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Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information

Index

Note: Italicized page numbers refer to illustrations.

Achurch, Janet, 368 Adrienne Lecouvreur, 359 Acis and Galatea, 128, 130 adultery in plays, 62, 94 acrobats, 370 adventurers, 111 acting, 272 Adventures of Caleb Williams, The, 38–9 androgyny in, 287–8 Adventures of Five Hours, The, 61 developments in, 290–1 Adventures of Madrid, The, 87 French, 289 Africaine, L’(Meyerbeer), 258 in mid-Victorian era, 1851–70, 334 Africaine, L’; or, The Queen of the Cannibal natural style of, 289–90 Islands (Burnand), 258 acting companies afterpieces, 191, 192, 255–6 integrity of, 13 agents, 259 proﬁt sharing in, 79 Agnes de Castro, 86 social coherence of, 11 Agricultural Hall, 253 acting editions, 268 Alan’s Wife, 367 Actor-Manager, The, 405–6 Albion and Albanius, 63 actor-managers, 266 Alchemist, The, 137 at Drury Lane, 20, 28 alcohol consumption, 350, 378, 379, 385 in mid-Victorian era, 1851–70, 332 Alexander, George actresses, 73–81 management of St James’s Theatre, 296, cross-dressing of, 357 410–12 domestic identity of, 356, 359–60 performances in American cities, 242 impact of, 54 sponsorship of playwriting contests, 364 informal power of, 79–81 Alexandra Theatre, 253 masculinist analysis of, 354 Alhambra Music Hall, 266, 379 pornographic prostitution of, 99 all-electriﬁed theatres, 270 professional advantages of, 354 Allen, Grant, 409 sexuality of, 75, 357–8 All for Love, 63 success of, 355 All the King’s Ladies, 76 susceptibility to madness, 358–9 Alma-Tadema, Lawrence, 322 wages of, 353 Alphonso King of Naples, 103 Adam, Robert, 34, 36 amateur concerts, 369 Adam Drury Lane, 45 amateurism, 352 Addison, Joseph, 17 American Revolution, 37 Adelmorn the Outlaw, 315 Amorous Widow, The, 62 Adelphi, 101 Amphitryon, 63, 104 Adelphi Theatre, 201, 220 Anatomist, The, 151 Admonition and Exhortation, 171 Anderson, Mary, 355

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© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-65068-7 - The Cambridge History of British Theatre: 1660 to 1895: Volume 2 Edited by Joseph Donohue Index More information Index

androgyny, 287–8 ballet d’action, 205 antagonists, 12 ballet divertissement, 267 antimacassars, 296 Bancroft, Marie, 262, 359–60 antiquarianism, in stage design, 317 Bancroft, Squire, 250, 262, 351 anti-Whig plays, 113 Bank of England, 105 Antoine, Andre,´ 415, 420 Banks, John, 63 Antony and Cleopatra, 156 Barnard, Sir John, 121 Ariadne, 313 barn theatres, 180–1, 208 Arms and the Man, 263, 269 Barrasford, Thomas, 382 Arne, Thomas, 31 Barret, Wilson, 435 Arnold, Samuel, 222 Barry, Elizabeth, 58 Arrah-na-Pogue, 251 as most admired Restoration actress, 78 artiﬁcial light, 294 roles played by, 12, 51, 85 art music, 378 salary of, 78 Art of Tragedy Management, The, 83 Barry, Spranger, 26, 28 Ashbury, John, 166 Bartholomew Fair, 22 Astley, Philip, 200, 373 Basset Table, The, 106 Astley’s Amphitheatre, 200 Bateman, H. L., 389 circus acts at, 33, 373 Bath theatre, 174, 176 in early nineteenth century, 219 Beau Defeated, The, 104 Queen Victoria’s patronage of, 340 Beaumarchais, Pierre Augustin Caron de, 183 spectacular docudramas at, 204 Beaux’ Stratagem, The, 3 As You Like It, 178, 179, 357 happy ending of, 64 audiences, 57 heroine in, 19 and actors, 230, 293–4, 297–8 performances at Covent Garden, 152 changes in composition of, 262–3 scenery design for, 10 disruptions from, 195–6 tyrannical characters in, 103 as mobs, 292 Beeston, William, 5 of music halls, 381 Beggar’s Holiday, 143–4 and scenic displays, 302 Beggar’s Opera, The, 22 segregation of, 295 association with immorality, 139 social classes, 295, 381 audience on stage, 136 types of, 342 case study, 126–44:ballad opera, 131; women as, 72, 382 burlesques in, 133; comedy as driving auditorium, 270, 302–3 force, 132; cost of production, 130; auditors, 147 political content, 135; political satire, 133; Aungier Street Theatre, 166 songs in, 134;success factors, 127; competition, 167–8 transvaluation of values, 133, 135 merger with competitor, 168 characters and settings, 136 summer touring, 168 dialogues, 133 Aureng-Zebe, 92 ﬁrst-night audience of, 132 Aurora Floyd, 353 imitation of, 126 Author’s Farce, The, 66 impact on the London theatre market, 128, Avenue Theatre, 254 137 Ayckburn,Alan, 407 initial opinions of manuscript of, 128–9 original lyrics in, 44 Babbage, Charles, 372 performances of, 126:intwentieth Bab Ballads, 264 century, 127, 142–4;atCovent Babil and Bijou, 248 Garden, 124;atDrury Lane, 124;at Baddeley, Angela, 140 Lincoln’s Inn Fields, 65–6, 120 Baillie, Joanna, 215 sequel to, 138 ballad operas, 20, 67, 129–30, 131 use of ordinary singers and actors in, 130 ballet, 267–8 Beggar’s Wedding, The, 138

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Behn, Aphra, 85–6 Blitzstein, Marc, 141–2 plays by, 11, 62 blocking characters, 12 sex comedies by, 95 Blood Tub, 205 struggles for authorial legitimacy, 72 Bluebeard (1797), 208 success of, 83–4 Blue Beard (1839), 248 Bell, Charles, 233 Bold Stroke for a Wife, A, 88, 106 Bells, The, 388–404 Bolton, Duke of, 136 adaptation from foreign source, 389–90 Boman, Elizabeth, 13 audience of, 403–4 Bononcini, Giovanni, 130 comic parodies of, 390 booking agency, 378 critical reviews of, 389, 390–1 booklets, 239–40 film adaptations of, 389 Booth, Barton, 17 first act, 391–2 Boothby, Frances, 81 first performance of, 390–1 Bottle, The, 350 Henry Irving’s performances in, 242, 259, Boucicault, Dion, 244, 251, 280 280 bourgeois, 104, 107 limited success in modern revivals of, boxes, 15, 57, 225 393 box-keepers, 188 main characters in, 400 box office, 296 music in, 402 Box Pit and Gallery, 293 plot of, 391 Boyle, Robert, 93 scenic effects in, 401–2 Bracegirdle, Anne, 13, 58, 75 second act, 392 Breaking a Butterfly, 414 stage technology used in, 402–3 Brecht, Bertolt, 127 third and final act, 392–3 breeches, 75–6 below-stage traps, 326 Bride of Lammermoor, The, 205 benefit performance, 193–5,  Brighton, 408 Beringer, Oscar, 430 Britannia Saloon, 253, 254 Bernard, Bayle, 205 Britannia Theatre, 201, 296 Berne Convention, 421 British Saloon, 377 Bernhardt, Sarah, 240 Brodribb, John Henry acting techniques, 355 see Irving, Henry in competition with Eleonora Duse, 423, Brown, Ford Madox, 322 432–3 Brownsmith, John, 191 performance as Hamlet, 357 Bryant, Marie, 144 Bertram, 213 Buchanan, Robert, 355 Bertram, Sir Thomas, 212 Buckle, James George, 306 Betterton, Mary, 85 Buckstone, John Baldwin, 212, 220, 284–5 Betterton, Thomas, 5 Buffalo Bill, 372 in adulterous plays, 62 Bullock, William, 115 as Hamlet, 192 Bullock’s Museum and Exhibition Hall, 372 as manager of Duke’s Company, 112 Bulwer, Edward, 206, 251 performances at Duke’s and United burlesques, 20 Companies, 58, 85 authors of, 22 Bickerstaffe, Isaac, 68, 151, 152 as operas, 133 Birth, 406 and Shakespearean productions, 345 Birthplace of Podgers, The, 285 burlettas, 33, 42–3, 203–4, 222 Blackamoor Wash’d White, The, 195–6 Burnand, F. C., 258, 345 Black Ey’d Susan, 206, 256 Burne-Jones, Edward, 322 blackface minstrelsy, 372, 383 Bury Fair, 102, 105 Blackfriars Theatre, 304 Busie Body, The, 88, 152 Blasted, 407 Butler, The, 285–6 Blind Boy, The, 277 Byron, H. J., 258, 408

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Cabinet Minister, The, 258 start of career, 86 Cabinet Theatre, 253 works of, 11, 106 cabmen, 351 Chamberlain, Lord, 14 Caine, Hall, 423 regulation of Drury Lane Theatre, 117–18 Calhoun, Eleanor, 368 regulation of plays, 39 Cambridge Theatre, 254 regulation of theatres, 108 Camilla, 130 Chances, The, 11 Camp, The, 35 Charke, Charlotte, 76, 83 Camp, Ther´ ese` de, 277, 288 Charles I (drama), 202 Candida, 438 Charles II, King, 4, 53 Canongate Theatre, 170–1 Charley’s Aunt, 408 audiences, 172 Cheats, The, 110 grant of patent to, 172 Chetwood, W.R., 138 Capon, William, 46, 208, 314–17 Chevalier, Albert, 370, 383 Captives, The, 128 Children of the Wood, The, 384 Careless Husband, The, 64 Chinese Festival, The, 292 Carey, Henry, 42, 131 Chironomia; or, A Treatise on Rhetorical Carnival, The, 83 Delivery,  Carolean comedies, 90 Choleric Man, The, 158 morality of, 106–7 Christmas Tale, A, 311 primitivism in, 94 Church of Scotland, 169, 171–2 re-emergence of natural social hierarchy Cibber, Colley in, 91–2 as actor-manager at Drury Lane, 20 sexuality in, 93, 96, 104 adaptation of Richard III, 11, 102 see also comedies ﬁrst comedy of, 17, 64 Carolean drama, 91 identiﬁcation with roles, 59 carpenters’ scenes, 325 in John Vanbrugh’s The Relapse,  Carruber’s Close playhouse, 170 and Patent Company, 115 Cary, Elizabeth, 71 Cibber, Susanna Maria, , 51 Case of Rebellious Susan, The, 266, 408, Cinematographe´ , 309 409–10 Cinquevalli, Paul, 370 Cassandra, 352–4 circuit companies, 178–9, 182 Caste, 262, 335, 337 circuses, 373–4 Castle Spectre, The, 46, 208 performers in, 370 Catalani, Angelica, 208 see also popular entertainment Cataract of the Ganges, The, 214 Citizen Turn’d Gentleman, The, 61 Catherine and Petruchio, 154 City Heiress, The, 96 Catholicism, 92, 97 city melodrama, 345–6 Cato, 17 City Politiques, 98, 113 Cavendish, Margaret, 72 Clandestine Marriage, The, 4, 67, 158 Cenci (1819), 46 Clarence Theatre, 243 censorship, 23 Clarendon, Earl of, 92 of books, 38 Clarke, Mary Cowden, 240 effect on patent companies, 122 Cleomenes, 102 effect on playwrights, 123 Clive, Kitty, 28 exemplars of, 110 Coburg Theatre, 201, 205 legacy of, 434 Cockpit Theatre, 296 opposition to, 108 Coffey, Charles, 151 pre-performance, 139 collaborative authorship, 68 provisions, 122 Colleen Bawn, The, 251, 280 see also Examiner of Plays Collier, Jeremy, 14, 57, 98, 116 Centlivre, Susanna, 87–8 Colman, George, 39, 157, 208, 211 and Robert Wilks, 83 comedians, 13, 229, 233, 284

463

Comedie´ Française, 161 Correlli, Arcangelo, 131 comedies, 10 Corsican Brothers, The, 244, 249, 346–7 contemporary, 19 Corsican trap, 249, 347 domestic, 335–7 costumes, 162, 197 human, 65 Costumes of Shakespeare’s Historical Tragedy of in mid-Victorian era, 1851–70, 335 ‘King John’, 317 performers, 281 Cotton Club, 143 portrayal of money in, 105 counterweight flying systems, 326 in post-revolution years, 104 counting, 106 Restoration, 60 Country Wife, The, 4, 9, 94–5 revolution as theme in, 103 Court Beauties, The, 205 sentimental, 60 courtiers, 57 settings, 104 Court Theatre, 254, 258 sex comedies, 62:audience of, 57;failure Covent Garden Theatre, 15–16 of, 96, 103;and man’s social nature, 93 competition with Drury Lane, 193 Comedy of Errors, The, 432 cultural and ideological status of, 209 Comedy Theatre, 254 destroyed by fire, 223 comic actresses, 286 expansion of, 39 Comical Revenge, The, 61, 91 patents, 23, 203 comic singers, 372 playbills,  Committee, The, 61, 91 popular mainpieces at, 152 Common Sense, 183 protests to innovations of, 208 Communicating Doors, 407 rebuilding of, 223, 304, 305 communications revolution, 376 riots at,  Comparison Between the Two Stages, A, 82, see also theatres 87 Cowley, Hannah, 191 competition, 54, 70 Craftsman, The, 135 Comus, 21, 152 Craig, Edward Gordon, 272–3 Comyns Carr, J. W., 423 desire for theatre created by artists, 329 concerts, 33, 369, 375 modernist productions by, 3, 271 Congreve, William, 12, 64 relationship with mother, 355–6 Connie, the Actress, 353 as theatre visionary, 420 Conquest, George, 278 Craven, Hawes, 299, 322 Conquest of Granada, The, 61 Criterion Theatre, 254, 408 Conquest of Spain, The, 87 Critic, The; or, A Tragedy Rehearsed, 35, 308 Conscious Lovers, The, 16 critics, 30, 116, 214–15 bourgeois characters in, 104, 107 Cromwell, Oliver, 90 performances at Covent Garden, 152 Cross, John C., 43–4 performances at Theatre Royal, 172 cross-dressing, 357 plot of, 19 Crowne, John, 98, 102 in setting trend for dramatic comedies, 20, Crow Street Theatre, 42, 169 65 Crucible, The, 142 Constant Couple, The, 64 Cruelty of the Spaniards in Peru, The, 5 contemporary comedy, 19 Crystal Palace, 331 Cooke, George Frederick, 214, 228 cuckolding comedies, 62 Cooke, Thomas Peter, 278 cultural democracy, 202 in Black Eyed Susan,  cultural entrepreneurs, 200 as one of minor theatres’ celebrities, 206 Cumberland, Richard, 49, 146, 158, 212 performances in pantomimes, 237 cup-and-saucer realism, 262 copyrights, 421 curtain-raisers, 256 Corey, Katherine, 78 Cushman, Charlotte, 240, 245, 354 Coriolanus, 322 Cuthbert, Henry, 319 corps de ballet, 267, 348 Cuzzoni, Signora, 130

464

Cymbeline, The Injured Princess (1682), 99 Dragon of Wantley, The, 42 Cymbeline (1761), 156 Drake, Alfred, 143 ‘Drama’s Laws’, 26 Daemons Tribunal, The, 222 dramatic authorship, 23 Daly, Richard, 169 Dramatic Copyright Act of 1833, 421 Dame aux camelias,´ La, 432 dramatic stars, 199–200 Dance, Charles, 205 Dramatic Time-Piece, The, 191 Dandy Dick, 258 ‘Dream of Eugene Aram, The’, 394 Davenant, Mary, 111 Dreigroschenoper, Die (The Threepenny Davenant, Sir William, 54 Opera), 140–1 death of, 112 dress circle, 296 founding of Duke’s Company, 109–10 Drink, 280 grant of patent monopoly to, 4, 108 Drury Lane Theatre knighting of, 109 acquisition by Sheridan, 34 relationships with actresses, 74 actor-managers at, 20 see also Duke’s Company change of management, 123–4 Davies, Thomas, 25 competition with Covent Garden, 193 Davis, Moll, 111 cost of building, 56 Davys, Mary, 84 cultural and ideological status of, 209 Dearer than Life, 285 design of, 298 Deceiver Deceiv’d, The, 87 destroyed by fire, 223 Decline and Fall of the Roman Empire, The, entry of David Garrick into, 26, 149–50 183 expansion of, 39 De Monfort, 208, 315 financial problems of, 37 Devant, David, 372 interior design of, 36,  Development of the English Playhouse, The, number of performers at, 26 293 owner-managers of, 54: Charles Devil to Pay, The, 138, 151 Fleetwood, 123; Christopher Devil Upon Two Sticks, The, 67 Rich, 117–18;David Garrick, 151 Dibdin, Charles, 219 pantomimes in, 151 Dibdin, Thomas, 205 patents, 23, 203 Dione, 128 performance of United Company at, 13 diorama shows, 374 performances in 1775–76 season, 191: Discourse Upon Comedy, 19 afterpieces, 191;mainpieces, 191 Discovery, The, 157 playbills, 237 discovery scenes, 9 rebuilding of, 223, 304 Distrest Mother, The, 19 regulation by Lord Chamberlain, 117, 121 Divertissement, A, 43 retirement fund, 184 documentary dramas, 204 salary ranks for performers, 188–9 Dodsworth, John, 370 schedule in first two weeks of Doggett, Thomas, 59, 115 1775–76, 189–90 Doll’s House, A, 269, 363, 414–15 succession of managers in, 185–6 domestic comedies, 335–7 top tragedies at, 153 Don, The, 285 see also theatres Don Giovanni, 298 Dryden, John, 62, 63 Doppelganger¨ , 399 dual identities, 93 Dorset Garden, 7, 56 Duchess of Cleveland, 72 Dot, 285 Duchess of Malfi, 431 Double Dealer, The, 59, 64, 104 Duenna, The, 35, 159, 190 Double Gallant, 88 Duke of Guise, The, 113 Douglas, 44, 157, 171 Duke of Montague, 15 Downes, Elizabeth, 78 Duke of Norfolk’s Servants, 173 down stage, 297 Duke of York’s Theatre, 8

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Duke’s Company, 54 Etherege, George, 61, 62 founding of, 109 Every Man in His Humour, 152, 194 theatres, 112 Every One Has His Fault, 41, 211 union with King’s Company, 63, Examiner of Plays, 39 112–13 activities of, 42 women performers, 74 censorship by, 211 see also repertory theatres control of prostitutes by, 358 Duke’s Theatre,  powers of, 206 Du Maurier, George, 433 Exclusion Crisis, 113 Dunciad, The, 129 effect on theatres, 101 duopoly, 108, 109, 111 parallel plays to, 63 Duse, Eleonora, 354, 423, 432–3 partisan plays during, 69 Duval, Louis, 167 and Shakespearean adaptations, 98 tragedies of, 99–101 Earl and the Girl, The, 425 exhibition halls, 209 East End theatres, 306 closure of, 344 Factory Strike, The, 344 illegitimate productions at, 343 Fair Penitent, The, 19, 25, 26, 44 penny gaffs, 378 Fair Quaker, The, 194 see also theatres; West End theatres fairs, 22 East London Theatre, 219 fairy plays, 324 Eccles, John, 65, 131 Fairy Queen, The, 63 Edinburgh Players, 170 Fall of Mortimer, The, 120 Edwardes, George, 266–7, 425 False Delicacy, 158 Eidophusikon, 311, 323 Family Shakespeare, The, 209, 240 electrotypes, 314 farces, 258–9 Elen, Gus, 383 Farquhar, George, 19, 64, 105, 115 El Hyder, the Chief of the Ghaut Mountains, Farr,Florence, 368 205 Farren, William, 283 Elizabethan Stage Society, 423, 431, 434 Fashionable Lover, The, 158 Elizabethan theatre, 3 Fatal Curiosity, 67 Elizabeth I, 108 Fatal Friendship, The, 86 Ellington, Edward Kennedy, 127, 143–4 Fatal Marriage, The, 11, 64, 105 Elliston, Robert, 203, 205 Faucit, Helen, 246 Elopement, The, 194 acting techniques, 277 Elrington, Thomas, 166–7 relationship with audiences, 360–1 Emery, John, 283–4 roles played by, 248 Empire Theatre, 266, 376 Faust, 299 employee beneﬁts, 193 Faustina, Signora, 130 Empress of Morocco, The, 9, 301 Fawcett, John, 214 Engaged, 264 Fawn, James, 370, 384 England and the English, 251 Fechter, Charles, 279, 334 English drama, 53, 67 feerie´ (fairy play), 324–5 English operas, 20, 53, 67, 130 Feign’d Courtesans, The, 85, 97 English theatres, 173–82 Female Wits, The, 83, 86 entr’actes, 32, 115, 202 Fenton, Frederick, 322 entrances, 295 Fenton, Lavinia, 132 epilogues, 294 Fielding, Henry, 22, 66, 120, 202 Epsom Wells, 94 Finding of Nancy, The, 364, 365–6 Essay on Sir John Falstaff, 49 ﬁres, 306–7 Essays on the Anatomy of Expression in Fires in Theatres, 306 Painting, 233 Firth, William, 420 Este, Thomas, 170 Fitzwilliam, Fanny, 204

466

Flecknoe, Richard, 8 sale of Drury Lane, 34 Fleetwood, Charles, 123 in TheSuspicious Husband,  Florimene` , 297, 300 Garrick Theatre, 243, 254 Florizel and Perdita, 154 Gatti’s Palace, 254 Flying Dutchman, The; or, The Phantom Gay, John, 22 Ship, 204 earnings from The Beggar’s Opera, Fond Husband, A, 62 134–5 Foote, Samuel, 33, 172, 201 one-act farce, 127–8 footlights, 162 theatre-writing experience of, 127 Forc’d Marriage, The, 85 Geminiani, Francesco, 131 Ford, James, 197 Generall, The, 61, 90, 99 forestage, 16, 298, 303, 311 generic scenes, 314–15 Fortunatus, 151 Generous Husband, The, 103 FortuneHunters, The, 137 Genii, The, 151 Four Hundred Tyrants, 98 Genoese Pirate, 43 French acting, 289 gentry, 91, 107 French Impressionists, 420 George III, 183 French Spy, The, 288 Ghosts, 268, 413, 414, 415 Friendship in Fashion, 62, 95 Gibbons’s Tennis Court, 5 frontispiece, 297 Giffard, Henry, 16, 24 Fuller, Lo¨ıe, 270 Gilbert, W.S., 264–5 Funeral, The, 106 Giovanni in London, 202, 244 girandoles, 162 Gaiety Girl, A, 267, 425 Girl Behind the Counter, The, 425 Gaiety Theatre, 254, 413–14 Girl from Kays, The, 425 Gallery of Illustration, 253, 264 Girlhood of Shakespeare’s Heroines, 240 gambling, 106 Gladstone, William Ewart, 343 Gamester, The, 64, 233 Globe Theatre, 254 Garrick, David, 16 Glorious Revolution, 114 arrival in London, 145 Godfrey, Charles, 370 characters played by, 148, 149, 151, 184–5 Godwin, William, 38–9 compared with Richard Sheridan, 198 Golden Rump, The, 122 at Drury Lane, 145–64: contributions to Goldsmith, Oliver, 68 acting profession, 160; innovations in Goodman’s Fields, 16 theatrical representation, 161–3; moral protests against, 120 production of new plays, 156–60; performances by David Garrick at, 24–5 revolution in acting, 147–50;asstarand under management of Henry Giffard, co-manager, 58, 67, 124, 149–50 16 early career of, 24, 145 Good Natur’d Man, The, 159 farewell appearance of, 33 Gordon, William, 319 farewell speech of, 185, 197–8 Gore, Catherine, 364 ﬁnal performance of, 183–4 Gothic drama, 45–7 innovations of, 25 Gothic scenes, 328 legacy of, 163–4 Grandfather Whitehead, 283 and Lethe, 24 Granville Barker, Harley, 3, 271, 420 performances at Goodman’s Fields, 24–5 Graves, Clo, 364–5 physical attributes of, 149 Great Britain, population of, 375 portrait of,  Great City, The, 346 relationships with actresses, 79 Great Exhibition of 1851, 331 repertory of, 150–2: sentimentalism, 152–3; Great Favourite, The, 92 Shakespearean performances, 30–1, 153–6 Grecian Daughter, The, 44 retirement of, 34, 53, 124, 159 Grecian Saloon, 253 as Richard III,  Greenwich Park, 104

467

Greenwood, Thomas, 46, 208 Hill, Jenny, 384 Grein, J. T., 268, 415 Hippisley, John, 174 Grieve, John Henderson, 315 hirelings, 111 Grieve, Thomas, 319 Historical Register for the Year ,The, 22, 66 Grifﬁth, Elizabeth, 191 History and Fall of Caius Marius, The, 98 Grimaldi, Joseph, 206, 246, 278 History of English Drama, A, 41 Grub-Street Opera, The, 120 History of Henry the Fifth, The, 61, 90 Guy Domville, 410, 428 History of King Lear, The, 98 Gwyn, Nell, 62, 76, 111 History of Timon of Athens, The, 98 Hitchcock, Robert, 168, 179 Hackett, James Henry, 242 Hoadly, Benjamin, 67 Half-Sisters, The, 357 Hobbes, Thomas, 93 Halifax Glee and Madrigal Society, 383 Hogarth, William, 136 Halle,´ Charles, 375 Hogg, James, 399 Halliday, Andrew, 346 Holborn Empire, 254 Hamilton, Ciceley, 361 Holcroft, Thomas, 47 Hamlet, 156, 192, 357 Holland, Henry, 39, 207, 304 Handel, George Frederick, 128 Home, John, 44, 171 Handsome Housemaid, The, 67 Hood, Thomas, 394 Harbage, Alfred, 60 Howard, Bronson, 408 Harker, Joseph, 322 Howard, James, 92 harlequinade, 210 Howard, Robert, 61, 91, 92 Harlequin and Mother Goose, 278 How toWriteaGood Play, 362 Harlequin and Padmanaba, 207 Hull, Thomas, 160 Harlequin a Sorcerer, 32 Hull Theatre, 179 Harlequin Doctor Faustus, 65 human comedy, 65 Harlequin Jack Sheppard, 129 Hunt, Leigh, 214 Harlequin’s Invasion, 151 Hurd, Tommy, 386 Harlequin’s Vision; or, The Feast of the Statue, 237 Hush Money, 339 Harley, John, 284 hypnotism, 398 Harris, Augustus, 266, 384 Harris, Henry, 112 Ibrahim, Thirteenth Emperor of the Turks, 87 Harris, Sir William Snow, 350 Ibsen, Henrik, 268–9, 413–17 Harris, Thomas, 53, 223 Ibsen’s Ghost, 416 Hart, Charles, 58, 62 Ideal Husband, An, 270, 411, 422, 428 Hauptmann, Elisabeth, 127 Idler, The,  Havel, Vaclav, 127, 142–3 illegitimate drama, 210, 332, 343 Hawkins, William, 28 illusions, 298, 301 Hay-Makers, The, 222 Illustrated London News, 314 Haywood, Eliza, 83 Illustrations of Rhetorical Gesture and Action, 255 Hazlitt, William, 227 Imperial Theatre, 254 Heart of Midlothian,  Importance of Being Earnest, The, 3 Hedda Gabler, 367, 416 actors in, 259 Heimat, 432 curtain-raiser for, 256 Henry the Fifth, 61 ﬁrst production of, 239 Henry V, 238, 317 George Alexander’s initial refusal to Herbert, Mary, 71 produce, 259 Herbert, Sir Henry, 5, 123 performances at St James’s Theatre, 422 Her Majesty’s Theatre, 339 review by George Bernard Shaw, 429–30 heroes, 12 Imposture Defeated, The, 87 Hicks, Seymour, 353 Inchbald, Elizabeth, 41–2, 191, 211 High Life Below Stairs, 151 Inconstant, The, 11 Hill, Aaron, 118 Independent Theatre, 415, 430

468

Independent Theatre Society, 268 journals, illustrated, 314 Indian Emperour, The, 92 Jubilee, The, 31, 151, 156, 192 Indian Queen, The, 61, 92 Juif polonais, Le, 389 Ingratitude of a Common-Wealth, The, 99 Jupiter and Europa, 65 Inkle and Yarico, 211, 222 Innocent Mistress, The, 87 Kane, Sarah, 407 intellectual amusement, 349 Kean, Charles In the Season, 256 acting techniques, 275–6 In Town, 425 antiquarian spectacles by, 333 Intriguing Chambermaid, The, 66 criticism of, 347 Ion, 349 management of Princess’s Theatre, 4, Ireland, theatres in, 165–9 249–50, 342 Irene, 157 playbills designed by, 237 Iron Chest, The, 39, 315 Shakespearean performances, 279, 344–5 Irving, Henry, 272 Kean, Edmund, 214, 227–8 acting techniques, 280, 397–8, 400–1 Keeley, Mary, 288 early career of, 393 Keeley, Robert, 284 ﬁrst public performance of, 393–4 Keeley Worried by Buckstone, 285 knighthood of, 422–3 Kelly, Hugh, 158 opportunities in American cities, 242 Kelly, Michael, 47 performances at Lyceum Theatre, 322 Kemble, Fanny, 245 roles played by, 396–7 Kemble, John Philip, 44 Shakespearean performances of, 396–7 acting techniques, 273–5 stage career of, 394 debut´ at Manchester Theatre, 180 Isabella, 44 early career of, 186 Italian opera, 20 as manager and part owner of Covent Italian Opera House, 57 Garden, 223 Italian perspective scenery, 300 performances with sister, Sarah Siddons, 45 Ivory, Thomas, 176 retirement of, 227 Ivory’s playhouse, 176 roles played by, 39 in title role of The Stranger,  Jacobean theatre, 3 Kendal, Madge, 353, 361 Jacob’s Well Theatre, 174 Kendall, Marie, 370 James, Henry, 362 Keregan, Thomas, 178 James II, 13, 97, 114 Killigrew, Thomas, 4 Jane Shore, 152 grant of patent monopoly to, 54, 108 Jarry,Alfred, 420 management of King’s Company, 109–10 Jealous Wife, The, 157, 194 Killing No Murder, 282 Jeanne la Folle; or, The Return of the Soldier, 337 Kind Keeper, The, 62 Jefferson, Thomas, 183 King, Henry, 179 Jerrold, Douglas William, 206, 212, 256 King Arthur, 63, , 423 Jew, The, 49 King John, 156, 243, 317, 339 Jewsbury, Geraldine, 357 King Lear, 30 John Bull; or, The Englishman’s Fireside, 213 King Richard III (1699), 11 John Glayde’s Honour, 255 King’s Company, 7 Johnson, Samuel, 38 capacity of, 55 Jolly, George, 173 female performers, 73 Jonathan Bradford; or, The Murder at the mismanagement by Thomas Killigrew, 112 Roadside Inn, 202 rights to plays, 54, 110 Jones, Henry Arthur, 408, 421, 436 theatres, 112 Jones, Inigo, 297, 310 union with Duke’s Company, 63, 112–13 Jonson, Ben, 297 see also repertory theatres Jordan, Dorothy, 200, , 286–7 King’s Theatre, 302

469

King Street Theatre, 177 proﬁt sharing in, 79 Knowles, Sheridan, 213 rebuilding of, 118 Kotzebue, August Friedrich Ferdinand viability of, 119 von, 45, 49, 211 see also theatres Kynaston, Edward, 58, 73 Linley, Thomas, 197 ‘lion comique’, 378 Lacy, James, 26, 124 Lisle’s Tennis Court, 5 Lacy, Willoughby, 197 Liston, Harry, 383 Lady from the Sea, The, 416, 430 Liston, John, 200 Lady of Lyons, The, 248 acting techniques, 282–3 Lady Windermere’s Fan, 265, 269 debut´ at Little Haymarket Theatre, 201 Lancashire Witches, The, 97 migration to minor theatres, 206 landscape, 310 Little Don Giovanni, 258 Lane, Sarah, 288 Little Haymarket Theatre, 66 Lanner, Katti, 267 design of, 296 Larpent, William, 39 in early nineteenth century, 219 Latouche, John Treville, 127, 143 under management of George Colman, 201 Lauder, Henry, 369 productions of The Beggar’s Opera at, 126–7 laughing comedies, 67 raid of, 120 Lea, Marion, 366–7 see also theatres lectures, 374–5, 377 Little Lord Fauntleroy, 414 Lee, Mary, 85 Little Theatre, 15; see also Little Haymarket Lee, Nathaniel, 63 Theatre Leeds Grand Theatre, 384 Lives of the Poets, 140 legitimate theatre, 199, 279, 376 Lloyd, Arthur, 378 Lennox, Charles, 191 Lloyds, Frederick, 250, 315, 319, 321 Leno, Dan, 384 local theatres, 178 Lenya, Lotte, 141 London Assurance, 246, 251 Lethbridge, J. W., 237 London City Council, 381 Lethe: or, Aesop in the Shades, 24, 151 London Cuckolds, The, 62 Lewis, Leopold, 389, 394–5 London Merchant, The, 67, 212 Lewis, Matthew Gregory (Monk) , 46, 208, 210 London Pavilion, 377 Leybourne, George, 378 Long, Avon, 144 Liars, The, 409 Loutherbourg, Philippe Jacques de, 34, 197, liberal theology, 376 309–11,  Licensing Act of 1737, 22 Love and a Bottle, 64 and development of new plays, 157, 200 Love at a Loss, 86 effect on women playwrights, 88–9 Love for Love, 7 passage of, 108 actors in, 59 and patent theatres, 38, 122, 124 characters in, 64 pre-performance censorship, 139 as one of successful sex comedies, 104 regulation of alcohol drinking, 42 performances at Lincoln’s Inn Fields, 115 regulation of theatres, 170, 175 Love in a Village, 68, 152 Life in London, 220 Love in Several Masques, 128 Life of Pleasure, A, 264, 266 Love, Law and Physic, 282 light comedians, 288 Love Makes a Man, 149 lighting, 161, 197, 294, 327 Lover’s Opera, The, 138 Lillo, George, 67, 212 Lovers’ Vows, 41, 212 Lincoln’s Inn Fields, 26 Love’s Contrivance, 88 audience, 58 Love’s Last Shift, 17, 64, 104 capacity of, 55 low comedians, 229, 233, 284 decline of, 14 lower-class patrons, 295 limited technical capacity of, 55 lower orders, 51

470

Loyal General, The, 98 masques, 20, 297 Lucius Junius Brutus, 99–100 Master Builder, The, 405 Luckey Chance, The, 82 Master of the Revels, 108, 110 Luke the Labourer, 212, 220 Mathews, Charles, 284 Lumiere` brothers, 309 Mathews, Charles James, 200 Lyceum Theatre, 322, 395–6, 403–4, 407 acting techniques, 288–9 Lying Valet, The, 149 debut´ at Little Haymarket Theatre, 201 Lyrical Ballads, 52 migration to minor theatres, 206 Lyric Opera House, 254 performance with Eliza Vestris, 244 Lyric Theatre, 254 Maturin, Charles, 213 May Fair, 22 Macbeth, 91 Measure for Measure, 91, 283, 431 dumbshow version of, 203 Medea, 313 John Cross’s adaptation of, 43 medieval scenes, 328 scenery design for, 315 Meiningen Company, 265, 420 William Davenant’s production of, 11 melodrama, 47 Macbeth in a Barn, 180, 181 actors’ performances in, 277 Macbeth Somewhat Removed from the Text of characters in, 212 Shakespeare, 344 city, 345–6 Macklin, Charles, 28, , 67 in early nineteenth century, 235 Macnaghten, Frank, 382 emotional power of, 212–13 Macready, William Charles, 276–7 evolution of, 210 establishment of respectable theatre, 332 foreign origins of, 213 roles played by, 246–8 generic origins of, 212 Shakespearean productions by, 317 as most proﬁtable theatrical form, 213–14 Magic Flute, The, 138 music in, 213 Magistrate, The, 258 scenery in, 325 Mahomet, 169 sensation, 345 Maid and the Magpie, The, 288 ubiquitous presence of, 263–4 Maid of the Oaks, The, 311 villains in, 397 Maid of the Mill, The, 68, 152 Menken, Ada Isaacs, 287 Maid’s Last Prayer, The, 69, 106 Menschenhass und Reue, 49 Maid’s Tragedy, The, 113 mental theatre, 215 mainpieces, 191, 256 Merchant of Venice, The, 3,  male impersonators, 378 merchants, 107 Mall, The, 94 Merrick, Leonard, 405 Malthus, Thomas, 50 Mesmer, Franz Anton, 398 managers of theatres Michael and His Lost Angel, 436–7 see theatre managers Midas, 42 Manchester Theatre Royal, 180 Mid-Channel, 259 Manley, Delarivier, 86 middle-class patrons, 295 Man of Mode, The, 18, 62, 95, 107, 154 reception of theatrical productions Man of Quality, The, 194 by, 341–2 Man of the World, The, 69 respectability of, 332, 344 Mansﬁeld Park, 212 social groupings, 341 Manxman, The, 423 and social segregation in theatres, 348 Marcelia, 81 see also audiences Marriage alaMode` , 4, 62 Middlesex Hall, 385 Marriage of Figaro, The, 183 Midsummer Night’s Dream, A, 154, 244, 320–1, Marshall, Rebecca, 72, 78 322 Martyrdom of Madeline, The, 355 Miller and His Men, The, 263 Marylebone Theatre, 222, 243, 254 Millstone Inn, 377 masquerades, 33 Mimic Life, A, 359

471

Minor, The, 67 multi-plot plays, 61 minor theatres, 199 Mummer’s Wife, A, 353 burlettas in, 203, 222 Munden, Joseph, 200 competition with patent theatres, 204, acting techniques, 214, 282 206–7 beneﬁt playbill for,  documentary dramas in, 204 as Old Dozey in Past Ten O’Clock,  geographic location of, 201–2 retirement of, 235–7 and London’s cultural geography, 206 Murphy, Arthur, 67, 157 and London’s dramatic culture, 202 musical comedies, 384, 425 quasi-theatrical entertainment in, 222 musicals, 67 see also popular entertainment; theatres music halls, 206, 376–84 minstrelsy, 372, 383 audiences of, 381 Mirkwater, The, 368 circus-type entertainment in, 378 Mirror of the Stage, 282 comic realism in, 378 Miss Eily,  competition with theatres, 385–6 Miss in Her Teens, 178 growth of, 254, 305, 380–1 Miss Julie, 328 owner-managers, 382 Mitchell, Langdon, 256 pantomimes in, 383 Mitford, Mary, 202 sketches in, 379 model ships, 204 stars in, 378 Modern Husband, The, 66 survival of, 381 Mohocks, The, 127, 131 see also popular entertainment Mohun, Michael, 58 Mutiny at the Nore, The, 212 Monck, George, 90 Moncrieff, William, 214, 244 Narrative of the Life of Mrs Charlotte Charke, Money, 248 A, 72 Monmouth, Duke of, 113 Nasmyth, Alexander, 315,  Monmouth, Earl of, 97 National Gallery of Art, 319–20 Montaigne, Michel Eyquem de, 93 national theatre, 343 Moore, Edgar, 233 natural acting, 276, 289–90 Moore, George, 353 nautical melodrama, 256 moral relativism, 93 neoclassical playhouses, 207 Moreton, Lee, 251 Nethersole, Olga, 355 Morgann, Maurice, 49 Newcastle (Duke of), 119 Morris, William, 329 new dramas, 405–21 Mort de Pompee,´ La, 95 actor-managers, 407–13 Morton, Charles, 370, 379 by George Bernard Shaw, 417–19 Moscow Art Theatre, 434 by Henrik Ibsen, 413–17 Moss, Edward, 382 realism in, 328 Mossop, Henry, 169 tension between old dramas and, 423 Mostel, Zero, 143 trends in, 419–21 Mother of Three, A, 364 New English Arts Club, 420 Motteux, Peter Anthony, 65 New Sans Souci Theatre, 219 mourners, 147 newspapers, illustrated, 314 Mourning Bride, The, 44, 152 New Street theatre, 178 Mowatt, Anna Cora, 359 New Theatre, 7 Mr Buckstone’s Voyage ’Round the Globe (in New Way to Pay Old Debts, A, 207, 227 Leicester Square), 340 Nicoll, Allardyce, 41 Mrs Dane’s Defence, 409 Nightingale, Florence, 352 Mrs Lessingham, 362 Nokes, James, 85 Mrs Warren’s Profession, 409, 417–18, 435 ‘Nona Vincent’, 362 Much Ado About Nothing, 156,  non-patent theatres, 121 multiple entrances, 295 Northern Heiress, The, 84

472

Norwich Company of Comedians, 173, 176 Pamela, 149 Notorious Mrs Ebbsmith, The, 265, 423, 427–8 panoramas, 209, 210 Novelty Theatre, 254 pantomimes, 32 Noverre, Jean-George, 292 combining music and dance in, 129 Novosielski, Michael, 302 in early nineteenth century, 237 introduction of, 10 Obi; or, Three Finger’d Jack, 214 John Rich’s productions of, 65 O’Dowd, The, 251 in music halls, 383 Ogilby, John, 165 and operas, 20 O’Hara, Kane, 42 performers, 278 Old Batchelour, The, 25, 64, 104 scenery in, 324–5 Oldﬁeld, Anne, 58 Paradox of Acting, 272 and Patent Company, 115 Paris Opera House, 307 portrait of,  Parliamentary Select Committee on roles played by, 51 Theatrical Licensing, 379 salary of, 79 parlour entertainments, 209 Old Price Riots, 208–9, 224 Parsons, William, 281 Olympic Devils, 245 partitionings, 295 Olympic Pavilion, 201, 204–5 Pasquin, 22, 66 Olympic Revels, 245 pastorals, 21 Olympic Theatre, 348 Past Ten O’Clock, 237 Omai; or, A Trip Round the World, 311 Patent Company, 114 O’Neill, Eliza, 51 patent grants, 53–4 one-shilling galleries, 224, 225 provisions in, 110 open boxes, 225 and structure of theatrical operations, 111 opera buffa, 20 and women performers, 75 Opera Comique, 254 patent theatres, 23 Opera of Operas, The, 83 competition with minor theatres, 204, opera seria, 20 206–7 opera singers, 130 conservative repertory policies, 67 Oracle, The, 83 cultural status of, 209 Orange Tree Theatre, 142 dramatic monopoly of, 203 Orchard Street theatre, 176 in early nineteenth century, 223 orchestra, 15 effect of censorship on, 122 Oroonoko, 64, 105 effect of Licensing Act on, 122 Orphan, The, 63, 94, 149 establishment of, 108 Orphan of China, The, 157 expansion of, 51–2 Orrery, Earl of, 90 in late Georgian period, 206 Osbaldiston, D. W., 248 performances at, 32 Othello, 154,  rebuilding of, 224–7 Otway, Thomas, 51, 62, 63, 94, 98 regulation of, 223 Our Actresses, 360 scenery in, 314–15 Our Boys, 408 see also theatres Our Flat, 361 Pauline, 346 Our Island Home, 264 Paul Pry, 282 Ours, 335, 337, 406 Paul Zegers; or, The Dream of Retribution, 389 owner-managers, 382 Pavilion Theatre, 201, 243 Oxford Music Hall, 377 Pearce, Sir Edward Lovett, 166 Oxford Theatre, 254 Pelleas´ et Melisande´ , 271 Penelope, 126, 137 Padlock, The, 68, 151, 219 Penkethman, William, 21 Paine, Tom, 183 penny gaffs, 378 Palmer, John, 39, 176, 200, 203 Pepusch, John, 131

473

Pepys, Elizabeth, 72 playbills, 10–11,  Pepys, Samuel, 7, 74 advertising on, 59 performers, 58–9 development of, 237 and audience, 230, 293–4, 297–8 Playfair, Nigel, 140 and auditors, 147 Playgoers’ Club, 364 gestures and poses of, 230–3 playhouses, 200; see also theatres identification with roles, 59 plays, 68–9 opportunities for, 234–5 effect of Shakespeare on, 69–70 passions of, 147 in period 1660–1776, 59–60 physical skills of, 273 regulation of, 175, 199 regulation of, 121, 175 sexual rejections in, 95 retirement fund for, 160 social and political issues in, 69 roles played by, 229 types, 60–1 salaries for, 78–9, 188–9 Plays Unpleasant, 417 tailor-made roles for, 228 playwrights, 68 techniques acquired by, 233 in 1775–76 season, 191–2 and their repertoires 1776–1895, 272–91: benefit performance for, 193 androgyny in acting, 287–8; difficult times for, 101 comedies, 281; light comedians, 288;low earnings of, 157 comedians, 284;pantomimes, 278; effect of censorship on, 123 physical acting, 273 in mid-nineteenth century, 250 women; see actresses women as, 361–2 ‘perpetual curtain’, 315 playwriting, 53, 362 ‘Petition of the Players’, 114 pleasure gardens Phelps, Samuel, 246 decline of, 373 management of Sadler’s Wells and music halls, 378 Theatre, 249, 279 popularity of, 187 Shakespearean productions by, 332–3 see also popular entertainment Philanderer, The, 410, 418–19 Pocock, Isaac, 263 Philips, Ambrose, 19 Poel, William, 318, 420, 431–2 Philips, Katherine, 95 Policy, 406 public performances of translations by, 71, political satire, 133 72, 81, 84–5 political unrest, 51 reactions to performers’ disputes, 83 Polly, 120, 139 Phipps, C. J., 296 Polwhele, Elizabeth, 81 Phoenix Theatre, 300 Poor Gentleman, 235 photography, 399 Pope, Alexander, 146 Piccadilly Circus, 306 Popish Plot crisis, 113 pictorial realism, 309, 310 popular entertainment, 369–87 Picture of Dorian Gray, The, 354 circuses, 373–4 Pigott, E. F. Smyth, 358, 435 concerts, 375 Pillars of Society, The, 414 continuity from Victorian equivalent, Pilot, The, 278 372 Pinero, Sir Arthur Wing, 409, 426–7 music halls, 376–84 Pink Dominos, 408 performance types in, 370–1 Pinkethman, William, 115 and population growth, 375 pit, 15, 57, 225, 296 range and growth of, 371–6 Pix, Mary, 87 and theatre, 384–7 Pizarro, 35, 47, 51, 211, 299 variety shows, 382 plagiarism, 83, 87 wild beast shows, 374 Plain-Dealer, The, 94 population growth, 375 Planche,´ James Robinson, 205, 248–9 Porter, Mary, 81 Play, 335, 337, 406 Powell, George, 103

474

Powell, William, 28, 177 quadruped plays, 204 Power, John, 174 quasi-theatrical entertainment, 305 practicables, 325 Queen Bee, 323 Practical Guide to Scene Painting and Painting in Queen Mab, 151 Distemper, 321 Queen’s Theatre, 14 Practical Illustrations of Rhetorical Gesture and construction of, 117 Action, 231 elite´ audience in, 57 Prelude to Opening Covent Garden, 159 under management of Marie Wilton, 337 pre-performance censorship, 139 as opera house, 20 Prince of Wales’s Theatre, 262 see also theatres audiences, 258 Quick, John, 230 comedies in, 335 Quicksands, 414 discouraging dubious patrons at, 338 Quid Pro Quo: or, The Day of Dupes, 364 redesign of, 296 Quin, Anne, 85 see also theatres Quin, James, 26 Princess’s Theatre, 4 Quintessence of Ibsenism, The, 416 antiquarian spectacles at, 333 distinguished patrons of, 333 Ramsay, Allan, 170 under management of Charles Kean, 237, rape in plays, 99 342 Rape of the Lock, The, 202 as Queen Victoria’s favourite Ravenscroft, Edward, 61, 62 playhouse, 339 realism, 197, 262, 328, 345–6 realism at, 249–50 recitals, 383 scenery design at, 319 Recruiting Officer, The, 16, 64, 106 see also theatres Red BullTheatre, 296 Pritchard, Hannah, 28, 146 Regulus, 102 private boxes, 224 Rehearsal, The, 25, 61, 83, 149 Private Memoirs and Confessions of a Justified Relapse, The, 17 Sinner, 399 as one of successful sex comedies, 104 Private Theatricals; or, Nature in Nubibus, production at Drury Lane Theatre, 35, 137 219 satirized ending of, 64 profit sharing, 79 repertory theatres, 53–70 programmes, 239–40,  audiences and performers, 55–9 prologues, 294 capacity of, 196 Prompter, The, 30 composition of, 12 Prophetess, 63 integrity of, 13 proscenium arch, 297, 303, 318 new and old plays in, 59–70 prostitutes, 57 opportunities in American cities, 242 control of, 358 playbills, 10 equating of female performers with, 74 social coherence of, 11 systemic toleration of, 223 special tours, 259–62 visibility of, 209 visiting actors in, 234 provincial theatres, 173, 178, 181–2 see also theatres Provok’d Husband, The, 66, 128, 152 representational actors, 291 Provok’d Wife, The, 103 Restoration comedies, 60, 91–2 Psyche, 63 Restoration (European history), 91 public lectures, 374–5, 377 Restoration performance space, 8–9 Punch and Judy shows, 371 Restoration theatres, 56 puppet shows, 33 audience, 57 Purcell, Henry, 63 auditorium, 297 Purse, 43 design of, 296 Pygmalion, 434 see also theatres pyrodramas, 373 retirement fund, 160, 184

475

revolution, 103, 105, 339 Royal Opera House, 54,  Revolution of Sweden, The, 86 Royal Shakespeare Company, 4 rhetorical acting, 147 Royal SurreyTheatre, 219 Rhinegold, 417 Royalty Theatre, 39, 203, 219 rhymed heroics, 60, 61, 62 Rule a WifeandHave a Wife, 152 Rich, Christopher Rump, The, 91 management of Drury Lane, 14, 117–18 Rump Parliament, 90 management of United Company, 13, Runaway, The, 192 114 Rutland House, 109 rebuilding of Lincoln’s Inn Fields Theatre, 118 Sadler’s Wells Theatre, 200 Rich, John, 10, 15, 65 documentary dramas in, 204 Richard III, 102, 152, 154, 184, 242 as house for pantomimes, 22 Richardson, William, 49 production of Shakespeare’s plays, 249 Richelieu; or, The Conspiracy, 248 quasi-theatrical entertainment at, 203 Rickards, Harry, 378, 384 scenery in, 322 Rimmel, Eugene, 239 see also theatres Rinaldo, 127, 130 safety standards, 307–8 riots, 37–8, 208–9, 292 salaries, 78–9, 188–9 Ristori, Adelaide, 358 Salisbury Court, 5, 297 Rival Queens, The, 63 Salome, 269, 270, 430 Rivals, The, 35, 68 saloons, 253 Roberts, David, 323 Salve, 430 Robertson, T. W., 262–3, 290 Sans Pareil Theatre, 201, 220,  premature death of, 406 Sans Souci Theatre, 219 stage directions of, 406–7 Saratoga, 408 works of, 335–7 satires, 22 Robins, Elizabeth, 366–8 Saunders, George, 302–4 Robson, Frederick, 335 Saunderson, Mary, 81 Rogers, James,  Savoy Theatre, 254 Roland for anOliver, A, 283 lighting, 240, 294 roles, 228, 233, 273 operas in, 265 Roman Father, The, 194 scene-painters, 46, 188, 323–4 Romantic writing, 214 scenery, changeable Roman tragedy, 67 and audience, 302 Romeo and Juliet, 153, 154 generic, 314–15 Rosa, Salvator, 46 impact of, 54 Rosciad, The, 30 innovations in, 162, 255 Rosmersholm, 415 pictorial realism in, 309 Ross, David, 172 social and cultural concerns in, 313–14 Rothenstein, William, 420 suspended, 312 Roundheads, The, 97 scenes, 8–9 Rover, The, 11, 85, 96, 103 scenographic system, 327–8, 329–30 Rowe,Nicholas, 63, 69 Schicksalstragodie¨ , 67 royal boxes, 302 School, 262, 335, 406 Royal Circus, 33 School for Rakes, The, 194 in early nineteenth century, 219 School for Reform, The, 283 under management of Robert Elliston, School for Scandal, The 205 actors in, 203 performance of John Cross’s pantomimes Sheridan’s production of, 35, 68, 210 at, 43 screen scene in Act 4 of, 36 quasi-theatrical entertainment at, 203 School for Wives, The, 158 RoyalEnglish Opera House, 254 School Mistress, The, 258

476

Scornful Lady, The, 74 Sheridan, Frances, 157 Scotland, theatres in, 169–72 Sheridan, Richard Brinsley, 34 Scott, Jane, 220,  acquisition of Drury Lane, 34 Scott, Walter, 223 compared with David Garrick, 198 scrolls, 203 dramatic career of, 210–11 Sealed Orders,  management of Drury Lane, 37, 185 Second Mrs Tanqueray, The plays by, 68 George Alexander’s production of, 411 Sheridan, Thomas, 34, 168 heroine in, 263 She Stoops to Conquer, 20, 35, 68, 159 review by George Bernard Shaw, 418, 427 She Wou’d if She Cou’d, 61 sexuality of women in, 409 Shirley, James, 60 Secret Love, 61 Shop Girl, The, 423, 425–6 Select Committee on Dramatic Short Discourse of the English Stage, A, 8 Literature, 222, 252–3 Short View of the Immorality, and Profaneness of self-censorship, 139 the English Stage, 57, 98, 116, 173 semi-operas, 63, 114 Sicilian Usurper, The, 113 sensation melodramas, 345 Siddons, Henry, 231 sentimental comedy, 60, 211, 212 Siddons, Sarah, 44 Serious Family, The, 285 acting techniques, 273, 360 settings, 264 as Calista in The Fair Penitent,  sex comedies, 62 roles played by, 51, 186, 199 audience of, 57 ‘sides’, 233 failure of, 96, 103 Siege and Storming of Seringapatam, The, 222 and man’s social nature, 93 Siege of Belgrade, The, 244 see also comedies Siege of Gilbraltar, The, 204 sexualized consumerism, 387 Siege of Rhodes, The sexual rejections in plays, 95 music and songs in, 78 Shadwell, Thomas, 94 as an opera, 61 hostility to sex comedy, 101 scenery design for, 299–300,  plays by, 96, 98 William Davenant’s productions of, 5, 55, Shaftesbury Theatre, 254 74–5 Shakespeare, William Sign of the Cross, The, 435–6 early adaptations of, 91, 154 Silver Box, The, 266 impact on audience and culture, 240 Silver King, The, 266 production of plays by, 242–3 Silver Lotus, The, 368 sharer–hireling arrangements, 111 Singla, Etienne, 390 Sharples, Thomas, 377 Sir AnthonyLove, 104 Shaughraun, The, 251 Siroe, 137 Shaw, Eyre, 306 Sir Patient Fancy, 62, 85 Shaw, George Bernard, 417–19 sketches, 379, 380 attitude to women, 418 Slaves of the Ring, 426 as drama critic, 424–5, 438:reviewof Smirke, Robert, 208 Michael and his Lost Angel, 437–8;reviews Smith, Adam, 183 of Oscar Wilde’s works, 428–9;reviewof Smith, Bruce, 325 Slaves of the Ring, 426;reviewofThe Smith, William, 85, 185 Importance of Being Earnest, 429–30; Smock Alley playhouse, 166, 169 review of The Notorious Mrs smoking, 385 Ebbsmith, 427–8;reviewofTheSecond smoking concerts, 383 Mrs Tanqueray, 427;twotargets, 426 social comedy, 94, 95 false start as blue-book playwright, 269 social groups, 295 on new plays, 406 social reformers, 342–3, 349 Shepherd, Edward, 16 Society, 262, 335, 406 Shepherd’s Week, The, 129 solo beneﬁts, 193

477

Sontley, C.,  Suspicious Husband, The, 67, 152, 158 Souldiers Fortune, The, 97 Sutro, Alfred, 255 Southerne, Thomas, 11, 64 ‘swell songs’, 378 south London theatres, 343 symbolic actors, 291 Spanish Armada, The, 45 Syrett, Netta, 365–6 Spanish Fryar, The, 69 Spanish Wives, The, 87 Tale of Mystery, A, 47, 210 specialty houses, 256–9, 340 Tales from Shakespear Designed for the Use of Spectator, 20 Young Persons, 240 spectatory, 311 Talfourd, Francis, 344 Speed the Plough, 213 Tamerlane, 25, 193 Spleen, The, 194 Taming of the Shrew, The, 154 Squire of Alsatia, The, 101 Tate, Nahum, 98 stage boxes, 16, 298 Tatham, John, 90 stage design, 294, 309–30 Taylor, G. F., 344 antiquarianism in, 317 Taylor, Tom, 264, 339 artistic and technical progress in, 318 tea gardens, 33 illumination in, 298–9, 326–7 Telbin, William, 319 for melodrama, 325 design for Charles Kean’s The Merchant of forpantomimes, 324–5 Venice,  technology in, 325–6 design for Faust, 299 stage designers, 208 design for Much Ado About Nothing,  stage hands, 188 William Capon’s influence on, 315 ‘stalls’, 295 temperance melodrama, 349–50 Standard Theatre, 254 Tempest, The, 91 Stanfield, Clarkson, 315, 323 David Garrick’s production of, 154 Star Inn, 377 William Davenant’s production of, 11, 56, 63 star system, 136 William Macready’s performances in, 248 Stayley, George, 172 Tender Husband, The, 20 Steele, Richard, 16, 65, 107, 118 Terriss, Ellaline, 353 steel engravings, 314 Terriss, William, 220 Stevenson, Robert Louis, 399 Terry,Ellen, 280 Still Waters Run Deep, 339 in King Arthur,  St James’s Theatre, 259, 296, 410–11 relationship with son (Gordon Craig), 356, stock pieces, 76 360 St Patrick’s Day, 159 Theatre, The, 30 Strand Theatre, 222, 243 Theatre Construction and Maintenance, 299, 306 Strange Case of Dr Jekyll and Mr Hyde, The, 399 Theátreˆ Libre, 415 Stranger, The, 49 theatre managers, 23 street performers, 110, 372 expansion projects, 207 Streets of London, The, 325, 346 and middle-class patrons, 347–8 ‘strollers’, 110 on music halls’ lack of respectability, 380 Stuart absolutism, 105 Theatre Regulation Act of 1843, 199 Such Things Are, 41, 211 abolition of patent privileges, 223 Suett, Richard, 281 banning of smoking and alcohol Sullivan, Arthur, 264 consumption, 378 Sultan, The, 211 and construction of new theatres, 220, 243, sun-burners, 294 305 sunlights, 294 Theatre Royal Richmond,  Sunshine Girl, A, 425 Theatre Royal Woolwich, 243 Surrender of Conde, The, 204 theatres, 53–70 Surrey Theatre, 201, 205 1660–75 period, 165–82:England, 173–82; suspended scenery, 312–13 Ireland, 165–9; Scotland, 169–72

478

1660–1800 period, 3–52:ageof London’s cultural geography, 206;and Garrick, 24–34;approaching Restoration London’s dramatic culture, 202; theatre, 3–4; end of century, 44–52;new quasi-theatrical entertainment in, 222; theatres and burgeoning audiences, see also popular entertainment 1700–41, 14–23;renewed new and old plays in, 59–70 beginnings, 4–14; Sheridan and patent theatres, 23: competition with post-Garrick age, 34–44 minor theatres, 204, 206–7; conservative 1776 as critical year, 183–98: repertory policies, 67;cultural status audiences, 195–6;business aspects, 188; of, 209;dramatic monopoly of, 203;in competition, 193; important events, 183; early nineteenth century, 223;effect of overview, 186–7; playwrights, 191–2; censorship on, 122;effect of Licensing quality of entertainment, 187–8; Act on, 122; establishment of, 108; reality-based illusion, 187 expansion of, 51–2;inlate Georgian 1776–1843 period, 199: critics, 214–15; design period, 206; performances at, 32; of playhouses, 208;dramatic rebuilding of, 224–7;regulation of, 223; stars, 199–200;patent theatres, 207; scenery in, 314–15 Romantic playwrights, 215 politics and morality in, 90–107 1800–95 period, 219–71: theatres, actors and price structure, 56 plays, 243–54;tradition, innovation and proprietors, 111 regulation, 219–43;transformed provincial theatres, 173, 178, 181–2 theatrical landscape, 254–71 regulation of, 108–25:Carolean 1851–70 period, 331–51: comic genres, 335; establishment, 108–13;and and respectability of middle classes, 331, censorship, 22–3; impact of Licensing 344; social reformers, 342–3 Act, 117–25, 175;and public performance 1895, 422–39 of plays, 199; theatrical warfare, 114–16 actor-managers, 28 relicensing of, 253–4 all-electrified theatres, 270 repertory theatres, 53–70:audiences and audiences and performers, 55–9 performers, 55–9;capacity of, 196; auditorium arrangements, 56 composition of, 12; integrity of, 13;new barn theatres, 180–1, 208 and old plays in, 59–70; opportunities in benefit performance, 193–5 American cities, 242; playbills, 10; social capacity of, 196, 255 coherence of, 11; special tours, 259–62; competition, 54, 70 visiting actors in, 234 competition from music halls, 385–6 Restoration theatres, 56:audience, 57; conflagrations, 306–7 auditorium, 297; design of, 296 design of, 292–308:auditorium, 297, 302–3; and revolutions, 37 entrances, 295; history of, 299; riots in, 37–8 partitionings, 295;physical sharer–hireling arrangements in, 111 configuration, 293;requirements in, 306; West End theatres, 306:audiences of, 342; safety standards, 307–8; stalls, 295 profitability of, 351;success in year East End theatres, 306: closure of, 344; 1895, 423 illegitimate productions at, 343; penny see also names of specific theatres gaffs, 378 Theatrical Candidates, The, 190 favourite performers in, 58–9 theatrical criticism, 30 female presence in, 71: performers, 73–81; Thomas, Brandon, 408 playwrights, 81–9 Three Hours after Marriage, 4, 128 increase in number of, 220 Threepenny Opera, The (Die lighting effects, 161 Dreigroschenoper), 140–1 in mid-nineteenth century, 243–4 Thurmond, John, 129 minor theatres, 199:burlettas in, 203, 222; Thyrza Fleming, 430 competition with patent theatres, 204, Ticket-of-Leave Man, The, 264 206–7; documentary dramas in, 204; Tilley, Vesta, 356 geographic location of, 201–2;and Timour the Tartar, 210

479

’Tis Pity She’s a Whore, 3 upper-class patrons, 295 Tom and Jerry; or, Life in London, 204 urban settings, 264 Tom Thumb, 66, 202 Toole, J. L., 285 Vag rancy Act of 1714, 175 Toole’s Theatre, 254 values, transvaluation of, 133, 135 topography, 310 Vampire, The; or, The Bride of the Isles, 249 Tory, 19, 97, 113 Vampire trap, 249 Tottenham Street playhouse, 201 Van Amburgh, Isaac, 374 touring companies, 173, 374 Vanbrugh, John, 14, 17, 64, 115, 117 Townley, James, 151 variety shows, 382 tragedians, 230, 332, 334 Vaudeville Theatre, 254 tragedies, 12 Venice Preserv’d, 11, 63 tragi-comedy, 92 anti-Whig plot of, 99–101, 113 Tragi-Comi-Pastoral Farce, A, 128 performers, 44, 51 transpontine theatres, 343 Verbruggen, Susannah, 87 transvaluation of values, 133, 135 Vere Street Theatre, 55 Treatise on Theatres, A, 299, 302 Vestris, Eliza, 200 Tree, Ellen, 250 acting techniques, 287 Tree, Herbert Beerbohm, 242 debut´ at Drury Lane Theatre, 244–5 acquisition of rights to Trilby, 399 management of Olympic Theatre, 204–5 repertoire of, 412–13 Victorian theatre sponsorship of playwriting contests, 364 acting styles in, 334 Trelawney of the ‘Wells’, 263 comic genres of, 335 Trial by Battle; or, Heaven Defend the Right, geographical narrative of, 343 205 politicization of, 340–1 Trial by Jury, 264 and respectability of middle classes, 332 Trick for Trick, 95 women in, 352–68 Trilby, 399, 412, 423, 433–4 women playwrights in, 361–2 Trinity College, 167 see also theatres Trip to Scarborough, A, 35 Victoria, Queen, 319–20 Trotter, Catherine, 86 knighthood of Henry Irving, 422 True Widow, A, 62 as leading patron of drama, 339, 346 Tuke, Samuel, 61 patronage of specialty houses by, 339–40 Twelfth Night, 432 Victoria Theatre, 243, 254 Twin Rivals, The, 69, 104, 107 Village Doctor, The, 44 Two Gentlemen of Verona, The, 161 villains, 12, 397 two-shilling galleries, 225 Violante, Signora, 167 Virginius, 213, 263, 334 Ubu roi, 420 Vision of the Golden Rump, The, 23 ‘Uncle, The’, 393 Volpone, 281 Underhill, Cave, 85 Unhappy Favourite, The, 137 Walker, Thomas, 132 United Company, 85 Walk ley, A. B., 420 competition, 114–15 Waller, Lewis, 422 defection of actors from, 13 Walpole, Robert, 22, 46, 122 formation of, 112–13 Ward, Sarah, 170–1 investments in semi-operas, 114 Waterman, The, 184, 194 legitimate drama, 14 Watts, John, 134 old plays, 101 Way of the World, The, 10, 19, 64 performance at Drury Lane, 13 Wealth of Nations, The, 183 secret investors in, 114 Webb, John, 8, 299, , 310 theatre, 7 Weimar Republic, 140 see also repertory theatres Welsh Fair, 22

480

Welsh Opera, The, 120, 138 Wilton, Marie, 288, 337–8 West End theatres, 306 Wilton’s Music Hall, 377 audiences of, 342 Windsor Castle, 339 profitability of, 351 Winter, William, 354 success in year 1895, 423 Winter’s Tale, The, 154, 250, 319–20 see also East End theatres; theatres Wiseman, Jane, 86 West Indian, The, 158, 212 Witness for the Defence, The, 412 Westminster Magazine, 195 Wives’ Excuse, The, 64, 69, 106 Westminster Subscription Theatre, 222 Woffington, Peg, 28, , 167, 168–9 What D’Ye Call It, The, 127 Woman Captain, The, 96 Whately, Thomas, 49 Woman of NoImportance, A, 269 Wheel of Fortune, The, 274 Woman Who Did, The, 409 Whigs, 19, 97, 113 Wombell, George, 374 White Swan Inn, 173 women in theatre, 71, 352–68 Whither and How, 367 amateurism of, 352 Whitley, James, 180 autonomy of, 352–3 whorehouses, 358 informal power of, 79–81 Widowers’ Houses, 269, 417 performers, 73–81 Wife of Bath, The, 127, 129 plagiarism, 83 Wigan, Alfred, 279 playwrights, 81–9, 191, 361–2 wild beast shows, 374 reasons for, 81 Wild Duck, The, 430 sexuality of, 75 Wilde, Oscar, 243 success of, 355 downfall of, 422 wages of, 353 exploration of inner and outer self by, 399 Wonder, The: A Woman Keeps a Secret, 11, 88, 183 production of TheImportance of Being Woodward, Henry, 151, 179 Earnest, 239 Woolf, Virginia, 360 roles played by, 428–9 Wordsworth, William, 52 works of, 269 Word to the Wise, A, 158 Wild Goose Chase, The, 11 working class, 338, 343, 348–9 Wild West Show, 372 working men’s clubs, 382 Wilkinson, Tate, 178 Wyatt, Benjamin Dean, 208, 223 Wilks, Robert, 20 Wycherley, William, 62 different roles, 58 Wyndham, Charles, 408 identification with roles, 59 Wyndham’s Comedy Company, 408 as one of Patent Company’s successful actors, 115 Yates, Elizabeth, 204 Williamite drama, 102–3 Yates, Mary Ann, 188 Williams, Elizabeth, 72 Yates, Richard, 177 Willis, Elizabeth, 81 Yellow Dwarf, The, 340 Wilson, John, 110 York Corporation, 178

481