The Challenge of Nineteenth Century Theatre in Sheffield Hilary Jane Wilson PhD School of English Language, Literature and Linguistics March 2014 Volume I The Challenge of Nineteenth Century Theatre in Sheffield Volume I Abstract Acknowledgments Abbreviations Introduction: scope, aims and methodologies 1 – 26 Chapter One: contested sites 1810 – 1870 27 – 114 Chapter Two 115 – 194 Challenging roles for women in provincial theatre: Kate Pitt Bright (1844-1906) - actress, playwright, producer Chapter Three 195 – 290 The challenge of using theatre for social and political intervention: The Union Wheel and Put Yourself in His Place Chapter Four 291 – 376 Challenging preconceptions about popular culture: Keen Blades Conclusion 377 – 392 Bibliography 393 – 411 The Challenge of Nineteenth Century Theatre in Sheffield Volume II Appendices Please note that appendices C and D are only available in the print copy deposited in the University Library. A0 Repertoire and new writing 1 - 25 List of original plays produced in Sheffield during the period A1 Kate Coveney (Pitt) Bright 1 – 38 Naomi’s Sin; or, Where are you going to my pretty maid? A2 Joseph Fox 1 - 52 The Union Wheel A3 A. F. Cross and J. F. Elliston 1 - 41 Keen Blades; or, The Straight Tip B1 Brief career history of Kate Coveney (Pitt) Bright 1 – 4 B2 Brief career history of Joseph Fox 1 - 4 B3 Brief career history of James Fyfe Elliston 1 - 2 C1 Alphabetical list of venues in Sheffield during the period 1 - 31 C2 Brief history of the Theatre, later the Theatre Royal 1 - 14 C3 Brief history of the venue on Blonk Street 1 - 10 D Maps and supporting documents D/Doc.1 Explanatory document 1 - 2 D/Doc. 2 List of street or place names referred to in the thesis or 1 - 2 appendices D/Doc. 3 Key to venues marked on the maps 1 - 4 Twelve maps (see Explanatory Document D/Doc. 1) Abstract This thesis evaluates the status and significance of theatrical performance in Sheffield during the nineteenth century, through an examination of its challenges: those it faced, and those it presented. It investigates the ways producers tackled and often overcame obstacles, which were both practical (arising mainly from economic and political instability) and ideological (moral or aesthetic disapproval). Three case studies document and analyse specific provocative or innovative plays within the contexts of their productions, and assess their contribution to the cultural landscape. My reading of the texts and associated archival research is interdisciplinary and draws on a range of analytical tools. The concept of ‘challenge’ connects material with method: questions are raised by the subject matter of the plays, the circumstances of their creation and reception, and by my historiographical approach. I ask why they have never received any critical attention since their first production, and have all but disappeared from the records - a fate shared by much popular entertainment. Provincial theatre histories are especially vulnerable; there is an urgent need to record and evaluate the available material before it disappears. Theatre was at the centre of an exuberant, and rapidly changing, panorama; Sheffield grew beyond all recognition from the beginning of the century to its end. My narrative positions its creative life in relation to its civic evolution, and considers the dynamic relationship between both kinds of development. It traces the cultural history of a place, from the years when one theatre served its inhabitants, through the competitive advent of music hall and circus, to those of a busy city full of entertainment venues. Whilst challenging prejudices about provincial, popular theatre and the role of women, I demonstrate the special qualities and identity of Sheffield, and reclaim its position as a significant city in nineteenth century theatrical history. Acknowledgments There are many people who have assisted me with this project and I would like to sincerely thank all of them: The White Rose University Consortium for funding and support; staff of Sheffield Archives and Local Studies Library; British Library; University of Sheffield Library (particularly Special Collections); Department of English Language and Literature (particularly my supervisor Professor Steve Nicholson, and replacement tutor Dr. Shirley Foster, who generously gave her time and expertise); postgraduate students and academic colleagues (particularly those involved in the Theatre History and Historiography working group of the Theatre and Performance Research Association (TaPRA), who stimulated, encouraged, and informed this fledgling researcher; students from the University and the WEA, who motivated me to learn more and be able to disseminate my findings; local historians and enthusiasts in Sheffield who offered me the fruits of their own research (particularly those involved in the Victorian Society); and finally, although perhaps most importantly, my family and friends, who have given me a huge amount of practical and moral support – I could not have completed this project without them. This Thesis is dedicated to Dr. Raymond Wilson (1926-1988), who was an inspirational model as an ambitious, organised, and hard- working mature student, as well as all-round great Dad, and to Professor Jane Moody (1967-2011), who conceived this project and acquired the funding, was a wonderful teacher, and whose knowledge, energy, enthusiasm, intelligence, generosity of spirit, and joie de vivre will always be very sadly missed. Abbreviations used throughout this Thesis and Appendices Collections PB Playbill Original playbills I have consulted are archived usually within two main collections: those held at the Local Studies Library in Sheffield, and those held as part of the Hudson Collection at the University of Sheffield PB LSL M.P. … V.L. Playbill, Local Studies Library, Miscellaneous Papers (very large) PB HC Playbill, Hudson Collection B.L. L.C.P. British Library, Lord Chamberlain’s Play Collection Manuscripts of plays submitted to the Office of the Lord Chamberlain for Licence, held at the British Library P.R.O. Public Record Office P.R.O. / L.C.1 /232 Lord Chamberlain’s papers and correspondence held at the P.R.O. SA Sheffield Archives S-LSL Sheffield Local Studies Library (the Library maintains its own archive collection, separate from the above) Newspapers SI Sheffield Independent Although the title Sheffield Independent is normally used in the body of the thesis, the newspaper had several changes of name over its lifetime. Full titles and approximate dates are listed in the bibliography. Sheffield Independent or SI thus refers to: Sheffield Independent and Commercial Register Sheffield Independent and Yorkshire and Derbyshire Advertiser Sheffield and Rotherham Independent SLR Sheffield Local Register An annual publication chronicling the noteworthy events of the year, this was published by R. Leader and Sons who were also responsible for the Sheffield Independent. Introduction Scope, aims and methodologies This thesis evaluates the status and significance of theatrical performance in Sheffield during the nineteenth century, through an examination of its challenges: those it faced, and those it presented. Although social and economic historians have acknowledged the substantial contribution of the region to the Victorian industrial revolution, its cultural history has been somewhat overlooked.1 Kathleen Barker was an early champion of theatre history outside London, and even though a number of scholars over the last twenty years have produced notable studies of regional performance, her unpublished PhD thesis ‘The Performing Arts in Five Provincial Towns 1840-1870’, is still the foremost one to focus on Sheffield.2 Compared with her four other chosen locations of Bristol, Brighton, Newcastle-upon-Tyne and Nottingham, her conclusion is that the Yorkshire town was rather slow to develop any notable artistic activity; and appears to have faced the greatest struggle. The scope of my research extends her period of study, and examines theatrical activity across the century; but my focus on only one location allows for a consideration of the nature of the obstacles, alongside a thorough investigation of the ways that producers tackled and often overcame their difficulties; and it also demonstrates that theatre-makers were proactive, and established co-operative and productive relationships where possible. The nature of the challenges changed as the century progressed, and these 1 For more on the industrial history of Sheffield, see particularly Clyde Binfield and others (eds.), The History of the City of Sheffield 1843-1993, in 3 volumes (Sheffield: Sheffield Academic Press, 1993); Dennis Smith, Conflict and Compromise: Class Formation in English Society 1830-1914 (London: Routledge and Kegan Paul, 1982); Sidney Pollard, The Sheffield Outrages: Report presented to the Trades Unions Commissioners in 1867 (Bath: Adams and Dart, 1971). 2 Kathleen M. D. Barker, The Performing Arts in Five Provincial Towns 1840-1870 (PhD, University of Warwick, 1982). 1 developments can be traced through the first chapter. From the 1850s onwards, there was an increase in the number of original plays which premiered in Sheffield, and some of these feature throughout my account. Three extended case studies form the subsequent chapters, which document and analyse specific provocative or innovative texts within the contexts of their production and reception, and assess their contribution to the cultural landscape. My reading of these plays and the associated