Cambridge University Press 978-0-521-86262-2 - Racism on the Victorian Stage: Representation of Slavery and the Black Character Hazel Waters Index More information Index a` Beckett, G. A. 125 see also Figaro in London The Black Bayaderes, or the Rival Serenaders Abdelazer (Aphra Behn) 8, 11, 20–3 (G. D. Pitt) 122–3 abolitionism The Black Doctor (attrib. Ira Aldridge; also America 128, 156 I. V. Bridgeman) 76–9, 127, 147 cultural influence of 18, 37, 156, 161–2 The Black God of Love 103–4 England 33, 35, 38, 42–3, 59–60 The Blackamoor Wash’d White (Henry Bate) 30–1 see also slavery, abolition blackface performance 94–8, 122–4, 126–7 see also African theatre, New York 58, 61, 66, 130 minstrelsy Charles Mathews’s parody of 93 Bone Squash (T. D. Rice) 103 The Africans; or, War, Love and Duty (George Bristol 66 Colman the Younger) 39–42, 133 Britannia theatre 123 Aldridge, Ira 8, 58–87, 186, 190 Brown, Henry ‘Box’ 156 as Aaron 82, 85 The Buffalo Girls (Edward Stirling) 124–5 as Dred 68–9 as Fabian 79–80 The Cabin Boy (Edward Stirling) 121–2, 137–9, as Karfa 66 143, 151 as Lear 75–6 Carlyle, Thomas see The Nigger Question as Mungo 63, 65, 203 n. 25 The Castle Spectre (Mathew ‘Monk’ Lewis) 24–6, as Othello 69, 71–5, 83–5 63, 197 n. 2 as Shylock 64 Chartism 80 as Zanga 63, 80 Christy Minstrels 126 racist response to 60–2, 72–3 Clarkson, Thomas 23 re Charles Mathews 65, 93 Codrington, Christopher 15 reviews of 62, 73–5, 83–4, 86, 87 Colman, George the Younger see The Africans; touring 75, 76 Inkle and Yarico All’s Lost by Lust (William Rowley) 8 A Colour’d Commotion (G. H. George) 167 America: cultural influence of 90, 105 Cooke, T. P. 52, 53 Anti-Slavery Society 60 Couri 50, 51 see also Descart, the French Ashore and Afloat (Colin Hazlewood) 220 n. 83 Buccaneer Covent Garden 71 Barry, Spranger 70 The Creole; or, Love’s Fetters (Shirley Brooks) The Battle of Alcazar (George Peele) 8, 52 144–6 Beecher Stowe, Harriet see Dred; Uncle Tom’s Cabin Cugoano, Ottobah 23 Behn, Aphra see Abdelazer; Oroonoko The Benevolent Planters (Thomas Bellamy) 19–20, Descart, the French Buccaneer (Douglas Jerrold) 22, 33 50–1, 154 Bickerstaffe, Isaac see The Padlock dialect black abolitionists see abolitionism, America; see as marker of status 30, 41, 56–7, 115, 152, 159, also Brown, Henry ‘Box’; Douglass, 162, 164, 184 Frederick; Remond, Sarah Parker; Wells see also Mathews, Charles Brown, William Douglass, Frederick 108, 111, 128, 160 240 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86262-2 - Racism on the Victorian Stage: Representation of Slavery and the Black Character Hazel Waters Index More information Index 241 Dred dramatisations 68–9, 179–85 stage presence 100–2 Surrey version 179–80 and Uncle Tom 158 Uncle Tiff 181–2 Jim Crow in his New Place (T. P. Taylor) Victoria version 184–5 108, 109 Dred: a tale of the Dismal Swamp (W. E. Suter) ‘Jim Crow’ laws 58 182–4 Juba (William Henry Lane) 99–100 Dred: a tale of the Great Dismal Swamp (Harriet Beecher Stowe) 156, 178–9 Kames, Henry, Lord 38 Dunn, Benjamin 108 Karfa 67 see also Obi; or, Three-fingered Jack (W. H. Murray) Equiano, Olaudah 23 Kean, Edmund 43–4, 58, 64, 70, 71 see also Ethiopian Serenaders 76, 117 Hazlitt, William Kemble, Fanny 116, 213–214 n. 15 Fabian 79–80 see also The Black Doctor Kendal, Madge 85 Fawcett, John see Obi, or, Three-finger’d Jack! Knox, Robert 127, 134, 148 Figaro in London 72–3, 75, 102 The Koeuba; or, the Pirate Vessel (E. Fitzball) Fitzball, Edward 109, 131 131–3 Fugitive Slave Act 178 Laugh When You Can (Frederick Reynolds) 32, Gambia 47–9 see also The Slave, or the Mother 197 n. 2 and her Child Sambo 32 Ginger Blue see The Virginia Mummy liberty, England as home of 23, 37–8, 49, 53–4, 56, 153, 189–90 Haitian revolution 38 Licensing Act, 1737 197 n. 1 The Half Caste (Tom Robertson) 149–50 Life in America (W. L. Rede) 106–7 Harry Halyard 53–4, 56 see also My Poll and my Liverpool 19, 205 n. 64 Partner Joe London Harper, Ned 108 black population 23 Hassan 24, 25–6 see also The Castle Spectre Dred plays in 178 Hazlewood, Colin 151 see also The Staff of theatres 38 Diamonds; Ashore and Afloat Uncle Tom plays in 157 Hazlitt, William Long, Edward 38, 127 on Kean’s Oroonoko 43–4 Lugarto the Mulatto (Charles O’Bryan) 147–8 on Kean’s Zanga 198 n. 31 Lust’s Dominion (Thomas Dekker) 8 Hewlett, James 87 Hill, George 90 Macready, William 47 Hume, David 38 The Male and Female Serenaders, or Native Talent’s Best (George Wilson) 124 India: 1857 rebellion 186 Manchester 18 Inkle and Yarico (George Colman the Younger) Mansong, Jack 26 33–6, 37, 122 manumission, America 95, 106, 107 Irish struggle 59, 69 Maroon communities 178, 224 n. 88 The Irishman in London (William Macready) 30 Marryat, Frederick 90, 107, 108 Cubba 30 Mathews, Charles 60–1, 65, 89, 91–4, 106, 125 American entertainments 90–1, 93–4 Jack Robinson and his Monkey (C. P. Thompson) on dialect 91–3 51–3 see also Aldridge, Ira Jerrold, Douglas 50 see also Descart, the French melodrama Buccaneer domestic 51 Jim Crow 89, 130, 155 nautical 52, 53, 133, 151 dance 99 minor theatres 28, 38, 75, 115 development of 114 minstrelsy 76, 116, 117–18, 151 in England 98–102, 110, 112, 113 and Aldridge 65 origins 96 in Dred plays 181, 183–4 plays 103–7 in Uncle Tom plays 165–7, 175 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86262-2 - Racism on the Victorian Stage: Representation of Slavery and the Black Character Hazel Waters Index More information 242 Index mixed-race character 77, 129, 131, 133, 151, 154, 189 patent theatres 38 in Dred plays 180, 182–3 The Peacock and the Crow (T. Parry) 104, 106 female 136, 141–2, 143 male villain 143–51 The Quadroon Slave (B. N. Webster) 135–7 in Uncle Tom plays 159 see also race theories; revenge race Monsieur Malle´t (or, my Daughter’s Letter) attitudes towards 14, 89–90, 164, 186–7 (W. T. Moncrieff ) 94 American influence on 111–13 Moors in Europe 9 see also stereotypes hierarchy of 51, 67–8, 129, 152, 158–9 Morant Bay rebellion 186 interracial relationships 13–14, 34–5, 41, 76–7, More Ethiopians!! or ‘Jenny Lind’ in New York 218 n. 31 (A. L. V. Campbell) 118–20 stage representation of 44, 69–71 Morton, Thomas 47 theories of 38–9, 127, 129, 131, 133–4, 136, 139, Mr Buckstone’s Ascent of Parnassus 141, 147–8 ( J. R. Planche´) 176 see also stereotypes Mr. Midshipman Easy! (W. H. Oxberry and racism 5, 59 J. Gann) 107–8 and culture 7 Mungo 28, 29, 30 see also The Padlock; Remond, Sarah Parker 111, 156 Aldridge, Ira The Revenge (Edward Young) 11, 20–3, 63, 122–3, My Poll and my Partner Joe (J. T. Haines) 197 n. 2 53–7, 133 revenge theme 15, 20, 24, 48, 50, 59, 66, 109, 110, 180, 185, 188–9 The Negro of Wapping (E. Fitzball) 109–10, 164 of mixed-race character 144, 146, 148, 149–50, The Nigger Question (Thomas Carlyle) 127–8 171–2 of woman 173–5 Obeah 26, 67 The Revolt of Surinam, or a Slave’s Revenge 60 Obi, or, Three-finger’d Jack! ( John Fawcett) 24, Rice, T. D. 94, 96, 108, 114, 115, 212 n. 80 see also 26–8, 181, 197 n. 2 Jim Crow Obi; or, Three-fingered Jack (W. H. Murray) 66–8 Robertson, Tom 149 see also The Half Caste The Octoroon (Dion Boucicault) 141–3 Oroonoko (Aphra Behn) 11 see also Oroonoko Sarah Blangi 175 (Thomas Southerne), comparison Scobie, Edward 201 n. 5 with Behn The Slave, or the Mother and her Child (Thomas Oroonoko (John Ferriar) 18–19 Morton) 47–9, 57, 63, 162 Oroonoko (Francis Gentleman) 19 Slave Life; or, Uncle Tom’s Cabin (Mark Lemon Oroonoko (J. Hawkesworth) 17–18, 45 and Tom Taylor) 160, 165, 168, 173–5 Oroonoko (Thomas Southerne) 1, 7, 11–17, 43–6, slave rebellions 23, 26, 66, 94–5, 185 63, 133, 197 n. 2 slave trade 15–16, 41, 220 n. 83 attitudes to skin colour in 14 abolition 39 Christianity, condemnation of 15, 16, 46 cultural influence of 1–2 comparison with Behn 13, 15 Middle Passage 55 plot 12 naval suppression of 53, 54, 151, subplot 17 199–200 n. 67 popularity of 13 slavery 16–17, 127, 154, 168–9 revival (1817) 43–6 abolition 6, 107 variants 45–6 America 58, 189 Othello 8–9, 63 see also Aldridge, Ira and class oppression 54, 56, 128, 130, 133 Othello (William Shakespeare) 14 cultural influence of 5–6, 11, 89–90, 129, 188 stage history 69–71 debate over 23–4, 49 travesties of 205 n. 64 domestic melodrama 169–71 Othello, the Moor of Fleet Street economic importance 9–10 (C. M. Westmacott) 72 narratives of 156 press gang comparison 53–4 The Padlock (Isaac Bickerstaffe) 28–9 pro-slavery interest 62, 73 Park theatre, New York 58, 130 whites 14, 132–3 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-86262-2 - Racism on the Victorian Stage: Representation of Slavery and the Black Character Hazel Waters Index More information Index 243 Smith, Morgan 87 ‘Uncle Tom’ 141, 143–4, 157, 171 see also Smith, ‘O’ 28, 138 individual titles; Slave Life; or, Uncle Society of West India Merchants and Tom’s Cabin Planters 62 Uncle Tom and Lucy Neal; or, Harlequin Liberty Sojourner Truth 179 and Slavery 175–6 Somebody’s in the House with Dinah, or the Uncle Tom’s Cabin (Harriet Beecher Stowe) 155, Invitation to the Nigger Ball 120–1 157–9, 166 Somerset, C.