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Designing the Body of the Actor-‐Manager, 1870

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Designing the Body of the Actor-‐Manager, 1870 Artist, Professional, Gentleman: Designing the Body of the Actor-Manager, 1870-1900 Helen Margaret Walter Submitted in partial fulfillment of the requirements for a PhD by Thesis Awarding Body: Royal College of Art Department: History of Design Date of Submission: March 2015 Words: 79,042 2 Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgment. 3 Abstract In the historical record of British theatre in the latter half of the nineteenth century, the figures of London’s actor-managers are constantly present. As such, over the intervening century, they have been subjected to detailed historical enquiry by any number of different scholars in terms of their theatrical achievements, management styles, and their role in the changing nature of theatre in this period. However, despite the vast amount of extant visual material pertaining to these individuals in British, and other, collections, little attention has been paid to the image of the actor-manager in this period, and still less to the role of the body in the legacy of such figures. Given the nature of the actor’s craft as body-orientated, the explicitly visual nature of theatre in this period, and a burgeoning mass-media industry intent on the dissemination of such images, from a design history perspective this historiographical gap is surprising. Taking as its starting point the contention that the primacy of London’s actor- managers in this period was not, despite the claims of some contemporaries, an inevitable result of natural talent, but rather the outcome of carefully mediated verbal and visual discourses of theatrical and social achievements, this thesis examines how the framing of the body in such texts and images contributed to the legacy of the actor-manager as the central figure of late-Victorian theatre for a number of different audiences. It does this by using a synthetic approach which encompasses a number of distinct disciplines, including theoretical perspectives on the body, theatre historical scholarship that informs the context of the primary material, and design historical narratives of production and consumption. Ultimately, however, it is led by the depiction of actor-managers in the late nineteenth century, and the manifestation of multi-valent identities through the body, which constructed them for popular and critical consumption as artists, professionals and gentlemen of the late-Victorian era. 4 Contents Copyright Statement ........................................................................................................................ 2 Abstract ................................................................................................................................................. 3 Illustrations ......................................................................................................................................... 5 Tables ................................................................................................................................................... 10 Acknowledgements ........................................................................................................................ 11 Author’s Declaration ..................................................................................................................... 12 List of Abbreviations ..................................................................................................................... 12 Introduction ...................................................................................................................................... 13 ‘Distinctly intended to be a “George”’: Character, Appearance, and the Skill of the Actor ..................................................................................................................................................... 49 Embodying Artistry: Charles I, Othello and The Corsican Brothers at the Lyceum Theatre, 1872-1881 ....................................................................................................................... 84 ‘On and Off the Stage’: Balancing the Record of Celebrity .......................................... 147 Sociability and the Artistic Body ........................................................................................... 182 ‘Bourgeois Blandness’: Creating a Professional Body .................................................. 221 Modern Men: Blurring the lines between Actor-Managers, Authors and Audiences ........................................................................................................................................ 261 Conclusion: Collecting One Another .................................................................................... 314 Appendix A: Survey of Actor-Managers’ Portraits in the V&A and NPG Collections ....................................................................................................................................... 326 Appendix B: Sitters in Series of photographs distributed with the Saturday Programme, Men of Mark and the Theatre ........................................................................ 328 Bibliography ................................................................................................................................... 331 Index .................................................................................................................................................. 355 5 Illustrations Figure 1: Anon., ‘Mr. Hare’s Dressing Room’, 1891. Published Strand Magazine, 1 February 1891, p. 182. Lithograph, 13 x 16cm. ....................................................... 62 Figure 2: Anon., ‘Mr. Hare's Inner Room’, 1891. Published Strand Magazine, 1 February 1891, p. 183. Lithograph, 13 x 7cm. .......................................................... 62 Figure 3: London Sterescopic Company, Photograph of Genevieve Ward as Stephanie de Mohrivart with John Clayton as Sir Horace Welby in Forget- Me-Not, 1880. Sepia Photograph, 15 x 10cm. London: V&A. .............................. 81 Figure 4: Fred Barnard, ‘Mr. Henry Irving in all his Principal Characters 1866- 1890’, 1891. Published Illustrated Sporting and Dramatic News, 21 October 1905, p. 277. Lithograph, 38 x 26cm. ........................................................................... 85 Figure 5: Fred Barnard, ‘Henry Irving as Digby Grant in “Two Roses”’, 1870. Published in Bram Stoker, Personal Reminiscences of Henry Irving, rev. edn (London: Heinemann, 1907), p. 6. Photogravure, 14 x 10cm. ........................... 86 Figure 6: Edwin Longsden Long, Three Heads of Charles I, c.1872. Oil on panel, 19 x 29cm. London: Garrick Club. .................................................................................. 99 Figure 7: Anthony Van Dyck, Charles I in Three Positions, 1635. Oil on canvas, 84 x 99cm. Windsor: Royal Collection. ............................................................................... 99 Figure 8: London Stereoscopic Company, Photograph of Henry Irving as Charles I, c.1872. Sepia Photograph, 15 x 10cm. London: V&A. ..................................... 100 Figure 9: London Stereoscopic Company, Photograph of Henry Irving as Charles I, c.1872. Bromide Postcard Print, c. 1900, 15cm x 9cm. London: V&A. .... 101 Figure 10: Dickinson Brothers, Photograph of Henry Irving as Charles I, c.1876- 7. Albumen Cabinet Card, 16 x 10cm. London: V&A. .......................................... 104 Figure 11: Anthony Van Dyck, Charles I (Roi à la Chasse), c.1636. Oil on canvas, 266 x 207cm. Paris: Musée du Louvre. ..................................................................... 105 Figure 12: James Archer, Henry Irving as Charles I, 1873. Oil on canvas, 221 x 103cm. Bournemouth: Russell-Cotes Museum. .................................................... 107 Figure 13: William Small, ‘Mr. Irving and Miss Isabel Bateman in “Othello” at the Lyceum Theatre’, 1876. Published 18 March 1876. Included in Percy 6 Fitzgerald, Henry Irving: His Life and Characters, 22 vols, II, 94. Lithograph, 32 x 27cm. London: Garrick Club Library. .............................................................. 116 Figure 14: Anon., ‘Mr Irving as “Othello, or the Infuriated Sepoy”’, 1876. Published Illustrated Sporting and Dramatic News, 19 February 1876, p. 509. ........................................................................................................................................... 116 Figure 15: Faustin Betbeder, ‘Mr Henry Irving, as “Othello”’, 1876. Included in Percy Fitzgerald, Henry Irving: His Life and Characters, 22 vols, II, 353. 15cm x 15cm. London: Garrick Club Library. ........................................................ 116 Figure 16: Alfred Thompson, Henry Irving as Othello, Detail from Rinkomania, 1876. Published Illustrated Sporting and Dramatic News, 1 March 1876, p. 552. 13 x 11cm. ................................................................................................................... 117 Figure 17: J. Bernard Partridge, Irving as Othello, c.1880-1900. Pencil, Pen and Ink on Paper, 26 x 14 cm. London: V&A. .................................................................. 119 Figure 18: Charles Cattermole, ‘The Arrival’, 1880. Published in [The] Corsican
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