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Xerox University Microfilms 300 North Zeeb Road Ann Arbor. Michigan 48106 I 74-10 ,94-1 DAUM, Paul Alexander, 1938- THE ROYAL CIRCUS 1782-1809: AN ANALYSIS OF EQUESTRIAN ENTERTAINMENTS. The Ohio State University, Ph.D., 1973 Speech-Theater University Microfilms, A XEROX Company, Ann Arbor, Michigan © 1974 PAUL ALEXANDER DAUM ALL RIGHTS RESERVED THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. THE ROYAL CIRCUS 1782-1809: AN ANALYSIS OF EQUESTRIAN ENTERTAINMENTS DISSERTATION Presented in Partial F ulfillm e nt of the Requirement fo r the Degree Doctor of Philosophy in the Graduate School of the Ohio State University by Paul Alexander Daum, B.F.A., M.A. ***** The Ohio State University 1973 Reading Committei Approved By Dr. John C. Morrow CX B Dr. George r. Crepeau ' Adviser Department of Theatre VITA March 15, 1938 ...................Born, Akron, Ohio 1962 ..................................... B.F.A., Wesleyan College, Macon, Georgia 1964 ..................................... M.A., The University of Akron, Akron, Ohio 1964-1966 ............................ Lecturer, The University of Akron, Akron, Ohio 1966-1969................................. Instructor, The University of Akron, Akron, Ohio 1968-1969 ............................ Research Associate, Assistant to the Director, The Ohio State University Theatre Collection, Columbus, Ohio 1969- ..................................... Assistant Professor, The University of Akron, Akron, Ohio PUBLICATIONS "The Jesuit Theatre on the Continent With P articular Reference to Rome and The Collegio and Seminario Roman." The Ohio State University Theat re Col 1ectI on Bui let i n, 1969. "Gabriel Pierre Martin Dumont: A Biography and Theatrical Evaluation." The Ohio State Univers i ty Theatre Col 1ect ion Bui let in , 1969. FIELDS OF STUDY Major Fields: Theatre History and Technical Theatre Theatre History. Professor John H. McDowell Technical Theatre. Professors George Crepeau and Jon Cobes Dramatic Literature. Professor John C. Morrow Directing. Professor Roy H. Bowen i i TABLE OF CONTENTS VITA ............................................................................................................................. il LIST OF ILLUSTRATIONS........................................................................................ iv INTRODUCTION .......................................................................................................... 1 CHAPTER I. THE EIGHTEENTH CENTURY: A THEATRICAL REVIEW South London and the Parish of La m b e th ........................... 7 The Audience .................................................................................... 12 Horsemanship .................................................................................... 20 Rope-Dancing .................................................................................... 38 Sword Dancing .................................................................................... 44 The Licensing A c ts ...................................................................... 45 II. EARLY APPEARANCES OF EQUESTRIAN ENTERTAINMENTS: PLEASURE GARDENS AND ASTLEY'S AMPHITHEATRE Pleasure Gardens .......................................................................... 57 Astley's Amphitheatre .................................................................. 76 I I I . THE ROYAL CIRCUS 1782-1785 .............................................................. 94 IV. THE ROYAL CfRCUS 1786-1794 .............................................................. 140 V. THE ROYAL CIRCUS 1795-1809 ........................................................ 177 VI. CONCLUSION...................................................................................................225 APPENDIX.........................................................................................................................238 SELECTED BIBLIOGRAPHY ........................................................................................ 257 LIST OF ILLUSTRATIONS Figure Page 1. St. George's Fields ................................................................................ 9 2. Banks and M orocco ..................................................................................... 21 3. The P e s a d e .................................................................................................. 27 4. The Croupade ............................................................................................. 28 5. The B a llo ta d e ............................................................................................. 29 6. The C a b r i o l e ............................................................................................. 30 7. The C o u rb e tte ............................................................................................. 32 8. The T e rre -a -T e rre .................................................................................... 33 9. The P iro u e tte ............................................................................................. 34 10. The P i a f f e .................................................................................................. 35 11. Southwark F a i r ......................................................................................... 40 12. Map of the London Pleasure G ardens ........................................... 59 13. Price at Dobney's .................................................................................... 63 14. Johnson at the ThreeHa ts ..................................................................... 65 15. Astley's Amphitheatre 1808; Astley's first circus . 80 16. Astley in P a r i s ......................................................................................... 88 17. The Royal Circus 1782 ........................................................................... 101 18. The Royal Circus c . 1786-1790 155 19. The Royal Circus 1795 ........................................................................... 180 20. The Royal Circus c.1806-1808 217 iv INTRODUCTION The aim of th is study is to examine the development of equestrian entertainments in the late eighteenth century and of the Royal Circus in particular. Several changes took place in the eighteenth century to influence the growth of the minor theatres: (1) England was beginning to evolve from a rural to an industrial nation in which the population was moving from the countryside to the c ity ; (2) th is new emerging class witnessed and was excited by the spectacular productions produced at the minor theatres; and (3) the various licensing acts during the century influenced the type of entertainments which the minor theatres could produce. Horsemanship and riding had always been a popular pastime of the n o b ility of England. From the Medieval period onward, jousts, tourna­ ments, and riding exercises were performed regularly. Early in the eighteenth century the nobility built riding schools for instruction in horsemanship. As the nobility began to feel the pinch of the economy towards the middle of the eighteenth century, many of these riding masters struck out on their own to show their skills at equestrian feats. They f i r s t performed in open fie ld s near an ale house, a spa, or a plea­ sure garden. Price and Johnson in the late 1750's and early 1760 * s regularly performed such feats and tricks as standing on a horse, riding backwards, balancing, and firing pistols while galloping at full speed on horseback. 1 2 The beginnings of equestrian drama can be traced to Philip Astley who opened his riding academy on a piece of ground on Blackfriars Road. Here