Theatre &c.

"If we are to act, let it be in a theatre completely fitted up with pit, box, and gallery, and let us have a play entire from beginning to end...and a song between acts."

Art	Events	Gardens &c.	Military	Politics	Sports
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English Life	Foreign Travel	Law & Order	Poetry	Spar Wars	Weather

Astley's Amphitheatre	First Love (Review)	Royal Circus
Bath Theatre	Haymarket Theatre	Sadler's Wells Theatre
Covent-Garden Theatre (old)	Jack of Newberry (Review)	Mrs. Siddons
Covent-Garden Theatre (new)	Knock 'em dead, kid	Mr. Weston
Deserted Daughter (Review)	London Theatre - Jan. 1810	Rules for Performers
Drury Lane Theatre	Opera-House

 

 

 

 

 

 

 

 

 

 

 

 

THE ROYAL CIRCUS
(from Ackermann’s Microcosm of London,” 1811)

view the Royal Circus

THE Royal Circus is situated on the west side of the road leading from Blackfriars-bridge to the obelisk in St. George’s fields, and almost adjoining to the circular area whose center is marked by that object.

Equestrian exercises and exhibitions are among the latest novelties which the inventive genius, that lives by giving variety to public amusements, has produced, and have been brought to an astonishing point of excellence.

About forty years ago, a man excited the curiosity and called forth the wonder of the metropolis, by riding a single horse, on full gallop, while standing upright on the saddle. This person first exhibited in a field near Bancroft’s almshouses at Mile-End; the place was inclosed with boards, to prevent any gratuitous view of the exercise, and the price of admittance was one shilling. The next year, he exhibited himself and his horse in a spacious inclosure near the Five Fields, Chelsea; and such were the wondering crowds who daily attended the performance, that he acquired a sufficient property to enable him to retire, and establish himself in the principal inn at Derby. His exhibition consisted of little or no variety, but such as arose from the greater or less speed of the horse which he rode, and occasionally, in its course, vaulting over the back of the animal. Tumbling, rope-dancing, and feats on the wire, had long been the entertainment of the British populace. Sadler’s-Wells, on its first establishment, was the scene of these exhibitions, and they formed its principal attractions. Bartholomew and Southward fairs, before the magistrates thought it their duty to suppress the one and contract the other, were enlivened by these performances. Even the itinerant empiric, known by the title of mountebank, a character and a profession which the present enlightened age seems in a great measure to have extinguished, made the circuit of the market towns with some of these agile exhibitors in his company, to attract the country crowds, by whose credulity he was to live.

But though these performers were so common, they were not of English origin, but supplied by the Continent, where they abound, and where children are regularly brought up to these extraordinary and hazardous professions. The equestrian exhibitions, however, appear to be of British growth, and are confined to the country which gave them birth: for while the exotic skill of the rope-dancer has been equalled at least, if not excelled, by English professors, we have not heard that the occasional visits of our equestrians to the Continent, have inspired a rival spirit to aim at, much more to acquire, an equal degree of excellence.

As might be naturally expected, the success of the person who had astonished the public by his exhibition on the back of one horse, encouraged others to attract a proportionable degree of wonder, by employing two and even three horses in the same manner. Female equestrians afterwards appeared; and as increasing success produced an increase of exertions, it was naturally suggested to erect buildings for the more secure, certain, and commodious display of these exercises; which have since attained a degree of perfection, incredible almost to the eye that beholds them. Other entertainments have since been blended with them. Among the firs, and certainly the most costly Theatre of this description is that which forms the immediate subject of our consideration.

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The late, elegant, capacious, and convenient structure was built by subscription: it was begun the latter end of February 1782; and was opened, but in an unlicensed state, though with considerable éclat, on the fourth of the following November. The opposition of the magistrates, however, obliged it to close in the Christmas holidays; and in this inactive state it remained till the 15th of March, 1783, when it re-opened with the fairest prospect of success, and was licensed, pursuant to act of Parliament, at the next general quarter sessions for the county of Surrey. It was not completely finished till the spring of 1783, when it appeared to have cost near fifteen thousand pounds. It was opened, under the direction of Mr. Hughes, a celebrated horseman, and Mr. Dibdin, so well known for the admirable variety of his talents, with equestrian performances, ballets of action, burlettas, dances, and pantomime. In the course of a few years, Mr. Dibdin withdrew himself from the concern; and, under different proprietors, as well as successive managers, but a good deal troubled with internal divisions and domestic feuds, it continued, with various success, till the year 1798; when Mr. James Jones, and Mr. Cross, the author of so many excellent ballets, spectacles and melodrames, became proprietors, undertook the management, and gave stability to the proceedings of the Theatre. Their united endeavours were for several years favoured with the encouragement and liberal patronage of the public, when a catastrophe took place, which for a time annihilated this scene of pleasing amusements.

On the 12th of August, 1805, this elegant structure, with its extensive scenery, a capital wardrobe, and ample collection of valuable music, was consumed by fire. The conflagration was discovered about half past one in the morning, and, so rapid were the flames, that in the course of a few hours nought remained but a smoaking heap of ruins.

It may be interesting to mention, that on this soil the following, among other theatrical performers, first blossomed; and from hence they were transplanted to the larger and more highly cultured field of the London theatres: --- Mrs. Mountain, when Miss Wilkinson; Mrs. C. Kemble, when Miss Decamp; Mrs. Bland, when Miss Romanzini; the late Miss Searle, and the Misses Adams; Mrs. H. Johnson, when Miss Parker; and Mrs. Wybrow: Mr. Russel and Messrs. Gibbons and Smith, of the late Drury Theatre, and the younger Bologna.

The present superior and extensive edifice soon rose, like a phoenix, from the ashes of the former Theatre; and, though the building was not commenced till late in November, from designs of Mr. Cabanell, junior, under his direction, it was completed, and opened on the Easter Monday following, to a numerous and fashionable audience, under the joint controul of five respectable gentlemen as trustees, assisted by the stage management of Mr. Cross. They continued their exertions to render it worthy of the public patronage, till it was, previous to the commencement of the present season, let for a term of years to Mr. Elliston, of the late Theatre Royal in Drury-lane.

The Royal Circus, in its present renewed and improved state, is a very handsome Theatre. The stage is judiciously adapted to the various kinds of amusement which it exhibits, the scenery is various and beautiful, and the audience part offers a very pleasing coup d’oeil of taste and elegance.

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OPERA-HOUSE
(from Ackermann’s “Microcosm of London,” 1810)

view the Opera House

THE Opera-House is a noble pile of building, situated near the bottom of the Haymarket, on the west side. It was originally built by Sir John Vanburgh, during the years 1704-5, and was first opened in the month of April 1705, for the performance of Italian operas, under the title of the Queen’s Theatre. The precarious encouragement which was afforded to musical spectacles of a nature entirely novel, by the attendance of the public, rendered it necessary, a few years afterwards, to raise a fund for the more permanent establishment of the Italian opera in this kingdom. In consequence of a determination to this effect, the sum of 50,000l. was raised by subscription in the year 1720, towards which his Majesty George I. subscribed 1000l.

The plan was well conceived and digested; the first vocal performers were brought from Italy, and the best composers from the Continent were encouraged to employ their talents in this undertaking. Handel and Boncini, with many others, were by this means introduced to the public. The opera flourished for some time, and a taste for classical performances was by degrees encouraged and disseminated. The superiority of the Italians, both as vocal and instrumental performers, was at this period so indisputable, that they were exclusively employed, and the riches of the country enabled the directors to procure the best performers that the Continent could supply. But music seems to be approaching very fast towards the fate that has been experienced by most of the arts, which advance by slow degrees to a certain point of perfection, which it is equally difficult to preserve as to acquire. Modern music was first methodized by Guido Aretine, and received but little improvement for many centuries afterwards. At the time that Italy produced her best painters, some of her best musicians flourished. In England we began much later: it was not till the reign of Elizabeth that we had any music that could possible compete with the Italian. From this period our advances were again very slow for many years, and although Gibbons did something, Purcel was the first who improved air, which is the greatest support of modern music.

Purcel was a great master, and his genius, though disguised by the false ornaments of the age in which he lived, was of the first order. He has perhaps laboured too much to imitate the words, rather than to express the thought of the sentence; and his frequent repetitions of the same word, and his almost infinite divisions, are not to be defended: but when the imitation of his defects, rather than his beauties, began to operate upon the general taste, Handel most seasonably made his appearance, to rescue us from a return to barbarity. He introduced and established a new species: though frequently defective in expression and elegance, he certainly brought air to its utmost perfection. But notwithstanding the great style in which his performances were exhibited a few years since, it is certain that we are getting very fast into as frivolous and trifling a taste for music as ever existed.

Voltaire observes, La musique aujourd hui n’est plus que l’art d’executer des choses difficiles. It is true Voltaire almost assumed a merit from perpetually expressing a contempt as well as ignorance of music; but there is much truth in the observation: for the art of playing upon musical instruments is degenerating very fast into the art of playing tricks upon them. In order to bend what is crooked so as to make it straight, we bend it as much the other way: and if it should fortunately become fashionable to retreat from ornament in music as much as in drapery, we may hope to hear music plain and unadorned, and the air of the moderns united with the substantial harmony of our predecessors. The English performers have certainly rivalled with great success both the Italians and Germans in accuracy and execution; but, with the exception of Mrs. Billington, the vocal performers of this country are very inferior to the Italians.

The scenery of the Opera-House is very good, and does great honour to the talents of the artists employed. The stage-room is not sufficient for the magnificent ballets which the prevailing taste of the day requires. The audience part of the house is in a superior taste and style.

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ASTLEY'S AMPHITHEATRE
(from Ackermann's Microcosm of London, Vol. I, 1809)

view Astley's Amphitheatre

The Amphitheatre at Westminster bridge has, within these twelve years, been twice destroyed by fire; and the expense of rebuilding, &c. &c. to Messrs. Astleys, the two proprietors, has been estimated as amounting to nearly thirty thousand pounds. The present theatre is the most airy, and in some respects the most beautiful, of any in this great metropolis. The building is one hundred and forty feet long; the width of that part allotted to the audience, from wall to wall, sixty-five feet; and the stage is one hundred and thirty feet wide, being the largest stage in England, and extremely well adapted to the purpose for which it was guilt, the introduction of grand spectacles and pantomimes, wherein numerous troops of horses are seen in what has every appearance of real warfare, gallopping to and fro, &c. &c. The whole theater is nearly the form of an egg; two thirds of the widest end forms the audience part and equestrian circle, and the smaller third is occupied by the orchestra and the stage. From this judicious arrangement, the whole audience have an uninterrupted prospect of the amusements. It is lighted by a magnificent glass chandelier, suspended from the center, and containing fifty patent lamps, and sixteen smaller chandeliers, with six wax-lights each. The scenery, machinery, decorations, &c. have been executed by the first artists in this country, under the immediate direction of Mr. Astley, jun. who made the fanciful design.

For a looker-on to describe some part of the amusements would be difficult, perhaps impossible; and luckily it is not necessary, for in an advertisement published November 1807, Mr. Astley himself has described one of them in a manner so singularly curious, that we think it ought to be transmitted to posterity; and have therefore inserted it in this volume.

"TO THE EDITOR OF THE MORNING CHRONICLE.

"SIR,

"Having been strongly requested to give some explanation of the utility of the country dances by eight horses, to be performed this and to-morrow evening, I request you will be so obliging as to insert the following hints.

"First, I humbly think that a thorough command and pliability on horseback, is obtained by such noble exercises. Secondly, that in executing the various figures in this dance, the rider obtains a knowledge of the bridle hand, also capacity and capability of the horse, more particularly at the precise time of casting off and turning of partners, right and left, &c. &c. Thirdly, I also conceive that the horseman may be greatly improved when in the act of reducing the horse to obedience on scientific principles!!! and not otherwise. Fourth, as a knowledge of the appui in horsemanship is highly desirable, whether on the road, the chase, or field of honour, I expressly composed the various figures in the country dance for this desirable purpose; and which my young equestrian artists have much profited by, as some of them three months since were never on horseback. It was from this observation, during forty-two years practice, that I gave this equestrian ballet the name of L'Ecole de Mars; and I am strongly thankful that my humble abilities have afforded some little information, as well as amusement, to the town in general.

"I am, with respect,

"The public's most humble and faithful servant,

"Philip Astley."

"Pavilion, Newcastle-street, Strand."

Besides the Amphitheatre, Messrs. Astleys have a very elegant Pavilion, for exhibiting amusements of a similar description, which they have lately erected, and fitted out in a most complete style, in Newcastle-street in the Strand, and named ASTLEY'S PAVILION.

At this place the horses have displayed some feats of so wonderful a description, as could not easily be conceived unless they were seen. In this place eight horses have lately performed country dances, &c. in a manner that has astonished all the spectators. To this have been added divers horsemanships, the twelve wonderful voltigers, &c.

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(from Joseph Ballard's "England in 1815")

22nd. This evening went to Astley's amphitheatre near Westminster Bridge. The interior is very pretty, lighted by a splendid chandelier, which descends through the ceiling and when coming down makes a beautiful appearance. The performances were of the pantomime and equestrian kind, the subject being the Life and death of the high-mettled racer. During this piece there was a correct representation of a horse race. The pit was railed through the center, and the horses started from the back of the stage at a long distance from the audience, and passed through the pit. A fox chase was also admirably done, from the starting of the fox until his death, the dogs and horses in full speed after the little animal. This was so illusive that the audience heartily joined in the tally-ho of the huntsmen, etc. In the course of the harlequinade a curious transformation set the house in a roar. A barber was carrying a wig box whereupon was written "Judge Wisdom's wig." The clown desiring to see it, he set it down and opened it, when a large wig (such as the judges in this country wear upon the bench) appeared. Harlequin struck it with his sword and out marched a venerable owl who majestically stalked across the stage and made his exit. Such success has this piece met with that tonight was the one hundredth night of its representation.

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Covent-Garden Theatre (Old)
(from Ackermann’s Microcosm of London, Vol. I, 1808)

view the Old Covent Garden Theatre

In the year 1799, Mr. Harris expended 25,000l.in the entire alteration of the interior and exterior parts of Covent- Garden House, which rendered it a new theatre; a title which it also assumed when Mr. King was first deputy-manager of Drury-Lane. The ampitheatre is entirely new, and contains three circles of boxes and a spacious gallery: the form is that of a truncated ellipse, or an egg flattened at one end; the effect of which upon the stage, and upon the sound (not always to be determined by rules), is certainly good. The front of stage advances something more than the old one into the pit, and is in a straight line. The pit is 40 feet wide and 38 in depth, contains twenty seats, which are parallel to the orchestra, and holds six hundred and thirty-two persons. The first circle of boxes is continued round the house.

The boxes are separated from each other by partitions, which are low in front, rise behind, and are placed in a new and commodious direction. They are lined and ceiled with wainscot, but are not papered, for the advantage of sound: their fronts project in a manner very accommodating to those who sit in the first rows.

The second and third circles of boxes are continued round the theatre, and differ from those below only in respect of their height. They hold twelve hundred persons.

The interior of each circle is painted green, relieved with fanciful borders. The fronts of the boxes are coloured in white and gold, forming compartments, which have a delicate and pleasing effect.

There are no columns or visible supporters to the boxes, it being justly imagined that they intercepted the sight; yet to the people in the pit, those rows of boxes full of company, having no apparent support, are apt to give unpleasant sensation.

The first, or two-shilling gallery, is 55 feet wide and 40 in depth, contains twelve seats, which are so elevated as to give a complete, uninterrupted view of the stage, and hold eight hundred and twenty spectators.

The upper gallery is 55 feet wide and 25 feet in depth, contains seven seats, and holds three hundred and sixty one persons. The proscenium is composed of pilasters and columns of the Corinthian order, fully enriched, having between them the stage-doors, over which are the balcony boxes. In the entablature to the order is introduced the old motto, Veluti in speculum.

In Hart-street a very large building has been erected for the scene-painters, scene-rooms, green-room, dressing room, &c. Through this building is a private entrance for the royal family to the stage-box. The stage-door and box-office are also in an additional building in Hart-street.

The whole of the avenues to the theatre have been much altered and improved. The principal entrance is in Bow-street, under an antique Doric portico, through a large and spacious saloon, handsomely fitted up and warmed by stoves, leading to the lower circle of boxes, and to a double staircase that leads to the upper circles.

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RULES FOR PERFORMERS
(from Ackermann’s Microcosm of London, Vol. I, 1808)

The principal performers of our English theatres are engaged under an article for three or five years, but receive their salary weekly. The minor performers are only engaged from season to season, but receive their salary as above.

The theatres have the following code of laws and regulations, by which the performers are governed.

1st. Every performer engaged or employed in the theatre at the salary of thirty shillings per week and under, who shall not duly attend the rehearsal of any theatrical performance, when summoned thereto (except prevented by real indisposition), shall forfeit sixpence for every scene in such performance wherein such performer shall be concerned, and from which he or she shall be absent; and if absent during the whole rehearsal of his or her part or character, shall forfeit two shillings and sixpence.

2d. Every performer engaged or employed at a salary of more than thirty shillings, and not exceeding three pounds per week, who shall not duly attend at rehearsals as above-mentioned, shall forfeit one shilling for each scene wherein such performer is concerned; and if absent during the whole rehearsal as aforesaid, shall forfeit five shillings.

3d. Every performer engaged or employed at a salary of more than three pounds, and not exceeding six pounds per week, who shall not duly attend at rehearsals as above-mentioned, shall forfeit one shilling and sixpence for each scene wherein he or she is concerned; and if absent during the whole rehearsal, seven shillings.

4th. Every performer engaged or employed at a salary not exceeding nine pounds per week, not attending rehearsals as above-mentioned, shall forfeit two shillings for each scene wherein such performer is concerned; and if absent during the whole rehearsal, nine shillings.

5th. Every performer engaged at a salary of more than nine pounds per week, not attending at rehearsal, shall forfeit two shillings for each scene; and if absent during the whole rehearsal, ten shillings and sixpence.

6th. Every performer who shall refuse to study, rehearse, or perform any part or character in any theatrical performance, when requested by the managers, or either of them, or by the prompter of the theatre, by their or either of their order or direction, shall forfeit five pounds; at Covent-Garden thirty pounds.

7th. Every performer who shall willfully absent himself or herself from the theatre at the time he or she should publicly perform any part or character in any theatrical performance, shall forfeit ten pounds for the first offence, and double that sum for the second.

8th. Every performer who shall, by pretending sickness, or any other untrue allegation, get excused from paying his or her fines for not attending rehearsals, shall forfeit double the sum he or she would be liable to pay without such pretence or allegation, in manner above-mentioned.

9th. If the prompter of the theatre, through neglect or partiality, shall not, in every week during the acting season, return to the managers, or one of them, the names of every performer who has incurred any forfeit as above-mentioned, he shall forfeit a week’s salary for every such omission.

N.B. All performers whose salaries are above six pounds per week, are entitled to four ivory tickets for the free admission of their friends to the theatre, viz. a double and single order for the boxes, and two double orders for the first gallery. All performers whose salaries do not amount to six pounds per week, are totally excluded from any similar privilege. The nightly charge for a benefit at Covent-Garden, is upwards of a hundred and sixty pounds.

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LONDON
THEATRICAL REGISTER

DRURY-LANE COMPANY,
AT THE LYCEUM THEATRE, IN THE STRAND.
For the the Month of January, 1810.

Jan 1. The Honey-moon---Cinderella. 11. The Rivals---Ditto. 22. Up All Night---The Mayor of Garrat.             2. The Cabinet---Ditto. 12. The Confederacy---Ditto. 23. The Hypocrite---Cinderella.             3. John Bull---Ditto. 13. The Beggar's Opera---Ditto. 24. The Confederacy---Matrimony.             4. As You Like It---Ditto. 15. As You Like It---Ditto. 25. Much Ado About Nothing---           No Song, No Supper. 5. The Haunted Tower---Ditto 16. The Mountaineers---Ditto. 26. The Merry Wives of Windsor---           Honest Thieves. 6. The Child of Nature--- 17. Sudden Arrivals---Ditto. 27. Man and Wife---The Midnight Hour.   Honest Thieves---Ditto.         8. Adelgitha---Ditto. 18. The Confederacy---Ditto. 29. Up All Night---           The Three and the Deuce. 9. Love in a Village---Ditto. 19. The Cabinet---Ditto. 30. [K. Charles's Martyrdom; no           Performance at this Theatre.] 10. John Bull---Ditto. 20. Ways and Means--- 31. The Hypocrite---       Honest Thieves---Ditto.   The Mayor of Garret.

COVENT-GARDEN NEW THEATRE
For the Month of January, 1810.

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"KNOCK 'EM DEAD, KID."

WESTON AND THE MANAGERS OF COVENT-GARDEN THEATRE.

MRS. SIDDONS

REVIEW OF THE DRAMA
Covent Garden Theatre
(from The Register of the Times, May 1795)

DESERTED DAUGHTER.

ON the 2d inst. a new Comedy of the above title, made its appearance at this Theatre, for the first time, said to come from the pen of Mr. Holcroft, but we have some reason to suppose that Mr. McKenzie, the ingenious author of the Man of Feeling, is the father of the Deserted Daughter. Whoever he be, he may truly be proud of the production; for since the first night that gave publicity to the inimitable School for Scandal, the town has not had such a piece presented to them as the one which now engages our attention.

A SKETCH OF THE FABLE.

A natural daughter, of the name of Johanna, is deserted by her father Mordent; his propensity to dishonorable gallantry, the consequent embarrassment of his affairs, his rude treatment of a gentle and forgiving wife, his repentance, the ultimate affectionate reception of this neglected daughter, whom, from his total ignorance of her person, he had attempted to seduce, and his wife's perfect reconciliation, added to the fraudulent collusions of his steward Item, with Grime an attorney, and the excentricities of Chivalry, the bashful but honourable suitor of Johanna, form a general out-line of this comedy, the incidents of which are peculiarly pleasing, and most of them naturally introduced. With respect to the character we must say, that we do not discover much originality, but when we consider that early in this century it was the opinion of the famous critic Walsh, that even at that time it was tool ate to produce anything new in the literary world, we must not be surprised at finding a deficiency of this kind in the Deserted Daughter. The language we think cannot be too much admired, as most parts of it teem with a brilliancy of wit, and an elegancy of expression, very little inferior to Congreve or Sheridan.

The performers, as if inspired by the multifarious beauties of the play, acted their several parts with admirable skill and effect. The prologue is not entitled to much praise, and the epilogue ought not to be repeated a second time.

This theatre has produced another new comedy, entitled the Bank Note, or Lessons for Ladies; but, as it has yet passed current only among a few of the performers for their benefits, we shall defer our strictures on it until it becomes a stock piece of theatrical property, should that ever be the case, which we much doubt

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DRURY-LANE THEATRE

JACK OF NEWBERRY
(from The Register of the Times, May 1795)

view Drury Lane Theatre

A new opera, called Jack of Newberry, made its first appearance here on the 6th instant, avowedly from the pen of Mr. Hook, junior, son of the well known composer.--Fable it has none, the worn-out story of Jack of Newberry, whose loyalty induced our eighth Harry to pay him a visit; his marriage with the rich dame of Newberry, with a few scenes made up of miserable attempts, indeed, at humour (wit we leave out of the question) forming the ground work of the whole. This being the first production of a very young author, we shall forbear to animadvert on particulars, which, otherwise, our duty to the public could not permit us to pass over; and feeling a wish, which we sincerely do, that merit may always receive whatever praise it may be entitled to; we cannot refrain from saying, that Mr. Hook has been peculiarly successful in appropriating the quaintness of the dialogue to the age from which his story is taken; but, throughout the whole of the piece, there is such a lamentable barrenness of wit, incident, and all those primary qualities that are necessary to constitute even a good opera, that must for ever preclude it from ranking high among performances of this description. The music, it must be confessed, is truly pleasing, and deserves every commendation.

At the conclusion of the opera, a masque was introduced in honour of the royal nuptials, entitled the Triumph of Hymen, a spectacle brilliant in the extreme. The scene that descends from the clouds, is equal, if not superior in grandeur and magnificence, to any thing we ever saw upon a stage.

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DRURY-LANE THEATRE

FIRST LOVE
(from The Register of the Times, May 1795)

A new comedy from the prolific and elegant pen of Mr. Cumvberland, has also made its first appearance at this house on he 12th instant.--Its title is First Love, and throughout the whole of the five acts, it was received by the audience with a kind of rapture, which must have been highly gratifying to the feelings of the author, and was no more than the merit of the performance justly claims. The fable is as follows:

Sir Miles Mowbray, who had separated his son Frederic from his first love, sends for him to pay his addresses to the same lady, when a rich widow, under the title of Lady Ruby. He returns from Padua with Sabine Rouet, a forlorn French emigree, under his protection, to whose care he owed his recovery from a dangerous illness, and whom he has promised to make the partner of his life and fortune. Lord Sensitive, who had married Sabina Rouet at Padua, and deserted her, is paying his addresses to Lady Ruby. The unravelling of all these matters, and convincing Sir Miles, who holds it to be "the duty of the head of a family, to think for all the rest who have no heads to think for themselves," by the wrangling of his daughter and son-in-law, whom he has contrived to couple, without consulting their inclinations, that sons and daughters may form as good a judgment of what will constitute their happiness, as other people, form the business of the piece.

The several parts of this play are admirably managed to produce a development pleasing and unexpected. The dialogue is elegantly written, perhaps too generally so, to preserve a due attention to character. Throughout the whole we discover a manliness of sentiment, and pointedness of wit, that few modern comedies can boast of. We sincerely congratulate the admirers of the drama, at having two such inimitable productions lately presented to them, as the Deserted Daughter, which we have already mentioned and the one at present before us. The great applause which they have each experienced, plainly evinces that the town may still be recovered from that vitiation and depravity of taste, which has long been imputed to it.

The performers of First Love deserve every praise that a display of ability, and an apparent wish to exert themselves to their fullest extent, in order to assist the author, can lay claim to. Mrs Jordan appeared in a new style of acting in the French refugee; and to give our readers an idea of her merit, we need only say that it was not a jot inferior to her old.

The prologue was well spoken by Mr. Palmer, as was also the epilogue by the above lady. In our opinion, they rank among the first poetical productions of the day.

Mr. Birch has brought out a new operatical after-piece, called the Adopted Child, at this theatre. We are by no means sorry that want of room prevents us from giving an account of this piece, as we think its merit is of the most flimsey kind indeed. We sincerely wish that this gentleman may be more happy in his next dramatic attempt, should he ever have the hardiness to make another.

HAYMARKET THEATRE
(from Benjamin Silliman’s Journals..., 1805,1806)

July 8.--In the evening I went to the Haymarket theatre. It is opened only during the summer months, and its performances begin when those of Drury-Lane and Covent-Garden close. The house is small but neat, and even to a certain degree elegant.

The play performed to-night was Speed the Plough, with the after-piece of The Hunter over the Alps. Both plays, and the manner of acting them, would have admitted of criticism, but, on the whole, I was entertained and even considerably interested. As usual, love was a prominent feature in the story, but nothing can be farther from the language and manners of this passion than the ranting professions and frantic gestures which usually attend it on stage.

The dancing was very indecent; modesty seems not to be a necessary qualification in an actress. It would be unjust to say that it is never found on the stage, for the character of Mrs. Siddons is known to be estimable in private life, and I believe was never reproached. But Mrs. J----d---n, one of the most eminent actresses at present on the London stage, is openly the mistress of the Duke of C-----e, and has been so for many years. This duke is a son of the present king; Mrs. J----d----n is the mother of several of his children, and whenever she is to play a distinguished part, he usually attends.

In the plays this evening there was a considerable degree of profaneness, some coarse and indecent deportment, and frequent innuendoes too palpable to be misunderstood. I could not mark either displeasure or embarrassment in the countenances of the audience; fashion sanctions every thing, and even modesty may be brought by degrees to smile, where it should frown. Enthusiastic applauses were bestowed by the galleries this evening, on this sentiment---that if a poor man had but an honest heart, there lived not one in England who had either the presumption or the power to oppress him. In this incident may be seen the active jealousy of liberty which exists even in the lower orders in England.

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DRURY- LANE THEATRE
(from the diary of John Aspinwall, 1795/6)

view Drury-Lane Theatre

This evening visited the Theatre in Drury Lane, which is the handsomest in the City. There is about 120 Boxes being five tiers one above another. Most of the Boxes have Windsor Chairs instead of Seats, with Cushions. The lobby has Green Cloth as a Carpet & is very Spacious. There is Rooms with fine Chairs etc. in which the company loiter about while their Coaches are waiting. There is two Galleries in this Play house, one above the other.

The Scenery is elegant, much of it is changed by hoisting up & letting down thro the Stage. The form inside is Circular & the Kings Box is the Stage Box & The Prince's is opposite. The Orchestra is large & well fill'd with good Musicians. There are Soldiers placed at the entrance to quell any disturbance which may happen as in the Pitt many desent looking Woman & men sit, & no one is allowed to walk on the benches which are matted. Saw the Pantomime of Alexander the Great in which is much elegant Scenery. There was a Castle Stormed--which was extreamly natural and was Battered down, very naturally. About thirteen horses appeared, some drawing Triumphal carts, others carrying Generals, Soldiers etc. & Pranced and plung'd with much Shew. In the procession two Elephants appear'd. These last were fictitious but natural--the Scenery & Dresses of this one Pantomime is said to cost 3000 Guineas.

In the lobbies & the Rooms are a great number of Girls of the Town who appeard very Genteel, and are many, very handsome. They generally come in at Half price when the Play is over & the entertainment begins. Mrs. Siddins performs at this Theatre, and the Company in general is thought to be the best. Mrs. Jordan on this Stage is the Mistress of the Duke of Clarence, and it is said that this keeps the king & queen from going so often to this as other Theatres. The price is 6/. Boxes 3/6 pitt 2/ lower Gallery & 1/ upper do.

*****

The Full Drury.
(from Ackermann’s Microcosm of London, Vol. I, 1808)

This magnificent structure unites a splendid combination of taste, grandeur, and elegance, which renders it a monument of fame to Mr. Holland, the architect; and when its exterior is completely finished, will be a national ornament. It was raised on the site of the old house; and opened for the first time March 13, 1793, with a selection of sacred music.

The buildings which surround the theatre are faced with Portland stone, but will be finished with balustrade. The theatre, which rises above them, is cased with plaister in imitation of stone, and finished with a balustrade. Through the roof rises a turret, making a large ventilator. On the summit is placed a figure of Apollo, more than ten feet high; but this is to be removed to the west front when finished, and replaced by one of Shakespeare.

The accommodations for the stage are upon a much larger scale than those of any other theatre in Europe. The stage is 105 feet in length, 75 feet wide, and 45 feet between the stage-doors.

In the roof of the theatre is contained, besides the barrel-loft, ample room for scene-painters, and four very large reservoirs from which water is distributed over every part of the house, for the purpose of instantly extinguishing fire in any part where such accident is possible.

Over the stage is a double range of galleries, called flies, containing machinery, and where the greatest part of the scenery is worked; but which, from the number of blocks, wheels, and ropes crossing each other in every direction, give it very much the appearance of a ship’s deck.

There are two green-rooms, one for the use of the chorus-singers, supernumeraries, and figurants; the other for the principal performers: the latter of which is fitted up in the first style of elegance, and occasionally visited by persons of the highest distinction.

The audience part of the theatre is formed nearly on a semi-circular plan. It contains a pit, four tiers of boxes on each side of the house, and two galleries, which command a full view of every part of the stage.

The pit is 54 feet in length, 46 in breadth, has twenty-five rows of benches, and contains eight hundred persons. The benches are so well constructed, that those next the orchestra command an interrupted view of the whole stage, and the avenues to it are very commodious and safe.

The prevailing colours of the boxes are blue and white, relieved with richly fancied embellishments of decorative ornament. The compartments into which the front of each tier is divided, have centrally a highly finished cameo, the ground of cornelian-stone colour, with exquisitely drawn figures, raised in white; the subjects are chiefly from Ovid, and painted by Rebecca. The stage-boxes project about two feet, and have a rich silver lattice-work, of excellent taste and workmanship.

The boxes are supported by cast-iron candelabras, fluted and silver-lackered, resting on elegantly executed feet; from the top of each pillar a branch projects three feet, from which is suspended a brilliant cut-glass chandelier. A circular mirror, about five feet diameter, is placed at each end of the dress-boxes, next the stage, that produces a pleasing reflected view of the audience. On nights when this theatre is honoured with their Majesties’ presence, the partitions of the stage-box are taken down, and it is brought forward near two feet; a canopy is erected, superbly decorated with crimson velvet, richly embroidered with gold; and adjoining them sit the princesses; their box is usually lined with light blue satin, fancifully festooned, and elegantly decorated with silver fringe and rich tassels.

Two stage-doors have been added since the building of this theatre, over which are two boxes on each side, in a semicurcular inverted form. The dome is admirably constructed to preserve the sound, and is painted in a most bold and impressive style of truth and grandeur.

There are twenty-nine boxes all round the first tier, and eleven back front boxes; twenty-nine all round the second tier, of which eleven are six seats deep; and ten boxes on each side the gallery, in the upper tiers. there are also eight private boxes on each side of the pit.

The two-shilling gallery will contain six hundred and seventy-five persons, and the one-shilling gallery three hundred and eight. The boxes, pit, and galleries hold three thousand six hundred and eleven spectators, amounting in cash to 826l, 6s.

The corridors which surround the boxes are spacious, and communicate with each other by means of staircases in the angles of the theatre.

At the west end of the theatre there is a semicircular saloon, 41 feet long, and containing a handsome statue of Garrick between the comic and tragic muses, opening by an arch to the corridors, and having bar-rooms, from which the company may be supplied with refreshments. There are also large saloons on the north and south sides of the theatre, and handsome square rooms, one of which is intended for the use of his Majesty, and the other for the Prince of Wales.

The theatre has three entrances to the boxes, two to the pit, and the like number to the galleries. The one in Brydge’s street leads to a saloon 75 feet by 21, called the Egyptian Hall.

Sixteen pillars of the Doric order, beautifully painted in imitation of porphyry, are at once a splendid ornament and support of the back boxes, to which a flight of stairs at each end leads. The band of the theatre consists of some of the best musicians in London; the leader, Mr. Shaw, is greatly admired for his professional excellence.

The sum of 200,000l. has been expended on this theatre, in order to render the house and its performances as perfect as possible for public gratification.

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view the New Covent-Garden Theatre

In a former part of this work, we have given a very correct picture of the interior of the old Covent-Garden Theatre: and it is this view along, we believe, which will recall its remembrance to those who were acquainted with it, and afford an accurate notion of what it was, to those who never beheld it. The building was discovered to be on fire, after midnight, on the 19th of September, 1808; and so irresistible were the flames, that before five o’clock on the following morning, nothing remained but an heap of smoking ruins. The real cause of this fatal catastrophe has never been discovered, nor has even a probable conjecture been formed as to the origin of the conflagration.

This Theatre was soon destined to rise, like the phoenix, from its own ashes, with additional splendour; and almost before the ruins had ceased to smoke, the renovation was not only projected and planned, but ready for commencement. In less than three months after this scene of destruction, the first stone of the new structure was laid by his Royal Highness the Prince of Wales. On the 31st of December, he was most graciously pleased to perform this ceremonial, which was accompanied with every preparation suited to the occasion, and attended by the Grand Lodge of Free Masons, in honour of their Illustrious Grand Master, who presided at it.

The foundation-stone, which was placed at the north-east angle of the building, was an oblong block, of near three tons in weight, with all the machinery necessary to suspend it. Military bands of music were stationed around the spot; the numerous workmen to be employed in the building appeared on scaffolds, and naval and military ensigns were unfurled at each angle of it. Within the area a covered gallery was erected for the company to be admitted on the occasion; another was prepared for the Masonic body, and a spacious marquee was appropriated to the Prince.

The Grand Lodge of Free Masons, with deputations from the other lodges in the metropolis, proceeded from Free Mason’s-Hall, with all due formality, to the scene of the ceremony, at which they assisted.

At one o’clock his Royal Highness the Prince of Wales, attended by the Duke of Sussex, General Hulse, and some of the officers of his household, arrived at the Bow-street entrance, where he was received by the Earl of Moira, as deputy grand master, and the proprietors of the Theatre. His arrival was announced by a royal salute of cannon; the royal standard of England was hoisted, and the patriotic air of “God save the King” was given by the united bands. When the Prince had reached the marquee, Mr. Smirke, the architect, presented a plan of the building, and the ceremonial began.

The stone being raised several feet, his Royal Highness deposited, in a cavity in the basement stone, a brass box, containing a large bronze medal, which had the portrait of his Royal Highness on one side, with the following inscription on the reverse;

Georgius, Princeps Walliarum,
Theatri Regis instaurandi auspiciis,
in Hortis Benedictinis, Londini,
fundamenta suâ manu locavit.
M. DCCCVIII.

Another copper medal of the same size, was engraved with the following inscription:

Under the auspices of his most sacred majesty, GEORGE III.
King of the United Kingdoms of Great Britain and Ireland,
the foundation-stone of the Theatre, Covent-Garden,
was laid by his Royal Highness George, Prince of Wales.
M.DCCCVIII.

The box contained also a series of all the gold, silver, and copper coins of the present reign. Six Masons then proceeded to spread the cement, which was completed by the Grand Master, with a gilt silver trowel. The stone was now lowered, and his Royal Highness laid it by giving it three strokes of a mallet. He then poured upon it corn, wine, and oil from three silver goblets. The ceremony was accompanied with another discharge of cannon, the united power of the musical bands, and the acclamations of the spectators. The Prince, after having expressed, in the most gracious manner, his wishes for the prosperity of the undertaking, retired with the formalities which attended his arrival.

The present Theatre is very superior to that whose place it supplies. The principal front is on Bow-street. The center is distinguished by a portico supported by four Doric columns of large dimensions, in the style of those which form a part of the temple of Minerva in the Acropolis of Athens. The windows of this front do not extend along the whole of it, but leave sufficient space for projections at either end. In these projections are niches, which give variety and relief to them. Above the windows, in the spaces between the portico and the projections, is a line of basso-relievos, which diversify the surface. Those in the northern space describe the ancient drama. In the center, are represented three Greek poets, Aristophanes, Menander, and Aeschylus. Connected with the former, are Thalia, Polyhymnia, Euterpe, Clio, and Terpsichore; to these are added three Nymphs and Pegasus. Connected with Aeschylus, are Bacchus, Minerva, Melpomene, two Furies, Orestes, and Apollo in his chariot. The south space represents the modern drama, the center of which is occupied by Shakespeare and Milton. From the former extend the characters of Caliban, Ferdinand, Miranda, Prospero, with Ariel, Macbeth, Lady Macbeth, and Duncan, all o which are represented in characteristic positions: to these is added Hecate in a car. Attached to Milton, are Urania, Sampson Agonistes, the two Brothers, Bacchanals, Comus, the enchanted Lady, and two tigers. Tragedy occupies the niche in the southern extremity of the building; that to the north possesses the statue of Comedy. All the figures are marked by their classical attributes, or their dramatic distinctions.

The interior of the Theatre is rather larger than that of the late structure; and differs from those hitherto constructed, by approaching nearer to a circle. There are three circles of boxes, with a row of side-boxes above them, on a level with the two-shilling gallery. These upper side-boxes are without roof or canopy. Immediately behind them rise the slips, their fronts forming a perpendicular line with the back of the upper side-boxes. The one-shilling gallery in the center ranges with the fronts of the slips, the whole assuming the circular form, and upholding a range of arches, which support the circular ceiling: the latter is painted to imitate a cupola, in square compartments, in a light relief. The pannels are of a grey colour, with wreaths of honeysuckles, &c. in gold. The box fronts are perpendicular, and their ornaments are painted on canvas, and fixed on the fronts. Each circle is supported by slender reeded pillars, in burnished gold. The covering of the seats is of a light blue.

The stage, in height, breadth, and especially in depth, is of admirable proportions. No boxes, except those over the side-doors, are suffered to intrude upon the proscenium; on each side of which are two lofty pilasters in scaliogla, with light gilt capitals; between them are the stage-doors and managers’ boxes. They support an arch, the segment of a circle, whose sofit, from which the crimson drapery over the curtain is suspended, is painted in light relief. Above is a simple entablature, with the royal arms in the center; and in each spandrel of the arch is an emblematical antique, celestial figure, executed in relief. The whole of the frontispiece is finished in the same manner as the cupola. The drop scene represents a temple dedicated to Shakespeare, of admirable design and execution The Theatre is lighted by patent lamps and elegant chandeliers.

The principal entrance to the boxes is under the portico in Bow-street. On the left side of the vestibule is the grand staircase, which, with its landing, forms the central third part of an hall, divided longitudinally by two rows of insulated columns, coloured after porphyry. This leads to the anti-room, with porphyry pilasters, and a statue of Shakespeare on a pedestal. The doors on the right open into the box-lobby, which is decorated in a similar manner. There is another entrance from Covent-Garden, by a staircase with a double flight.

The third circle of boxes under the two-shilling gallery were contrived and elegantly accommodated for private subscribers; they are twenty-eight in number; but that design has been abandoned.

The royal entrance is by the open court from Hart-street, which will admit the royal carriages to the door of the private staircase that leads to the apartments provided for their Majesties. The expence attending the erection of this magnificent structure, is stated by the proprietors to have amounted to £150,000. It was opened for public performance on Monday, the 18th of September, 1809.

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