Theatre Royal, Drury Lane

“ The bills of Drury-lane theatre, within the last ten years, have issued from a private press, set up in a room below the stage of that theatre. The bills for the royal box, on his majesty’s visit to either theatre, are printed on white satin.
Connected with these notices of playbills, are the means by which they were dispersed. A century ago, they were sold in the theatres by young women, called “orange-girls,” some of whom, Sally Harris and others, obtained considerable celebrity; these were succeeded by others, who neither coveted nor obtained notoriety. ”

“ Manley considered herself privileged at Drury Lane, that The Royal Mischief had gone into rehearsal, but that her imperious manner had alienated the actors who laughed at her dramatic pretentions; and that she had stormed out of the Theatre Royal vowing never again to honor them with her works. After much bickering among patrons, patentees, players, and playwright, The Royal Mischief was finally presented by the newly formed Betterton company at Lincoln's Inn Fields in May, 1696, instead of by the company of actors led by George Powell at the rival Drury Lane Theatre. ”

“ The theatre has an individual atmosphere, the pantomime is not like the pantomime one sees anywhere else. In order to appreciate the size of the place it is necessary to put on a very small pair of knickerbockers and gaze upwards from the stalls between the chocolates and the ices. It is like looking into the deeps of heaven, though here the gods suck oranges and make cat-calls—those fascinating sounds that our youthful lips would never achieve. Drury Lane is the only theatre that preserves the old glamour. ”

“ Since there was only one theatre in London from 1682 to 1695, she wrote for Thomas Betterton, Elizabeth Barry, Anne Bracegirdle, Edward Kynaston, and other veterans in the Betterton company, who were the prototypes for the characters in the early heroic plays. She could have known no others. When Betterton seceded from the Theatre Royal in 1695 and set up the independent theatre in Lincoln's Inn Fields, Mrs. Manley, already committed to Drury Lane because of her first play, gave Drury Lane The Royal Mischief even though it had been written for the Betterton company. ”

“ The Queen is represented in all her youthful beauty in the Royal box at Drury Lane Theatre, and it is the work of E. T. Parris, a fashionable portrait painter of those days. Parris was totally ignorant of the fact that when he agreed with Mr. Henry Graves, the well-known publisher, to paint "the portrait of a lady for fifty guineas," he would have to localise himself amongst the musical instruments of the orchestra of the National Theatre, and handle his pencil in the immediate neighbourhood of the big drum. ”

“ In the Christmas of 1855 he provided almost all the scenery for the holiday entertainments both at Drury Lane and at Covent Garden. In December 1862 his brush was employed to excellent advantage on the Princess's Theatre pantomime of ‘Riquet with the Tuft.’ At Drury Lane during the next few years he furnished the mounting for several important Shakespearean revivals, notably for ‘King John,’ ‘Henry IV, Part I,’ and ‘Macbeth,’ as well as for an elaborate production of ‘Comus.’ Between 1868 and 1879 his services appear to have been exclusively devoted to Drury Lane. ”

“ Terry, Jones, Mrs. Gibbs, Liston, Mr. and Mrs. Charles Kemble, J. Russel, Farley, and Mrs. Mardyn and Madame Vestris from Drury-Lane, and last, Miss R. Corri, from the Opera House.—In fact, it is our opinion that there is theatrical strength enough in this town only to set up one good summer or one good winter theatre. Competition may be necessary to prevent negligence and abuse, but the result of this distribution of the corps dramatique into different companies, is, that we never, or very rarely indeed, see a play well acted in all its parts. At Drury-Lane there is only one tragic actor, Mr. ”

“ There had been some alterations in the structure of this theatre, which are said to have hurt the effect contemplated by Sir Christopher Wren, and perhaps assisted its destruction; for seventy years is no great age for a public building. Yet old Drury, as it was called, was said to have died of a "gradual decline." It was rebuilt, and became Old Drury the second; underwent the usual fate of theatres in the year 1809; and was succeeded by the one now standing.
ENTRANCE FRONT OF DRURY LANE THEATRE, ERECTED BY GARRICK.
It is customary to divide the eras of theatres according to their management ”

“ That which was organised by the moral ability of one has been executed by the physical efforts of many, and Drury Lane Theatre is now complete. Of that part behind the curtain, which has not yet been destined to glow beneath the brush of the varnisher, or vibrate to the hammer of the carpenter, little is thought by the public, and little need be said by the committee. Truth, however, is not to be sacrificed for the accommodation of either ”

“ DRURY LANE THEATRE. Drury Lane Theatre was built in 1667, one year after the great fire of London, by Mr. William Shakspeare, assisted by Mr. Bunn, a great dramatist, from the designs of Mr. Planché, an eminent architect. Shakspeare was an extraordinary musician; and his solos on the ophicleide, whilst in the orchestra of the Globe Theatre, were much admired. He composed several musical dramas, amongst which "Hamlet, Prince of Tyre," "As You Like It, or So I hope you'll recommend it," "The Two Gentlemen of Windsor," "Antony and Juliet," have gained a transient popularity. ”

“ Those wonderful houses about Drury-lane Theatre, which in the palmy days of theatres were prosperous and long-settled places of business, and which now change hands every week, but never change their character of being divided and sub-divided on the ground floor into mouldy dens of shops where an orange and half-a-dozen nuts, or a pomatum-pot, one cake of fancy soap, and a cigar box, are offered for sale and never sold, were most ruefully contemplated that evening, by the statue of Shakespeare, with the rain-drops coursing one another down its innocent nose. ”

“ Let study, worn with virtue's fruitless lore,
Behold this theatre, and grieve no more.
This night, distinguish'd by your smiles, shall tell
That never Briton can in vain excel;
The slighted arts futurity shall trust,
And rising ages hasten to be just. ”

“ And some men, as scholars, are not much his betters." Drury-lane Theatre was much improved in 1762, by lengthening the stage, enlarging the boxes and pit, and rebuilding the galleries. This alteration probably originated from the hopes of additional profit. Another in the management had its rise from the same cause; but the publick were less satisfied than with the former, as in the latter the advantage was by no means mutual between the proprietors and their patrons. The managers intimated that nothing under full prices would be taken during the performance ”

“ Many hundreds of girls and women, often married and supporting families, are employed in the vast choruses of the Drury-Lane Theatre,—"the Lane" as it is called in local parlance; many hundreds of men, scene-shifters, carpenters, mechanics, and the like, are required for the production of its stupendous effects. ”

“ Opening out of Drury Lane, at the back and side of the theater, is a network of narrow, flagged passages built up with tall houses. There are rag and waste-paper shops in this retreat, two or three dreadful little greengrocers' stalls, a pawnbroker's, a surprizing number of cobblers, and in the core of the place, where the alley widens into the semblance of a dwarfed court, a nest of dealers in theatrical finery, dancing-shoes, pasteboard rounds of beef and cutlets, stage armor, and second-hand play-books. ”

“ The reader who recollects my previous notices of the enlargement of Drury-lane Theatre will perceive, from those and the subsequent, how rapidly population and the admiration of theatrical amusements have increased. Mr. Harris, [304] proprietor of Covent-garden Playhouse, found it necessary in 1782 to raise the roof eight feet, and make other alterations, to benefit himself, and accommodate the publick. It was then that the Theatre was adorned with those genuine ornaments in the Grecian style, which have lately given place to I know not what strange substitutes of painted deal boards. ”

“ By D. Garrick. London: Printed for and Sold by Paul Vaillant,. . . ; and J. Roberts, [292] . . . 1742. (Price One Shilling.) 8vo, red levant morocco, gilt back, gilt top, uncut edges, by Rivière.
First edition. Acted later at the Theatre Royal in Drury Lane. An alteration of "All without Money," the second of Motteux's five plays "The Novelty. Every Act a Play," 1697.
Half-title, title, and "Dramatis Personæ," three leaves, and B-H1 in fours.
GARRICK, David.—Lethe. A dramatic satire. By David Garrick. As it is Performed at the Theatre-Royal in Drury-Lane, By His Majesty's Servants. ”

“ Horace Smith and his brother seized the opportunity to parody the style of the most celebrated in their delightful 'Rejected Addresses.' Drury Lane has always been grand in its prologue, for besides Dryden and Byron, it could boast of Sam. Johnson, who wrote the address when Garrick opened the theatre in 1747. No theatre ever had more great names connected with its history. ”

“ For my own part, now the fit is long past, I have no hesitation in declaring, that a mob of happy faces crowding up at the pit door of Drury-Lane Theatre just at the hour of five, give me ten thousand finer pleasures, than I ever received from all the flocks of silly sheep, that have whitened the plains of Arcadia or Epsom Downs.
This passion for crowds is no where feasted so full as in London. The man must have a rare recipe for melancholy, who can be dull in Fleet-street. ”

“ Samuel Erin, on behalf of his son William Henry, ‘an infant,’ with Mr. Albany Wallis, for the production of the play were eminently satisfactory. Mr. Erin was to receive three hundred pounds on the morning after the first night of representation, and half profits for the next sixty nights. Shakespeare himself had probably never made so good a bargain.
The news of the acceptance of the ‘Vortigern’ by the management of Drury Lane Theatre immensely increased the public excitement concerning it. In those days ‘Old Drury’ (though indeed it was then far from old) was the national theatre ”

“ An English theatre is the very throne of pantomime; nor do I believe that the gallery and boxes of Drury Lane or Covent Garden filled on the proper occasions with holiday folks (big or little) yield the palm for undisguised, tumultuous, inextinguishable laughter to any spot in Europe. I do not speak of the refinement of the mirth (this is no fastidious speculation) but of its cordiality, on the return of these long looked-for and licensed periods ”

“ The geographical distribution of opera-dancers is extremely well defined, as their names implies; for they most do congregate wherever an opera-house exists. Some, however, descend to the non-lyric drama, and condescend to “illustrate” the plays of Shakespeare. It is said that the classical manager of Drury Lane Theatre has secured a company of them to help the singers he has engaged to perform Richard the Third, Coriolanus, and other historical plays.
Why has a clock always a bashful appearance?—Because it always keeps its hands before its face. ”

“ The 19th century saw spectacle devoted almost exclusively to theatrical entertainment. In London, melodrama, both of the romantic and domestic description, claimed its illustrative aid. At Drury Lane Theatre (which, with Covent Garden, the Adelphi and Astley's, was first illuminated by gas in 1817–18) the Cataract of the Ganges, with its cascade of real water and its prancing steeds, made a great sensation in 1823, and the same stage in 1842, under Macready's management, displayed the "moving wave" effect in the Sicilian views, painted by William Clarkson Stanfield for Acis and Galatea. ”

“ Comedy amuses while it instructs; but this admits of very little increase of the voice beyond its ordinary speaking powers; and who can make himself heard in our vast theatres without exerting his lungs in a manner quite destructive of the ease so indispensably necessary to the finished performance of genteel comedy?—Opera, melodrama, and dancing remain, to which Covent Garden seems already driven; and Drury Lane is on the point of following the example of the rival patent temple of legitimate drama! ”

“ DRURY LANE, AND THE TWO THEATRES IN DRURY LANE AND COVENT GARDEN. Craven House—Donne and his vision—Lord Craven and the Queen of Bohemia—Nell Gwynn—Drury Lane Theatre—Its antiquity, different eras, and rebuildings—The principal theatre of Dryden, Wycherley, Farquhar, Steele, Garrick, and Sheridan—Old Drury in the time of Charles II.—A visit to it—Pepys and his theatrical gossip, with notes—Hart and Mohun—Goodman—Nell Gwynn—Dramatic taste of that age—Booth—Artificial tragedy—Wilks and Cibber—Bullock and Penkethman—A Colonel enamoured of Cibber's wig—Mrs. ”

“ Yet on these children Civilisation had worked with her utmost cunning, with her most recent resource. For they were little actors and actresses from Drury Lane, touring in a pantomime of their own; wise enough in the world’s ways to play grown-up characters with uncommon skill, and bred in the unreality of the footlights and the falsehood of grease-paints. Nevertheless, coming fresh from the elaborate make-belief p. 88of the theatre and the intoxicating applause, they ran down to the sea to find the diamonds and pearls that alone are real. ”