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JOHN AND CHRISTOPHER RICH
Jenna Stein
Christopher Rich (1657-1714) was a lawyer and theatre manager. He assumed
full control of the United Company in 1693, but his poor managing skills
and raging temper led to the company's leading actors - Thomas Betterton,
Elizabeth Barry, and Anne Bracegirdle - leaving in 1695. Despite this
unfortunate migration, Rich was able to assemble a decent company in their
place, including the young Colley Cibber,
William Bullock, Joe Haines,John and Susannah Verbruggen,
Anne Oldfield and William Penkethman.
In 1701, there was an attempt to oust Rich from his position of
control of the Drury Lane Theatre, but Rich prevailed.
Rich's behavior
towards the actors did not change however, and he continued to instigate
conflict between both actors and dramatists. In 1709 he was forced to
close Drury Lane on an order from the Lord Chamberlain. He had reportedly
been withholding full profits from the actors following benefit
performances. Rich remained estranged from the theatre until 1714 when he
was finally allowed to form a new company. Unfortunately, Rich passed away
6 weeks before the scheduled opening.
Little is known (or was recorded) of his personal or family life.
He is mostly sited for his negative management of the Drury Lane Theatre
and his being the reason behind so many star actors leaving.
John Rich was a son of Christopher Rich. Where exactly in London
he was born or grew-up I am not sure. He was born in 1692 and took over
the 'New Theatre' in 1714 after his father's death. The 'New Theatre'
later came to be known as the Lincoln's Inn Fields Theatre. After running
the Lincoln's Inn for 18 years, Rich founded the Covent
Garden Theatre in 1732. At both theatres he developed the new form of
stage entertainment from Italy known as pantomime. In 1728, while still
working at Lincoln's Inn, Rich produced John
Gay's The Beggar's Opera which was popularly
noted as having 'made Rich gay, and Gay rich.' Rich was known for his
extravagance in both the interior of his theatres, and the productions
themselves. During his years as manager of the Drury Lane Theatre he
gained a reputation for on one hand degrading the stage, and on the other
hand - providing popular entertainment by talented performers in settings
of magnificence. It was under direction and management that pantomime was
developed on the British stage. In 1732, he became the manager of Covent
Garden theatre, and in 1735, he founded the 'sublime society of the Beef
Steaks' - a group of prominent actors, managers, writers and other members
of the theatre society who would meet in a room in the theatre once a week
and eat beef steak. From 1717 until his death in 1761, he played Harlequin
under his stage name of Lun and thus helped develop the harlequinade of
English pantomime tradition. After Rich's death, David Garrick paid
tribute to the matchless expressiveness of his miming.
RESTORATION COSTUMES
Joanna Phillips
Restoration Costume Design
Costumes were not historically exact, but upon the stage an ornate
sumptuousness was more effective than accuracy-- the details of design
were lost because the audience was seated at a considerable distance
Occasionally the suits for the Court masques became the property of the
playhouses. Many of the costumes were gifts from noble patrons.
Costumes were usually worth more than the play, and the stage was spread
with a green-baize carpet to protect the silks, brocades, and feathers
from being soiled in the dust and the dirt of the boards.
Actors
Being a Restoration gentleman on the stage began with his clothes-- very
sumptuous costume display-- the norm of sartorial elegance for the man
grew more and more colorful and decorative-- clothes called attention to
themselves immediately upon the actor's entrance to the stage, and spoke
eloquently of character and attitude.
By 1690, the man wore a long coat loosely shaped to the body and reaching
down to his knees. Its cuffs were fantastically wide, and its pockets
were unnaturally low about the legs. The whole brocade garment was
heavily embroidered, and several yards of fine lace and silk ribbon would
trim the shirt, breeches, and hose beneath it. Shoes became a focus for
attention and could figure prominently high red heels and a garnish of
ribbons. These clothes severely restricted the movements of the
body.Costumes of actors in a state of undress were nearly as complex, with
just as many rules on the fashion of the robes, caps, gowns, etc.
Hair-- long hair fell about the shoulders and tumbled down the back. Wigs
came into fashion from the example of Louis XIII in 1633, and Paris
dictated the development of different hair styles. Hats were excessively
awkward objects that were worn both indoors and out, and the civilities
that went with them were endless. One method of making a hero instantly
recognizable was to clap a huge plume of feathers upon his head.
Personal accessories-- added to the gentleman's costume, all designed to
give more information to the audience. A graceful arch of the wrist when
plucking, flicking, or waving the gloves or the handkerchief afforded the
hands a kind of extra vocabulary by which the actor could express himself
more eloquently, emphasizing one point or demolishing another. The ritual
of the snuffbox was timed to punctuate one's speech with grace; the
snuffbox (like the handkerchief or the gloves) could also produce comedy
if mislaid. A sword was sheathed under the man's coat, and worn best with
a jaunty swing at his side. As never before, a man was conscious of his
whole body-- how to stand, walk, sit, etc.
Actresses
With the women's costumes, the style was to dazzle the eyes with bright
colors. Ostentatious clothes and painted faces were seen on most women on
the stage, with the varying degrees of flamboyance signaling social
status.
The woman was covered first in a loose shift or chemise, with a
rectilinear bodice cut low to permit the appropriate view of her
decolletage, which was framed by Venetian lace edging. Over this, a
corset made with wooden or bone stays was laced to make the spine straight
and the breasts prominent. This was the most important part of her
wardrobe, as it governed her shape and general appearance and controlled
her every movement. Her bell-shaped manteau, or gown, was done in lace,
brocades, and satins, and had its skirts separated in front, sometimes
caught up to show her highly decorative petticoats. Sleeves came only to
the elbows, and were trimmed with lace. The gown was worn with a train in
public. The actress had to acquire a certain skill in moving and turning
to bring her train to heel without knocking into anything or anyone on the
stage. The length of the train signaled nobility, much as the feather on
the cap of the man signals his heroism. Many plays, especially the
comedies of the Restoration, include female dressing-scenes, and were used
often to stress the studied persona, the false face, that the character
must put on every day.
Hair-- In the beginning of the period, the style of the hair was one of
studied negligence, with crimped puffs and curls tumbling carelessly about
her forehead, face, and neck. Later in the period, the shape of the
head was built ever-increasingly upwards, forming a complex scaffolding of
locks which required forms beneath the hair.
Personal accessories--A fan was a typical part of the lady's costume, and
was used both to distract and attract attention. The use of the fan was
quite studied-- "There is scarce any emotion in the mind which does not
produce a suitable agitation in the fan; insomuch that if I only see the
fan of a disciplined lady, I know very well whether she laughs, frowns, or
blushes." A mask was another essential prop for the woman, as it became a
toy with which to play adult games-- this would also allow the character
to pass incognito in public A mask was worn on the stage only for the fun
of taking it off again at the right moment.
SECONDARY SOURCES
Hume, Robert D. The London Theatre World: 1660-1800. Southern
Illinois University Press: Carbondale, 1980.
Gilette, J. Michael. Theatrical Design and Production. Mayfield
Publishing Company: California, 1992.
Sporre, Denis J., and Robert C. Burroughs. Scene Design in the
Theatre. Prentice Hall: New Jersey, 1990.
Styan, J. L. Restoration Comedy in Performance. Cambridge
University Press: Cambridge, 1986.
Summers, Montague. The Restoration Theatre. Humanities Press:
New York, 1964.
RESTORATION ACTING STYLE
Corinne Meier
As a poet, one used words to express emotions and so it was up to the
actors to express the emotions as conceived and defined by the poet using
their bodies and voices. Each emotion and feeling could be expressed by a
specific tone, sound or gesture, and these were all exact. Gildon, in
giving instructions to actors said "Every passion or emotion of the mind
has from nature its proper and peculiar countenance, sound, and gesture;
and the whole body of man, all his looks, and every sound of his voice,
like the strings of an instrument, receive their sounds from the various
impulse of the passions."
The chief weapon the actor used to convey an emotion was the tone
of voice. This derives from two of the fundamental aspects in theater:
the need to clarify and to project. "The voice, when loud, discovers
wrath and indignation of the mind, and a small trembling voice proceeds
from fear." (Gildon). Each different tone in the actor's voice
represented a different emotion and the transition from one passion to
another was what excited audiences. "Anger asserts its peculiar voice in
an acute, raised, and hurrying sound;sorrow and complaint demand a voice
quite different; flexible, slow, interrupted and modulated in a mournful
tone;fear expresses itself in a low, hesitating and abject sound;pleasure
dissolves into a luxurious, mild, tender, and joyous modulation" (Hughes,
The Spectator, 1712.)Monotony was considered a terrible crime.
Occasionally there were characters who used a monotonous tone as part of
their personality, but even when called for, the audiences still did not
like it.
Figure and action were also important in expressing emotions and
feelings. There are three aspects to this: Facial expressions, gestures
of arms and hands, and all around "attitude." Much of this seems quite
obvious. Clapping of hands for joy, wringing hands in sorrow, shaking a
head in disdain, crisping a nose in anger, etc. It was very important
that the movements of the hands matched that of the words. Like the
tones, there were very specific meanings for each motion. The actor's
hands were almost always moving. It could be likened to that of ballet or
opera. Each facial expression had to be exact and it was even said that
some actors were cast because of the shape of their face. Elizabeth Barry
was said to have "a mouth opening most on the right side" and because of
that was greatly appreciated in roles of disdainful women. In Lebrun's
Conference de Peinture et Sculpture (1698) he analyses how to make
specific facial expressions. As an example, this is how scorn is
described: "The eyebrow frowning and drawn down by the side of the nose,
the other end thereof very much raised; the eye very open, and the eyeball
in the middle; the nostrils drawn a little upwards; the mouth shut, the
corners a little drawn down; and the under lip thrust out beyond the
other."
The actors did not have a full script. They were only given their
own part and some small cues. The only full viewing of the play they had
was the initial reading by the author and watching rehearsals. There was
very little blocking included and they were required to respond with their
own idea of the character.
When there was one actor on stage, they had full run of the stage.
With two actors, the most important, or the woman, would be on the right.
With three, the most important would be in the middle, and with any more
actors, they would form a semi-circle around the most important. This was
based on Italian social manners.
SECONDARY SOURCES
Powell, Jocelyn. Restoration Theatre Production. Routledge and
Kegan Paul: London 1984.
RESTORATION THEATRES AND
SETS
Joanna Phillips
Restoration Theatre Design
Seating -- prices remained unaltered for a long time-- held until
nearly end of 18th cent.
the enormous apron or forestage (from the Elizabethen public
theatres)-- thrust out toward the auditorium-- site of majority
of the action.
Entrances made on either side of the arch so as not to disturb the
illusion of depth designed into the forced-perspective scenery
A raked stage (framed by the proscenium arch) slanting upward from the
footlights-- greatly added to the sense of depth created by the
perspective painting of the scenery
Most of the scenery was simple. Stage direction were few, giving just
general suggestions, and specific location was not a big consideration.
Most of the scenes took place in a generalized location (such as a
library, a drawing room, a courtyard, a palace, or a garden, etc.) Each
theatre owned stock sets that depicted these various scenes--they were not
specific, and many could be used interchangeably. The scenery just
provided a visual background for the play rather than an environment for
the action.
Generally, there was a backcurtain that could be raised or lowered, and a
front curtain painted with a scene. Between the backdrop and the front
curtain stood rectangular painted flats, or wings, arranged in groups of
four or five, which ran in grooves. These decreased in height as they
approached the back, giving the illusion of depth and preventing the
audience from seeing backstage. The wings were painted in perspective,
and could be pushed to the middle of the stage to form the back wall of a
new set or drawn apart, parting in the center, to commence another scene
in a different setting. Grooves and below-stage pulleys were also used for
special effects such as dropping clouds and producing the illusions of
winds and waves.
SECONDARY SOURCES
Hume, Robert D. The London Theatre World: 1660-1800. Southern
Illinois University Press: Carbondale, 1980.
Gilette, J. Michael. Theatrical Design and Production. Mayfield
Publishing Company: California, 1992.
Sporre, Denis J., and Robert C. Burroughs. Scene Design in the
Theatre. Prentice Hall: New Jersey, 1990.
Styan, J. L. Restoration Comedy in Performance. Cambridge
University Press: Cambridge, 1986.
Summers, Montague. The Restoration Theatre. Humanities Press:
New York, 1964.
WOMEN ON STAGE
Negina Sawez
In the beginning
In 1629, a French theater company traveling through England was
booed off a London stage for including female actresses in their
production. While women were widely accepted in theaters across the
Continent, they were still considered a scandalous innovation in London.
At the time, the only women to appear on English stages were acrobats,
tightrope walkers, and freaks. Serious actresses were unheard of, and
British audiences preferred young boys to play the roles of women on
stage.
With the closing of the theaters in 1642, one of the main problems
theater companies faced was the prospect of enough time passing that their
rigorously trained boys would hit puberty and become too old to play women
when the theaters re-opened. Numerous attempts to persuade the government
failed; petitions were written to Parliament, appeals were made, and still
the theaters remained closed for eighteen years. By now the trained
"ladies" had all outgrown their feminine youth, and were generally bearded
and deep-voiced, forcing Charles II to wait impatiently for a new
generation of young boys to be trained to act as females before he could
enjoy attending the theater again.
Behind closed doors
Unknown to Parliament, however, was that a lady had already made her
entrance on a semi-public English stage. In September 1656, William
D'Avenant staged his opera The Siege of Rhodes in Aldergate Street,
London. The female lead character, Ianthe, was played by Mrs. Edward
Coleman, in a performance that was generally agreed upon to have been
completely horrible. However, Ianthe's performance marked a change in
ideas about women actresses; and when Charles II ordered the curtain to
rise again on London's theaters, the public was faced for the first time
with English theater companies presenting female players on stage.
Desdemona and her "sisters"
The official date for the first woman to appear on stage is
December 8, 1660, when Thomas Killigrew's company performed Othello with a
female actress in the role of Desdemona. The name of this pioneering
woman is unknown, however, as it was never recorded. Credit is usually
given to Anne Marshall, a career actress, or Margaret Hughes, who later
became the mistress of Prince Rupert (Charles II's cousin).
Despite the success of Desdemona's performance, boys were still
widely used to play female roles. The most famous of this new generation
of young men was Edward Kynaston, who was renowned for his beauty. Samuel
Pepys, after seeing Kynaston perform in The Loyal Subject, said
"one
Kynaston, a boy, acted the Duke's sister, but made the loveliest lady that
ever I saw in my life." Rather than becoming competition for female
actresses at the time, Kynaston's success only hastened the disappearance
of boys from female roles. He was such a popular figure in London that
ladies often took him out in public, wearing his stage costumes, which,
ironically, caused an outcry against the "immoral spectacle" of seeing a
man dressed in women's clothing.
Soon after Kynaston's final performance as a lady, the practice of
women performing female roles became not only popular, but also the only
morally acceptable method of dramatic production. As such, women became
permanent members of London's two theater companies. While their
popularity on stage was assured, theater managers had enough problems with
their actresses that they were often heard bemoaning the day when women
were allowed on stage.
The Trouble with England's New Leading "Ladies"
Actresses were by no means well paid, and generally came from extremely
poor families. They therefore tended to provide for themselves by
becoming mistresses to wealthy gentlemen, whose demands on their time
often caused them to miss performances. Leading roles were often passed
off to other actresses at the last minute as the intended performer dashed
off in answer to a summons from her lover. Not only did they abandon the
play, often hours before the curtain was raised, they also frequently took
their costumes with them. Theaters at the time were dependent on clothing
donations from wealthy noblewomen, whose second-hand garments were far
nicer than anything the actresses themselves could afford. Therefore an
actress walking the streets of London in a dress belonging to the Duchess
of York was a common sight, despite efforts by theater managers to prevent
it. Not only did they take their costumes with them, they also fought,
sometimes violently, over available costumes. In one particular case
(ironically, during a production entitled The Rival Queens), the
director
allowed his mistress to wear the garment in question. Once on stage, the
other actress took advantage of a scene in which she was supposed to
pretend to stab the first, and actually stabbed her with a blunt stage
dagger so that it dug an inch deep into her side.
Mary Saunderson
An exception to these petty women was Mary Saunderson, one of the most
famous actresses of the time. Following Mrs. Coleman's dismal production
of The Siege of Rhodes, Saunderson took over the role of Ianthe,
and reportedly performed it so well that she was referred to as Ianthe for
much of her life. Her unblemished reputation is often attributed to her
early marriage to Thomas Betterton, himself a
famous actor of the period.
She is said to have loved and admired her husband inordinately, and the
two even shared a professional partnership for the remainder of their
lives.
Saunderson was the first woman to play a female role in Shakespeare's
The Tempest, Measure for Measure, Much Ado About Nothing, Twelfth Night,
King Lear, Macbeth, and Hamlet. While she made a name for
herself with Shakespeare's tragedies, she proved herself as an actress by
showing she could perform, with equal brilliancy, in
Aphra Behn's comedies, and sing
her way through D'Avenant's operatic versions of Shakespeare. When
D'Avenant died, Thomas Betterton took over his place in the theater, and
he and Mary moved into it, working and living under the same roof.
Once London's two theaters united, Mary was forced into minor roles by a
slew of younger, fresher actresses, and then disappeared from the stage
for a while. She returned in 1690 and performed leading roles for three
years, until her final appearance on stage in
Dryden's last play, Love Triumphant. Mary's career outlasted
that of the actresses with whom she
had begun it, and even some of the generations after her.
Nell Gwyn, of His Majesty's Service
Saunderson's most famous contemporary, Nell Gwyn, is considered so
partially because of her talent as an actress, and mostly because of her
success as the King's mistress. A much more light-hearted actress, Nell
was famous for her "quick wit and uncensored tongue." Pepys wrote of her,
"But to see how Nell cursed for having so few people in the pit was
pretty." Unlike Mary Saunderson, who was able to successfully move from
tragic to comedic actress, Nell was so well known by the public for her
comedies that they were outraged to see her perform in tragedies. In
fact, Dryden wrote an ending to his tragedy
Tyrannick Love to include a
funny epilogue so the audience would not be angered that Nell's character
died at the end.
The Changing Face of English Theater
Despite the problems theater managers faced working with the
majority of actresses, they became so popular with the audience that,
eventually, plays were done with casts made entirely of women. It was
often said that, while the English public had once had to sit through
romances with bearded princesses, they were now facing an era of beardless
princes. These entirely female plays brought increased censure upon the
playhouses; playwrights were now penning obscenely indecent lines to be
read by women for their humor value. As though to greater satisfy male
audiences, women in men's roles were often seen on stage performing in
tight-fitting clothing or wearing pants. Not satisfied with putting
indecent lines in the mouths of women, the purveyors of popular amusement
began introducing choruses of little girls of six or eight years old at
the start of each play, reciting lewd songs or poetry for the amusement of
the audience. Such changes in the theater led to the absence of well-bred
ladies from the audience, but only after opening night. Once word spread
about the lasciviousness of a play, respectable ladies could no longer be
seen in the audience. Therefore they rushed to be present on opening
night, in order that they might enjoy the bawdy spectacle along with the
male audience members before the play's obscenities became public
knowledge and their reputations might suffer.
RESTORATION AUDIENCES
Trena Sanchez
After a busy day of trading, selling, manufacturing, and trafficking, 18th
Century London society became a haven for lively arts and entertainment.
It was this society, both rich and poor, that made up the audience of
Restoration Playhouses. Whether you were a prostitute, a pauper, a
nobleman, or a monarch, the streets of London was where you found those
walks of life that adhered to the sights and sounds of a very lively
atmosphere. Even with the hindrance of lowly oil-burned streetlights and
massive crowds floundering to the center of town, nothing would deter
these patrons from engaging in the Playhouse experience.
Not only was the Playhouse a place where one could view plays and
purchase refreshments, it was also a place of great societal intermingling
and participation. At the London playhouses, the audience itself was often
part of the entertainment. As connoisseurs of theater, the audience not
only felt it their right, but their duty to criticize the plays while in
action, and to throw orange peels or other items at the stage when they
felt the play did not fulfill its purpose.
Patrons of the London Theater in the eighteenth century expected to have
a good time…London audiences were famously, or infamously, involved in the
action, ready to jeer the author or talk back to the actors. During much
of the period, wealthier patrons sat in boxes on the stage and young bucks
on benches in the pit, just below, while high above, in the upper gallery,
"the gods" (one-shilling customers) often pelted the crowd and stage with
orange peels.” (Norton Topics Online)
The London Playhouses of the 18th Century were not prejudiced in
their patronage. All walks of life could be seen in these Playhouses, and
even though the more wealthier patrons were more segregatedly seated,
everyone could still equally take part in the Playhouse festivities and
everyone could still just as likely pick up a mistress or a mate. From his
book entitled The Young Gallant’s Academy, in his fifth chapter,
"Instructions for a young Gallant how to behave himself in the
Play-house," author Sam Vincent stresses the importance of behavior and
livelihood within this extraordinary atmosphere. In a Playhouse that
housed more than 2,000 people, mannerism and conduct was highly
noticeable, respected, and expected.
“The Play-house is free for entertainment, allowing Room as well to the
Farmers Son as to a Templer; yet it is not fit that he whom the most
Taylors bills make room for when he comes, should be basely, like a Viol,
cased up in a corner; Therefore, I say, let our Gallant (having paid his
half Crown, and given the Door-keeper his Ticket) presently advance
himself into the middle of the Pit, where having made his Honor to the
rest of the Company, but especially to the Vizad-Masks, let him pull cut
his Comb, and mange his flaxen Wig with all the Grace he can. Having so
done, the next step is to give him hum to the China-orange-wench, and give
her own rate for her Oranges and then present the fairest to the next
Vizard-Mask. (Nagler, A.M., Source Book In Theatrical History)
The London Playhouse was a pivotal environment of sights, sounds, and even
fashion for every level of aristocracy. As mentioned by Vincent in his
book, the objects of the Vizard-Masks were in direct reference to the
fashion of women during that period. As a symbol of fashion women would
arrive at the Playhouses in masks. This feminine style was a hit with a
number of the women at the Playhouse who came to see and be seen. As
mentioned in the above excerpt, most gentlemen would sit in the certain
sections where there was heavy trafficking of possible pleasures for
future relations or just for the evening.
An evening at the Playhouse was an adventure filled with life and
excitement. An eighteenth-century London playhouse could be noisy, lewd,
and factious; but it was an exciting place to be. As part of the city woke
at dawn, another part was just going to bed.
Works Cited
Nagler, A.M., A Source Book In Theatrical History (New York, 1952),
VII, Pg.213.
Norton Topics Online
DRURY LANE
Alex Schwartz
The Drury Lane Theater, officially known as Theatre Royal Drury Lane is
London's oldest playhouse. After receiving a charter from King Charles II,
Thomas Killigrew opened the original theater on May 7, 1663 for his
company The King's Men. In its early years, the theater was best known for
its Restoration Drama plays, the most famous of which were written by
playwright John Dryden. Though the theater was closed for a year
(1665-1666) for political reasons, it remained prosperous until 1672 when
it was destroyed by fire.
In 1674, the theater was rebuilt and most likely designed by architect Sir
Christopher Wren (britannica.com 1). In its new incarnation the theater,
now with a two thousand person seating capacity, would gain the greatest
notoriety from the plays of William Congreve.
The "golden age" (britannica.com 1) of this theater was considered to be from 1710-1733,
when it was managed by the famous triumvirate of actor/playwright Colly
Cibber, comedian Robert Wilks and actor Thomas Dogget [who would be
replaced in 1713 by actor Barton Booth (sharland.com 1)]. Unfortunately,
spendthrift Charles Fleetwood usurps managerial control in 1733, and
through poor management quite nearly runs the theater into the ground.
Luckily, David Garrick comes to the theater's
rescue in 1747, introducing a more natural style of production and acting in
addition to the use of superior Shakespearian texts (britannica.com 1).
Garrick would maintain his standards of excellence for thirty years, leaving
control to the equally capable Thomas Sheridan in 1777.
In 1791, the theater, now fallen under decay, is considered outdated and
as a result is demolished. It is rebuilt in 1794 by architect Henry
Holland, who gives it a larger capacity of three thousand six hundred and
eleven. Despite Holland's claims that this theater is "fireproof," it
burns down a short fifteen years later in 1809. As the story goes,
Sheridan, who was seated in a nearby tavern when he received the news,
arrived at the burning Drury Lane and asked his friends to leave him
alone, stating " ".
The fourth theater, constructed on this now historical sight, is designed
by Benjamin Wyatt and costs 400,000 pounds to build, the funds having been
raised by Lord Byron and Samuel Whitbread. The early draw for this theater
lay in the talents of respected and accomplished actor Edmund Kean.
However, Kean's fame fizzles quickly and the theater's popularity falls
into decline. It is Augustus Harnes who remedies this situation by
redefining the theater with grand spectacles and pantomime, both of which
feature the incredible talent of music hall artist Dan Leno.
The twentieth century has been an interesting period for The Lane, as it
is often called by those in the know (sharland.com 1). In the early 1900's
Drury Lane becomes best known for performances by Sir Henry Irving, Ellen
Terry and Sir Johnston Forbes Robertson, not to mention to the renowned
opera seasons held by conductor Sir Thomas Beecham. During World War II,
the theater was used as the headquarters for ENSA (Entertainments National
Service Association), and was officially reopened for the performing arts
in 1946 after much needed renovation from bomb damage. In the last thirty
odd years, London's oldest English playhouse has ironically become known
for its performances of "successful American comedies," the most acclaimed
of which are Mame (1969), Pirates of Penzance (1982), and
Miss Saigon (1989 - late 90's). It is owned and operated by Stoll Moss
and has been modernized with an in house restaurant as well as facilities for
the disabled and hard of hearing.
It its three hundred and thirty seven year history, The Theatre Royal
Drury Lane has had its fair share of milestones. In 1665 was Nell Gwyn's
famous stage debut, which would eventually lure Charles II into making her
his mistress. Other famous performances included Charles Macklin's portrayal of the character Shylock
as a tragic figure, Sarah Siddons'
performance of Lady Macbeth, and John Phillip Kemble's tryst as Hamlet. In
1745 the English national anthem was first heard there, as was Rule
Britania in 1750. Lastly, the theater has long been known to be the home
of an infamous ghost referred to as the Man in Grey. The ghost is said to
wear a long riding cloak, boots, and a three cornered hat and has been
sighted most chiefly during matinees in the upper circle of the theater.
It is presumed that he is the ghost of a man who murdered and hidden in
the theaters' walls in 1840, the skeleton of which was discovered during a
routine renovation.
SECONDARY SOURCES
n
D'Avenant
was born at Oxford, England in February 1605-6, the
second son of John D'Avenant, a wealthy vintner and owner of the
inn that would later be called Crown Tavern. William D'Avenant was
rumored to be the natural son of Shakespeare. There is little foundation
for that belief. More likely, the famous playwright was
D'Avenant's godfather. D'Avenant attended grammar
school at All Saints, Oxford and for a brief period he attended Lincoln
College.