains of ■* the older art.* Her Majesty was referring with pride to the inauguration of the Royal Windsor Castle Theatricals. After more than a decade of marked in­ difference to the national drama of the country over which she ruled, this young enthusiast of Italian opera, French farce, melodrama and sundry foreign circuses had finally decided on a specific and unex­ pected course of action which was to aid greatly in effecting a vital change in the British theatre. This change, Professor Allardyce Nicoll concluded which amounted to a revised opinion in society of the drama and its players ranks with the Theatre Act of 1843 as one of the two most Important events in the first half of the nineteenth- century British stage.^ A significant struggle in the stage history of the early nineteenth century was the struggle by every ambitious manager to win back the aristocracy and the more critical of the general public to the legitimate drama. It can now be seen that much of the hue and 2 cry about the low state of the drama was merely the age-old resistance to change, the stubborn clinging in a time of transition to a dying tradition. Theatre historians like Professor E. Q. Watson have since made it clear that much which constitutes modern theatre is a product of foreign influence and the "illegitim ate" drama of the minor theatres. To the theatre profession, it was a national disgrace that French plays, Italian opera and even American lion tamer VanAmburgh drew the Queen, the Court and the lucrative patronage of England's nobility while Shakespeare and the English drama consistently failed. They could not know then that the "invasion" of foreign amusements, expecially French dramaturgy was ultimately to be a valuable stimulus to English playwriting. The legitim ate drama of England eventually overcame both financial failure and national disgrace. The story of the nineteenth century drama's effort to survive the early decades of the nineteenth century is still being written. Most theatre historians acknowledge royal patronage as a factor in the revitalisation of the stage, but none deal in depth with it. Most scholars mention
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