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Regency Actors and the Inspiration Behind Romantic Drama City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama James Armstrong The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2317 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FIT FOR THE STAGE: REGENCY ACTORS AND THE INSPIRATION BEHIND ROMANTIC DRAMA by JAMES ARMSTRONG A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 ii © 2017 JAMES ARMSTRONG All Rights Reserved iii Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. May 12, 2017 ______________________________ Date Chair of Examining Committee Marvin Carlson Distinguished Professor May 12, 2017 ______________________________ Date Executive Officer Peter Eckersall Professor ______________________________ Jean Graham-Jones Professor ______________________________ Annette J. Saddik Professor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract Fit for the Stage: Regency Actors and the Inspiration Behind Romantic Drama by James Armstrong Adviser: Distinguished Professor Marvin Carlson In this dissertation, I argue that British verse tragedies of the Romantic era must be looked at not as "closet dramas" divorced from the stage, but as performance texts written with specific actors in mind. Because individual actors inspired and helped to shape dramatic works by early-nineteenth-century canonical poets, these works cannot be fully understood without an appreciation of the performers who helped make them what they are. By examining those performers, their public personas, their personal strengths, and the cultural ideals they embodied, we can better appreciate what the plays were trying to achieve. Also, knowing who was meant to perform a role can prevent us from going astray with misinterpretations that fail to account for how dramatists intended their main characters to be perceived. By properly understanding the plays of this era within the contexts in which they were meant to be performed, we begin to get a better understanding of the course of British drama in general. In the first chapter, I outline the key characteristics of Romantic drama that separated it from the rising melodrama of the period. Romantic drama was character-based, utilized ambitious poetic language, and seriously considered moral questions. These qualities, I argue, all v required skilled actors. Thus, Romantic drama is inherently linked to the star actors of the Regency period who dominated the stage at the time. The chapter includes an in-depth analysis of William Wordsworth's The Borderers as the Ur-text that embodies all of the elements of Romantic drama, as well as a survey of the development and decline of verse tragedy in the nineteenth century. The following three chapters offer case studies of individual performers who influenced dramas by canonical authors. Chapter 2 examines Sarah Siddons's role in Joanna Baillie's tragedy De Monfort. Chapter 3 looks at Samuel Taylor Coleridge's rewriting process in turning his unperformed manuscript Osorio into the stage hit Remorse with the aid of Julia Glover. Chapter 4 relates to Eliza O'Neill, the actress who converted Percy Shelley to write for the stage and inspired the heroine of The Cenci. vi Acknowledgements I am exceedingly grateful to my committee members, Marvin Carlson, Annette Saddik, and Jean Graham-Jones, who have all offered invaluable comments on drafts of this dissertation. Chapter 3 began as a paper for Alan Vardy's Romanticism seminar "Landscape, Aesthetics, and Romantic Writers" offered by the English department at The Graduate Center. I am grateful to him not just for allowing me into the course, but for always making me feel welcome in spite of my coming from another discipline. As I began my research into Samuel Taylor Coleridge, he helped steer me in the right direction on a number of occasions. He also pointed me in the direction of Deven Parker at the University of Colorado Boulder, and I am grateful to her for sharing her unpublished paper on "The Foster-Mother's Tale." I would like to also thank David Willinger, whose expertise on fin de siècle Symbolism has guided my research on the continuing influence of The Cenci. Some of the ideas I explored regarding The Cenci were developed in a paper I presented at the International Shaw Society's Shaw in New York Conference at Fordham University, and a version of that paper will be published forthcoming in the journal Shaw. I greatly appreciate the way the Shaw community has embraced me, even though the thrust of my research is aimed at an earlier period. The Society for Theatre Research has been just as welcoming, and parts of this dissertation were originally developed for a paper I gave at STR's Theatre in the Regency Era Conference at the University of Cambridge. I received funding to attend that conference through a Doctoral Student Research Grant offered by The Graduate Center, and a version of the paper will be published in Theatre Notebook. Chapter 4 is in part based on a previous article I wrote for vii Theatre Notebook, "Shelley's Unsung Muse: Eliza O'Neill and the Inspiration behind The Cenci." The editors and readers at both Shaw and Theatre Notebook have given me invaluable advice as I have reworked articles, parts of which are included in this dissertation. This dissertation would not be possible without professionals in various archives, including the Billy Rose Theatre Division and the Pforzheimer Collection at the New York Public Library. I have also received assistance from the staff at the British Museum, the Victoria and Albert Museum, and the Garrick Club in the United Kingdom. The staff at the Harry Ransom Humanities Research Center at the University of Texas at Austin helped me get a digital copy of Miss O'Neil's Welcome to Kilkenny, and countless other librarians have greatly aided my research by making otherwise obscure works available online. I am particularly grateful to Marci Morimoto of the Metropolitan Museum of Art for guiding me through how to access eighteenth- century newspaper collections, as well as for putting up with my occasional frustrations with technology. Thanks also go to Lynette Gibson for leading me through the various pitfalls of The Graduate Center and helping me to navigate some of the more frustrating aspects of academic bureaucracy. Finally, I owe an undying gratitude to Judith Milhous, who mentored me through the beginning stages of this project. This entire dissertation began with my wanting to know who Eliza O'Neill was, and why—though Mary Shelley claimed the actress had been instrumental in inspiring The Cenci—no one seemed to have heard of her. Judy encouraged me to follow up on the leads I had found, and provided several others that would otherwise have escaped me entirely. After I wrote a paper on O'Neill for her theatre and opera class, she encouraged me to prepare it for publication and read so many versions I eventually lost count. It was Judy who suggested I submit the article to Theatre Notebook and Judy who told me to apply for the STR's viii conference in Cambridge. She has served as a model for being a scholar, a teacher, and a human being. I dedicate this project to her. ix Table of Contents Abstract iv Acknowledgements vi Introduction 1 Chapter One 13 The Elements of British Romantic Drama Chapter Two 64 Summoning Siddons: Joanna Baillie's Play for the Stage Chapter Three 111 Without Remorse: Coleridge's Unapologetic Dramatics Chapter Four 155 Succeeding Siddons: Shelley's Unsung Muse Conclusion 195 Bibliography 203 INTRODUCTION All too often, scholars view serious British dramas of the Romantic period as if they were divorced from the stage. The inaccurate term "closet drama" sticks to some plays of the era as if their authors never intended them to be performed. However, many of the so-called closet dramas of the era were not only written to be performed, but to be performed by specific actors. These actors and their unique talents left an indelible mark on major dramas of the period. By better understanding the actors who inspired these plays, we can more fully appreciate the plays themselves. Literary historians tend to exalt the tail end of the Georgian Era for its tremendous innovations in poetry, not for its innovations in drama. When scholars examine the period, from the publication of Lyrical Ballads in 1798 to the untimely deaths of John Keats, Percy Bysshe Shelley, and George Gordon Byron in the 1820s, they find it to be a golden age of canonical verse. The core of this period corresponds roughly with the Regency (1811-1820), when the Prince of Wales assumed the responsibilities of his father, George III. Regency literature, which includes the novels of Jane Austen and Mary Shelley, is not only still read today, but also continues to shape mass entertainment. A new film based on an Austen novel or a new stage adaptation of Frankenstein comes with a built-in fan base. Romance novels set in the Regency era (usually very loosely defined to include everything from early Georgian to high Victorian) make up an important and lucrative sub-genre of popular fiction.
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