140-486: Susanna Centlivre (c. 1669 (baptised) – 1 December 1723), born Susanna Freeman , and also known professionally as Susanna Carroll , was an English poet, actress, and "the most successful female playwright of the eighteenth century". Centlivre's "pieces continued to be acted after the theatre managers had forgotten most of her contemporaries." During a long career at the Theatre Royal, Drury Lane , she became known as
280-490: A Mr Dyte . Hadfield was quickly subdued, and George, apparently unruffled, ordered the performance to continue. The comedy actor John Bannister became acting manager in 1802. With Sheridan's son Tom , and in the circle of Richard Wroughton (stage-manager), William Dowton , Michael Kelly , Tom Dibdin and their likes, he helped to see the Theatre Royal through its next catastrophe. On 24 February 1809, despite
420-410: A stucco facade facing Bridges Street. This facade was the first time any structure that might be considered part of the theatre proper actually abutted the street: the building, like the 1663 original, had been built in the centre of the block, hemmed in by other structures. The narrow passage from Bridges street to the theatre now became an interior hallway; some theatre office space also went up behind
560-496: A "Riding Yard" ) in which the theatre stood. It is likely that the yard remained open to the sky at this date, on three sides of the Theatre Royal walls. Henri Misson, a visitor from France, offers a description of the theatre in 1698: his use of the word "amphitheatre" supports the view that Drury Lane had a circular line of boxes surrounding its pit: The Pit is an Amphitheatre, fill'd with Benches without Backboards, and adorn'd and cover'd with green Cloth. Men of Quality, particularly
700-423: A May 1663 letter from one Monsieur de Maonconys: "All benches of the pit, where people of rank also sit, are shaped in a semi-circle, each row higher than the next." The three galleries formed a semicircle around the floor seats; both the first and second galleries were divided up into boxes. The Great Plague of London struck in the summer of 1665, and the Theatre Royal, along with all other public entertainment,
840-596: A Swedish king threatening to attack England. She published a poem, entitled "An Epistle from a Lady of Great Britain to the King of Sweden, on the intended Invasion," in response to Charles's threats. We have two records of poems to Mr. Rowe (Nicholas) in 1718. The first was written during a visit to her hometown of Holbeach and is entitled "From the Country, To Mr. ROWE in Town. M.DCC.XVIII." The second poem followed Rowe's death and
980-494: A Venture and saw it performed in 1706. Centlivre was a highly successful professional playwright. A similarly renowned playwright, Colley Cibber , was accused of borrowing parts of Love at a Venture to write his own play, The Double Gallant . However, in an apparent reconciliation he accepted a part in Centlivre's next play, The Platonick Lady (November 1706). Having grown weary with anonymous authorship, Centlivre used
1120-421: A decade, including Oklahoma! (1947–1950), Carousel (1950–1951), South Pacific (1951–1953) and The King and I (1953–1956). American imports also included Lerner and Loewe 's My Fair Lady , which began a five-year run in 1958. Productions in the 1960s included Camelot (1964–1965), Hello, Dolly! (1965–1967) and The Great Waltz (1970–1972). In 1974, Monty Python recorded an album at
1260-468: A librarian or by anyone else. No sign of a signature (by Wren or anyone else) or a date appears anywhere on the drawing. Robert D. Hume of Penn State University explained that use of the drawing "rests almost entirely on the supposition that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way." Comparative evidence for Drury Lane's 1674 design can be found in
1400-445: A move that was most likely motivated by a wish for public attention. In the letters, the exchange between Astrea and Celadon (Capt. William Ayloffe) are of particular interest due to their intense romantic suggestions. However, biographers generally agree that this was merely practice for the epistolary fiction form. We also get a glimpse of Centlivre's poetry in her correspondence with George Farquhar, who also sometimes published under
1540-520: A new theatre in Drury Lane. The Letters Patent also granted the two companies a shared monopoly on the public performance of legitimate drama in London; this monopoly was challenged in the 18th century by new venues and by a certain slipperiness in the definition of "legitimate drama," but remained legally in place until 1843. The new playhouse, architect unknown, opened on 7 May 1663 and was known from
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#17327918520991680-564: A poem entitled "A Woman's CASE: in an Epistle to CHARLES JOYE, Esq; Deputy-Governor of the South Sea", that traces her political associations and shines some light on her relationship with her husband. She continued to write poetry until her death. Her last play, The Artifice , was produced and published in October 1722. Centlivre reflected positively on England's political, economic, and juridical systems. Her plays were often concerned with
1820-449: A political play, The Wonder was a popular hit and notably was the performance in which famous actor/playwright David Garrick chose "to make his farewell to the stage on 10 June 1776." Centlivre's next two plays, A Gotham Election and A Wife Well Manag'd , were published in 1715 (although A Gotham Election would not be performed until 1724) and fell under her now common theme, political farce. These two plays illustrate how Centlivre
1960-400: A problem that Garrick corrected during his tenure as manager. The entire complex occupied 13,134 sq ft (1,220 m ) bounded by Drury Lane (east), Brydges Street (west), Great Russell Street (north) and Little Russell Street (south). From 1674, theatregoers accessed the Drury Lane via a long ten-foot-wide passageway from Bridges Street. The passageway opened onto a yard (previously
2100-517: A production of T. S. Eliot 's Murder in the Cathedral . It gained full charitable status in October 2009. The artist J. M. W. Turner and dramatist Sir William S. Gilbert (of Gilbert and Sullivan fame) were both baptised at St Paul's. Samuel Butler (1613–1680), of Hudibras fame, was buried at St Paul's, Covent Garden. Aubrey in Brief Lives describes his grave as "being in
2240-455: A rocky stream into a lake large enough on which to row a boat. This water issued from tanks in the attics above the house, which were installed – along with a much-touted iron safety curtain – as proof against fire. Richard Sheridan continued as theatre owner during the entire lifetime of this third building. He had grown in stature as a statesman during this time, but troubled finances were to be his undoing. The 1794 rebuilding had cost double
2380-480: A separate parish and the church dedicated to St. Paul. In 1789 there was a major restoration of the church, under the direction of the architect Thomas Hardwick . Six years later, in September 1795, the church was burnt out by a fire, accidentally started by workmen on the roof. A survey of the damage found that the outer walls were still structurally sound, but that the portico would have to be reconstructed. It
2520-430: A series of five letters, would not appear until May 1700. These letters contain playful, witty back-and-forth banter between her and the correspondent. Although early in her career, she is complimented as woman of sense. In July 1700, Abel Boyer published a second set of Centlivre's letters (among other writers). This time, Centlivre published the letters under the name of Astrea, a pen name previously used by Aphra Behn ,
2660-496: A serious illness contracted in 1719. The Evening Post , London Journal , British Journal , and Weekly Journal had brief notices of her death. Centlivre's body was buried three days after her death in St. Paul's, Covent Garden . A little over a year later, her husband followed. Giles Jacob mentions Centlivre's inclination to poetry with her first poem being written when she was merely seven years old. However, her first published work,
2800-642: A small name for herself; however, she still relied on financial support from strolling (acting). It was during a performance when she played the role of Alexander the Great in Nathaniel Lee 's tragedy The Rival Queens, or the Death of Alexander the Great for the court at Windsor Castle that she caught the eye of Joseph Centlivre. Though he was of a lower social class, a mere "yeoman of the mouth [cook] to Queen Anne ," they were married on 23 April 1707. There
2940-602: A theme of liberty within the areas of marriage and citizenry. Centlivre was sometimes a political dramatist. She was anti-Catholic, as is shown by some of her play dedications, prologues and epilogues. This is especially apparent in her dedication at the beginning of The Wonder , where she expressed her strong support for the proposed Protestant succession. The majority of her plays eschew party political commentary, her only work with an overtly political agenda being The Gotham Election . Some of her more controversial epilogues, such as that of The Perplexed Lovers where she identifies
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#17327918520993080-409: A tragedy at the time) was performed at the Theatre Royal , Drury Lane and, according to Centlivre, "went off with a general Applause." It was published under Susanna's own name, and the prologue made a point of pride out of its female authorship. By the end of 1700, with a long list of literary acquaintances and actors alike, Centlivre was well established in London. Her next play, The Beau's Duel ,
3220-628: A triumvirate that eventually found themselves sharply satirised in Alexander Pope 's Dunciad . In 1713, Barton Booth replaced Doggett. On 2 March 1717 was the premiere of the ballet The Loves of Mars and Venus choreographed by John Weaver , and was the first ballet to be performed in England. Cibber was the de facto leader of the triumvirate, and he led the theatre through a controversial but generally successful period until 1733, when he sold his controlling interest to John Highmore. It
3360-475: A twenty-five-year period by the actor-playwright Dion Boucicault : The Queen of Spades (1851), Eugenie (1855), Formosa (1869), and The Shaughraun (1875). But this period of general decline culminated with F. B. Chatterton 's 1878 resignation; in his words, "Shakespeare spells ruin, and Byron bankruptcy." During the 19th century, Drury Lane staged ballet as well, with performers including Italy's Carlotta Grisi . One famous musical director of Drury Lane
3500-480: A vacuum of new material to perform. Garrick shared the stage with company including Peg Woffington , Susannah Cibber , Hannah Pritchard , Kitty Clive , Spranger Barry , Richard Yates , and Ned Shuter. It was under Garrick's management that spectators were for the first time barred from the stage itself. Garrick commissioned Robert Adam and his brother James to renovate the theatre's interior, which they did in 1775. Their additions included an ornate ceiling and
3640-476: A work of deliberate primitivism: the Tuscan order having been associated by Renaissance architect Palladio with agricultural buildings. The temple front with a portico on the square has never in fact been the main entrance, although this may have been Jones's first intention. The altar lies behind this wall, and the entrance is at the far end to this. The stone facing of this facade is also later; originally it
3780-483: A £4 million restoration of the theatre to mark its 350th anniversary. Using a team of specialists, the detailed restoration has returned the public areas of the Rotunda, Royal Staircases and Grand Saloon, all of which were part of the 1810 theatre, to their original Regency style . Four of Rodgers and Hammerstein 's musicals made their London debuts in Drury Lane, holding the stage almost continuously for nearly
3920-535: Is addressed to the Duke d'Aumont, ambassador from France. Centlivre's next play was The Wonder (April 1714), a comedy. She dedicated the play to the then Duke of Cambridge. This political move of showing loyalty to the House of Hanover was risky, but, in the end, paid off for Centlivre when the Duke ascended the throne as King George I . We can see her gloating in an ironic autobiographical poem, "A Woman's Case." Not solely
4060-462: Is assumed to have been John Vanbrugh 's The Relapse , and it turned out the success the company needed. Christopher Rich continued as its head until 1709, when the patent in question was actually revoked amid a complex tangle of political machinations. A lawyer named William Collier was briefly given the right to mount productions in Drury Lane, but by 1710 the troupe was in the hands of the actors Colley Cibber , Robert Wilks , and Thomas Doggett –
4200-510: Is entitled "A PASTORAL TO THE Honoured Memory of Mr. ROWE." The sincerity in the elegy brought Centlivre positive attention. In 1719, Centlivre became seriously ill. Although the effects of this illness would linger until her death, she continued to write. We find two more published poems in 1720. Both are included in Anthony Hammond's A New Miscellany of Original Poems, Translations, and Imitations . Following this, Centlivre published
4340-435: Is likely that the sale was at a vastly inflated price and that Colley's goal was simply to get out of debts and make a profit (see Robert Lowe in his edition of Cibber's Apology ). Members of the troupe at the time were most displeased; an actor's revolt was organised and executed; Charles Fleetwood came to control the theatre. Fleetwood's tenure was tumultuous; his abolition of the practice of allowing footmen free access to
Susanna Centlivre - Misplaced Pages Continue
4480-596: Is no evidence to suggest where they resided for the first seven years of their marriage. Eventually, in late 1712 or early 1713, the Centlivres moved into residence at Buckingham Court, Spring Gardens , paying the highest rent second only to the Admiralty Office. After a long, illustrious career in high literary esteem with writings in the form of poems, letters, books, and, most famously, plays, Susanna Centlivre died on 1 December 1723, from lingering effects of
4620-516: Is some mystery surrounding her early life, but it is generally believed that her father died when she was three, her mother died shortly after remarrying, and her stepfather married soon after that. There are two stories that tell of her transition to acting and eventual arrival in London. The romanticized version has Centlivre found weeping by the roadside by Anthony Hammond , a student at St John's College, Cambridge . Enraptured by her manners and good looks, he smuggled her into his college, where she
4760-528: Is the most recent of four theatres that stood at the location since 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres , granted monopoly rights to the production of "legitimate" drama in London (meaning spoken plays, rather than opera, dance, concerts, or plays with music). The first theatre on
4900-488: Is unclear whether this was in fact done. Having been restored once more, again under Hardwick's supervision, the church was reconsecrated on 1 August 1798. Despite the destruction, the parish records were saved, as was the pulpit — the work of Grinling Gibbons . The puritan Thomas Manton ministered from the pulpit of St Paul's until the Great Ejection . On 23 September 1662 Simon Patrick , later Bishop of Ely,
5040-443: Is well, only, above all, the musique being below, and most of it sounding under the very stage, there is no hearing of the bases at all, nor very well of the trebles, which sure must be mended. Performances usually began at 3 pm to take advantage of the daylight: the main floor for the audience, the pit, had no roof in order to let in the light. A glazed dome was built over the opening, but according to one of Pepys' diary entries,
5180-593: The St. Martin-in-the-Fields parish, it was raised to a parish church with a dedication to Saint Paul in 1646, as the Covent Garden district expanded. The church is nicknamed "the actors' church" by a long association with the theatre community, particularly in the West End . Completed in 1633, St Paul's was the first entirely new church to be built in London since the Reformation . Its design and
5320-660: The Theatre Royal, Bristol , built in 1766, whose design was modelled, in part, on Drury Lane's. The site measured 112 ft (34 m) east-west and 59 ft (18 m) north-south. The building was smaller than this, as reliable surveys and maps of the period show three passageways measuring between 5 and 10 ft (1.5 and 3.0 m) wide surrounding the Theatre Royal on three sides. The building probably measured between 40 and 50 ft (12 and 15 m) wide (the average width of all "Restoration" Theatres) and between 90 and 100 ft (27 and 30 m) long. Architect Robert Adam designed Drury Lane's 1674 interior. The theatre
5460-527: The 1 shilling seats of the upper gallery. Seats were not numbered and were offered on a "first come, first served" basis, leading many members of the gentry to send servants to reserve seats well ahead of performances. The stage was 45 ft (14 m) wide and 30 ft (9.1 m) deep with a raked floor from the footlights to the backdrop. The angle of the rake rose one inch for every 24 in (610 mm) of horizontal stage. The stage floor included grooves for wings and flats in addition to trap doors in
5600-428: The 1660s, British playwrights wrote parts for outspoken female characters, daring love scenes and provocative breeches roles . In any case, the competition between the King's Company and the Duke's was good for the rebirth and development of English drama. The King himself frequently attended the theatre's productions, as did Samuel Pepys , whose private diaries provide much of what we know of London theatre-going in
5740-485: The 1660s. The day after the Theatre Royal opened, Pepys attended a performance of Francis Beaumont and John Fletcher 's The Humorous Lieutenant . He has this to say in his diary: The house is made with extraordinary good contrivance, and yet hath some faults, as the narrowness of the passages in and out of the Pitt, and the distance from the stage to the boxes, which I am confident cannot hear; but for all other things it
Susanna Centlivre - Misplaced Pages Continue
5880-476: The 20th century, one illustration was repeatedly – and wrongly – published as "Christopher Wren, design for the Theatre Royal Drury Lane, 1674". Since 1964, this presumption has been disputed by scholars. Careful inspection of the drawing at All Souls' College, Oxford Library shows that it has one pencil inscription: "Play house" [ sic ], which may have been added by
6020-797: The Council then controlled the Covent Garden Piazza. On Sunday, 1 April 1984, the first samba school in Britain, the London School of Samba (LSS), performed its first ever public concert on this site. Its second concert, on Saturday, 7 April 1984, also took place outside the church. The LSS had been formed on 31 January 1984 and was considered to be the Madrinha, or "godmother", of samba in the United Kingdom. Later in 1984,
6160-537: The Duke's. The 1674 Theatre Royal building contained a warren of rooms, including storage space and dressing rooms used by the management and performers, nearly seventy people in total, as well as some fifty technical staff members. Additionally three rooms were provided for scripts, including a library for their storage, a separate room for copying actors' parts and a special library for the theatre's account books, ledger books and music scores. This jumble of rooms often made communication among various departments difficult,
6300-500: The Italian operas that had played earlier at the theatre. These included Fair Rosamond and Farinelli by John Barnett ; a series of twelve operas by Michael Balfe including The Maid of Artois and The Bohemian Girl ; Maritana and others by William Vincent Wallace and several by Julius Benedict . In 1837, actor-manager Samuel Phelps (1804–1878) joined the company at Drury Lane, appearing with William Charles Macready ,
6440-696: The LSS was also the first school of samba to parade in the Notting Hill Carnival . John Whitworth , a professor at the Guildhall School of Music , was organist of the church from 1965 to 1971. Covent Garden Sinfonia (known as the Orchestra of St Paul's until June 2017) is a professional chamber orchestra resident at the Actors' Church. In addition to a concert series in Covent Garden,
6580-596: The Man in Grey is the ghost of a knife-stabbed man whose skeletal remains were found within a walled-up side passage in 1848. Various people have reported seeing the ghost, including W. J. MacQueen-Pope , who described its usual path as starting at the end of the fourth row in the upper circle and then proceeding via the rear gangway to the wall near the royal box, where the remains were found. The ghosts of actor Charles Macklin and clown Joseph Grimaldi are also supposed to haunt
6720-744: The Revels to James I and Charles I was a censor of the theatre. A memorial tablet in the church commemorates Charles Macklin , the great Shakespearean actor from Ulster . The ashes of Dames Ellen Terry and Edith Evans rest in St Paul's. Memorials in the church are dedicated to many famous entertainment personalities of the 20th century, including Sir Charlie Chaplin , Sir Noël Coward , Dame Gracie Fields , Stanley Holloway , Boris Karloff , Vivien Leigh , Ivor Novello , Richard Greene , Diana Rigg , and Richard Beckinsale . The Avenue of Stars , which commemorated many notable figures and groups from
6860-452: The Theatre Royal nevertheless continued to be dominated by actor-driven "talk" drama, contrasting with William Davenant 's baroque spectacles and operas at Lincoln's Inn Fields . Internal power structures were the main reason for this difference: while Davenant skilfully commanded a docile young troupe, Killigrew's authority over his veteran actors was far from absolute. Experienced actors Michael Mohun (who Pepys called "the best actor in
7000-423: The Theatre Royal one of the world's most haunted theatres. The appearance of almost any one of the handful of ghosts that are said to frequent the theatre signals good luck for an actor or production. The most famous ghost is the "Man in Grey", who appears dressed as a nobleman of the late 18th century: powdered hair beneath a tricorne hat, a dress jacket and cloak or cape, riding boots and a sword. Legend says that
7140-487: The United Company – henceforth known as the "Patent Company" – in "a very despicable condition," according to an anonymous contemporary pamphlet: The disproportion was so great at parting, that it was almost impossible, in Drury Lane, to muster up a sufficient number to take in all the parts of any play; and of them so few were tolerable, that a play must of necessity be damned, that had not extraordinary favour from
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#17327918520997280-496: The Upper one. As Misson points out, the seating was divided by class , and tickets were priced accordingly. Box seats, used by the nobility and wealthy gentry, cost 5 shillings ; the benches in the pit where some gentry sat, but also critics and scholars, cost 3 shillings; tradesmen and professionals occupied the first gallery with seats costing 2 shillings, while servants and other "ordinary people", as Misson refers to them, occupied
7420-466: The altar at the west end, but pressure from the church hierarchy led to the imposition of the traditional orientation. The earliest existing detailed description, dating from 1708, says that the exterior was not of bare brick, but rendered with stucco. In 1789 it was decided to case the walls in Portland stone as part of a major programme of renovation, which Thomas Hardwick was chosen to supervise. At
7560-470: The arch, often including the thrust stages found in the Elizabethan theatres . The players could still step forward and bridge the distance between performer and audience, and in addition, it was not unusual for audience members to mount the stage themselves. Killigrew's investment in the new playhouse put the two companies on a level as far as technical resources were concerned, but the offerings at
7700-420: The artificial bombast typical of dramatic roles prior. In 1747, Fleetwood's playhouse patent expired. The theatre and a patent renewal were purchased by actor David Garrick (who had trained under Macklin earlier) and partner James Lacy . Garrick served as manager and lead actor of the theatre until roughly 1766 and continued on in the management role for another ten years after that. He is remembered as one of
7840-434: The audience. No fewer than sixteen (most of the old standing) went away; and with them the very beauty and vigour of the stage; they who were left being for the most part learners, boys and girls, a very unequal match for them that revolted. A private letter from 19 November 1696 reported that Drury Lane "has no company at all, and unless a new play comes out on Saturday revives their reputation, they must break." The new play
7980-425: The battle between Whig and Tory. Once again, Centlivre turned to poetry with a complimentary poem on the recovery of the Duke of Newcastle's daughter. Although this might seem an odd subject to modern readers, Centlivre was merely following conventional protocol in securing patronage. With her next comedy, The Perplex'd Lovers (January 1712), Centlivre became outspoken in her political stance. Most of her plays over
8120-425: The bell-turret over the western pediment. The interior is a single space, undivided by piers or columns. The eastern third was originally marked out as a chancel by means of the floor being raised by one step. The level was raised further during alterations by William Butterfield in 1871–72. The church was built without galleries, but they were soon added on three sides. Hardwick included them in his rebuilding, and
8260-687: The children of Henry Fox-Strangways, 2nd Earl of Ilchester , saw a performance of Centlivre's The Busy Body at the Little Theatre , Haymarket on 7 March 1791, but wrote that it was "very badly performed". Theatre Royal, Drury Lane The Theatre Royal, Drury Lane , commonly known as Drury Lane , is a West End theatre and Grade I listed building in Covent Garden , London , England . The building faces Catherine Street (earlier named Bridges or Brydges Street) and backs onto Drury Lane . The present building, opened in 1812,
8400-456: The company's resources by cost-cutting tyranny, pitting actor against actor and slashing salaries. By 1695, the actors, including day-to-day manager and acting legend Thomas Betterton, were alienated and humiliated enough to walk out and set up a cooperative company of their own. Nine men and six women departed, all of them established professional performers, including such draws as tragedian Elizabeth Barry and comedian Anne Bracegirdle , leaving
8540-469: The daughter of William Freeman of Holbeach and his wife, Anne, the daughter of Mr Marham, a gentleman of Lynn Regis , Norfolk . Her father was a dissenter and a parliamentarian ; as a result, the family certainly faced persecution at the Restoration . Several biographical sources state that Holbeach was the possible place of her birth or at least the place where she spent her childhood. There
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#17327918520998680-437: The description of an Etruscan -style temple by Ancient Roman architect Vitruvius , which reflects the early forms of Roman temple . These essentially continued Etruscan architecture , though quite what Vitruvius intended by his account has divided modern scholars. The building is described by Sir John Summerson as "a study in the strictly Vitruvian Tuscan Order" and "almost an archaeological exercise". It has been seen as
8820-419: The design process. This was a cavernous theatre, accommodating more than 3,600 spectators. The motivation behind building on such a large scale? In the words of one owner: I was aware of the very popular notion that our theatres ought to be very small; but it appeared to me that if that very popular notion should be suffered to proceed too far it would in every way deteriorate our dramatic performances depriving
8960-415: The dome was not entirely effective at keeping out the elements: he and his wife were forced to leave the theatre to take refuge from a hail storm. Green baize cloth covered the benches in the pit and served to decorate the boxes (additionally ornamented with gold-tooled leather) and even the stage itself. The backless green benches in the pit were in a semicircular arrangement facing the stage, according to
9100-533: The eleven-year-long Puritan Interregnum , which had seen the banning of pastimes regarded as frivolous, such as theatre, the English monarchy was restored to the throne with the return of Charles II in 1660. Soon after, Charles issued Letters Patent to two parties licensing the formation of new acting companies. One of these went to Thomas Killigrew , whose company became known as the King's Company , and who built
9240-508: The entertainment industry, formerly passed outside the church. There is also a memorial plaque to music hall star Bransby Williams which was unveiled by Sir Michael Redgrave . The church is surrounded by an award-winning graveyard garden. The churchyard closed to burials in 1852. In the 1980s, the site directly outside the church was where the then Greater London Council , soon to be abolished, liked to showcase bands, as part of its "Street Performers" policy for using public open spaces, and
9380-404: The floor. The proscenium arch covered the stage equipment above the stage that included a pair of girondels – large wheels holding many candles used to counteract the light from the footlights. Towards the latter part of the 18th century, doors were placed on either side of the stage, and a series of small spikes traced the edge of the stage apron to prevent audiences from climbing onto the stage. At
9520-498: The ghost of Dan Leno in a dressing room. St. Paul%27s, Covent Garden St Paul's Church is a Church of England parish church located in Bedford Street, Covent Garden , central London . It was designed by Inigo Jones as part of a commission for the 4th Earl of Bedford in 1631 to create "houses and buildings fit for the habitations of Gentlemen and men of ability". Initially serving as an auxiliary chapel for
9660-654: The gifted actor-manager in several Shakespeare plays. He also created the role of Captain Channel in Douglas Jerrold 's melodrama , The Prisoner of War (1842), and of Lord Tresham in Robert Browning 's A Blot in the 'Scutcheon (1843). Macready was briefly manager in 1841–1843, putting significant reforms in place. Nevertheless, most productions there were financial disasters. The theatrical monopoly first bestowed by Royal Letters Patent 183 years earlier
9800-547: The great stage actors and is especially associated with advancing the Shakespearean tradition in English theatre – during his time at Drury Lane, the company mounted at least 24 of Shakespeare's plays. Some of Shakespeare's surge in popularity during this period can be traced to the Licensing Act of 1737 , which mandated governmental approval of any play before it could be performed and thereby created something of
9940-401: The layout of the square have been attributed to Inigo Jones since the 17th century, although firm documentary evidence is lacking. According to an often repeated story, recorded by Horace Walpole , Lord Bedford asked Jones to design a simple church "not much better than a barn", to which the architect replied "Then you shall have the handsomest barn in England". Jones's design closely follows
10080-463: The lean years. In 1682, the companies merged, or rather, the King's was absorbed by the Duke's. Led at the time by Thomas Betterton , the United Company, as it was now called, chose Drury Lane as their production house, leaving the Duke's Company's theatre in Dorset Garden closed for a time. In 1688, Betterton was removed from managerial control by Alexander Davenant, son of William Davenant ,
10220-726: The most notable interiors produced by the specialist ornamental plasterwork company of Clark and Fenn . Composer and performer Ivor Novello , immensely popular in his time though little-remembered today, presented his musicals in Drury Lane from 1931 to 1939. The theatre was closed in 1939 because of the outbreak of the Second World War . During the war, it served as the headquarters for the Entertainments National Service Association , sustaining some minor bomb damage. It reopened in 1946 with Noël Coward 's Pacific 1860 . The building
10360-535: The name Carroll until her next marriage. Although much of her early years is speculation, biographers agree that Susanna's knowledge was predominantly self-acquired through reading and conversation. Looking at her use of French drama, it is not hard to see that Centlivre also had a sound knowledge of the French language. After her husband's death, Centlivre spent much of her time in London, where she turned to writing partly for financial support. By 1706, Centlivre had made
10500-510: The name Celadon. Again, it is hard to suggest a definitive romantic relationship between Farquhar and Centlivre; the letters may have been intended for the public eye. Centlivre continued in September 1700, when she contributed a poem, "Of Rhetorick," under the name Polumnia, to The Nine Muses, an elegiac poetry collection left on the grave of John Dryden . In October 1700, Centlivre published her first play, The Perjur'd Husband: or, The Adventures of Venice . This tragicomedy (although considered
10640-540: The new facade. With a series of farewell performances, Garrick left the stage in 1776 and sold his shares in the theatre to the Irish playwright Richard Brinsley Sheridan . Sheridan and his partners, Thomas Linley the elder and Doctor James Ford (court physician to King George III ), completed their purchase of Drury Lane two years later, and Sheridan owned it until 1809. Sheridan premiered his own comedy of manners The School for Scandal in 1777. Active management of
10780-454: The new form Restoration comedy , dominated in the 1660s by William Wycherley and the Theatre Royal's house dramatist John Dryden . Actors such as Hart and Charles II's mistress Nell Gwyn developed and refined the famous scenes of repartee, banter and flirtation in Dryden's and Wycherley's comedies. With the appearance of actresses for the first time at Drury Lane and Lincoln's Inn Fields in
10920-667: The next five years were directly related to the advancement of the Whigs and the House of Hanover . The play's success was limited, and it only ran for three nights. The theatre managers banned the Epilogue for fear of backlash. In 1713, after moving into a new home in Buckingham Court, Centlivre wrote two poems. The first poem is a response to Anne Oldfield 's brilliant performance in a play. The second, entitled "The Masquerade,"
11060-642: The north part next to the church at the east end ... 2 yards distant from the pillaster of the dore". His grave was never marked. A monument to him was placed in Westminster Abbey in 1732 by a printer with the surname Barber, and the Lord Mayor of London . Among others also buried at St Paul's, Covent Garden, are the wood-carver Grinling Gibbons , the painters Thomas Murray , Sir Peter Lely , and Thomas Girtin , Thomas Arne (composer of " Rule Britannia "), and Sir Henry Herbert who as Master of
11200-669: The opening of Covent Garden Theatre, now the Royal Opera House . On 9 May 1662, Samuel Pepys noted in his diary the first "Italian puppet play" under the portico—the first recorded performance of " Punch and Judy ", a fact commemorated by the annual MayFayre service in May. The portico of St Paul's was the setting for the first scene of Shaw's Pygmalion , the play that was later adapted as My Fair Lady . Since 2007 St Paul's has been home to its own in-house professional theatre company, Iris Theatre , originally created to mount
11340-461: The original estimate of £80,000, and Sheridan bore the entirety of the debt. Productions were more expensive to mount in the larger structure, and increased audience revenues failed to make up the difference. An assassination attempt against King George III took place at the theatre on 15 May 1800. James Hadfield fired two pistol shots from the pit toward the King, sitting in the royal box. The shots missed by inches, Hadfield having been jostled by
11480-498: The original patent holder for the Duke's Company. Davenant's management (with Charles Killigrew) proved brief and disastrous, and by 1693 he was fleeing to the Canary Islands in the wake of embezzlement charges. The Theatre Royal found itself in the hands of lawyer Christopher Rich for the next 16 years. Neither Davenant's nor Killigrew's sons were much better than crooks, and Rich attempted to recoup their depredations of
11620-514: The other devoted). It often involves disguises, duels (or talk of them), and scenarios that balance emotion and farce . Her best-known comedies feature quick-witted female intellects to equal their male counterparts. Due to the widespread prejudice against women playwrights, Centlivre sometimes wrote under a pseudonym, or withheld more controversial messages. Little positive is said of her two tragi-comedies, The Perjur'd Husband and The Stolen Heiress , although her pure tragedy, The Cruel Gift ,
11760-571: The out-of-favour war hero Marlborough as the "ONE", were not spoken in the theatre, just published in the play text. Centlivre is best known for her comedies, often following the Spanish style, which is "romantic in plot and spirit, [but containing] far more of the emotions of love and jealousy than Restoration comedies ." This type of comedy tended to focus on the romantic intrigues among a triangle of wealthy main characters (generally one young woman being fought over by two young men, one promiscuous ,
11900-412: The pantomimes. Productions relying on spectacle became the norm at Drury Lane under the managements first of Harris, from 1879 to 1896, and then of Arthur Collins from 1896 to 1923. Examples include the 1909 play, The Whip , which featured not only a train crash, but also twelve horses recreating the 2,000 Guineas Stakes on an on-stage treadmill. Jimmy Glover , Director of Music from 1893 to 1923,
12040-486: The placement of the entrance as the "Theatre Royal in Bridges Street." It went by other names as well, including the "King's Playhouse." The building was a three-tiered wooden structure, 112 ft (34 m) long and 59 ft (18 m) wide; it could hold an audience of 700. Set well back from the broader streets, the theatre was accessed by narrow passages between surrounding buildings. The King's Company
12180-400: The portico; the middle one, which survives, was built as a false door as the interior wall behind it is occupied by the altar. The other two were blocked up in the 19th century, when the chancel floor was raised. The main entrance to the church is through the plainer west front, which has a pediment, but no portico. William Prynne , writing in 1638 said that it was originally intended to have
12320-448: The preface to The Platonick Lady to express her distaste for society's outlook on the female writer. Following her third marriage, Centlivre took some time off. This decision turned out to be a good one; her time away resulted in her most successful comedy, The Busie Body (May 1709). The play ran for thirteen nights, a remarkable run for the time, and was revived the following season. Centlivre's next play, The Man's Bewitch'd ,
12460-495: The present unrendered red brick. There were originally six or seven steps leading up to the portico, but these disappeared as the level of the Piazza was raised gradually over the years. By 1823 there were only two steps visible, and none by 1887. The arches at the side of the portico were substantially widened and raised during a restoration of 1878–82 by Henry Clutton , The 9th Duke of Bedford 's architect. Clutton also removed
12600-485: The previously mentioned fire safety precautions, the theatre burned down. On being encountered drinking a glass of wine in the street while watching the fire, R.B. Sheridan was famously reported to have said: "A man may surely be allowed to take a glass of wine by his own fireside." Already on the shakiest financial ground, Sheridan was ruined entirely by the loss of the building. He turned to brewer Samuel Whitbread , an old friend, for help. As well as investing strongly in
12740-480: The project, Whitbread agreed to head a committee that would manage the company and oversee the rebuilding of the theatre, but asked Sheridan to withdraw from management himself, which he did entirely by 1811. The present Theatre Royal in Drury Lane, designed by Benjamin Dean Wyatt on behalf of the committee led by Whitbread, opened on 10 October 1812 with a production of Hamlet featuring Robert Elliston in
12880-470: The proprietors of that revenue which is indispensable to defray the heavy expenses of such a concern. New technology facilitated the expansion: iron columns replaced bulky wood, supporting five tiers of galleries. The stage was large, too: 83 ft (25 m) wide and 92 ft (28 m) deep. Holland, the architect, said it was "on a larger scale than any other theatre in Europe." Except for churches, it
13020-555: The remainder of the 19th century, Drury Lane passed quickly from one proprietor to another. A colonnade was added to the Russell Street frontage, in 1831, by architect Samuel Beazley . In 1833, Alfred Bunn gained control of both Drury Lane and Covent Garden, managing the former from 1833 to 1839, and again from 1843 to 1850. Following the lead of the Lyceum Theatre, London , Bunn championed English opera, rather than
13160-416: The residency of well known actors including Edmund Kean , comedian Dan Leno and the musical composer and performer Ivor Novello . From the Second World War , the theatre has primarily hosted long runs of musicals, including Oklahoma! , My Fair Lady , 42nd Street and Miss Saigon , the theatre's longest-running show. The theatre is owned by the composer Andrew Lloyd Webber . Since January 2019,
13300-577: The risk of annoying Anne, Queen of Great Britain , Centlivre was not afraid to openly support the Hanoverian succession. Next, Centlivre took it upon herself to write a sequel to the successful The Busy Body , entitled Marplot, or, The Second Part of the Busie-Body (December 1710). Although it didn't receive the same attention as its precursor, it was performed seven times. The sequel reflects Centlivre's continuing interest in politics, specifically
13440-536: The same plot, renamed the "Theatre Royal in Drury Lane"; it opened in 1674. This building lasted nearly 120 years, under the leaderships of Colley Cibber , David Garrick and Richard Brinsley Sheridan , the last of whom employed Joseph Grimaldi as the theatre's resident Clown. In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794. This new Drury Lane survived for 15 years before burning down in 1809. The building that stands today opened in 1812. It has been
13580-403: The same time the tiled roof was replaced with slate, the dormer windows, added in the 1640s, were removed, and the archways flanking the church, originally of stuccoed brick, were replaced with stone replicas. When Hardwick's stone facing was removed from the church in 1888, it was found to be a thin covering less than three inches thick, poorly bonded to the brick. The building was then reclad in
13720-460: The season. It wasn't until Love's Contrivance that the experience and reputation of the cast allowed for a three-night run (in addition to some later productions and an eventual revival, three years after her death). Centlivre's next comedy, The Gamester , was first performed in February 1705. Here, she declared her intent to reform gamblers. This play was Centlivre's most successful to date and
13860-485: The second woman of the English stage, after Aphra Behn . The main source of information on Centlivre's early life is Giles Jacob , who claimed he had received an account of it directly from her. This was published in The Poetical Register of 1719, yet it includes little information about her early life. Centlivre was probably baptised Susanna Freeman at Whaplode , Lincolnshire on 20 November 1669, as
14000-553: The shutters rested out of sight behind the sides of the proscenium arch , which also served as a visual frame for the on-stage happenings. The picture-frame-like separation between audience and performance was a new phenomenon in English theatre, though it had been found on the Continent earlier. Theatre design in London remained ambivalent about the merits of the "picture-box" stage, and for many decades to come, London theatres including Drury Lane had large forestages protruding beyond
14140-482: The site was built at the behest of Thomas Killigrew in the early 1660s, when theatres were allowed to reopen during the English Restoration . Initially known as "Theatre Royal in Bridges Street", the theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including Nell Gwyn and Charles Hart . In 1672, the theatre caught fire and Killigrew built a larger theatre on
14280-401: The stables are of more architectural importance than the house itself, which is rather more plain in comparison as a result of many centuries of alterations, including a major exterior renovation by Henry Holland (1745-1806) in the 1790s. St Paul's connection with the theatre began as early as 1663 with the establishment of the Theatre Royal, Drury Lane , and was further assured in 1723 with
14420-506: The theatre in 1780. Grimaldi became best known for his development of the modern day white-face clown and popularised the role of Clown in many Pantomimes and Harlequinades . Towards the end of the 1790s, Grimaldi starred in Robinson Crusoe , which confirmed him as a key Christmas pantomime performer. Many pantomimes followed, but his career at Drury Lane became turbulent, and he left the theatre for good in 1806. The theatre
14560-417: The theatre was carried out by several parties during Sheridan's ownership, including himself, his father Thomas , and, from 1788 to 1796 and 1800 to 1802, the popular actor John Philip Kemble . Linley took up the post of Musical Director at the theatre, receiving a retainer of £500 per annum. Sheridan employed dozens of children as extras at Drury Lane including Joseph Grimaldi who made his stage debut at
14700-469: The theatre was failing in its role as one of the very few permitted to show legitimate drama. Management of the theatre after it reopened in 1813 fell to Samuel James Arnold , overseen by an amateur board of directors and a subcommittee focusing on the theatre as a centre for national culture. ( Lord Byron was briefly on this subcommittee, from June 1815 until leaving England in April 1816.) Actor Edmund Kean
14840-407: The theatre's annual pantomime , beginning at Christmas 1888, adding a well-known comedian, Dan Leno . These spectacular Christmas shows were a major success, often playing into March. They were choreographed by the theatre's dance master, John D'Auban . Many of the designs under Harris were created by the imaginative designer C. Wilhelm , including the spectacular drama, Armada (1888), and many of
14980-699: The theatre, Live at Drury Lane . Later long runs at the theatre include productions of A Chorus Line (1976–1979), 42nd Street (1984–1989), Miss Saigon (1989–1999, the theatre's longest-running show), The Producers (2004–2007), The Lord of the Rings (2007–2008), Oliver! (2009–2011), Shrek The Musical (2011–2013), Charlie and the Chocolate Factory the Musical (2013–2017), and Frozen (2021–2024). Notable productions since 1919 have included: The author Tom Ogden calls
15120-482: The theatre. Macklin appears backstage, wandering the corridor which now stands in the spot where, in 1735, he killed fellow actor Thomas Hallam in an argument over a wig ("Goddamn you for a blackguard, scrub, rascal!" he shouted, thrusting a cane into Hallam's face and piercing his left eye). Grimaldi is reported to be a helpful apparition, purportedly guiding nervous actors skillfully about the stage on more than one occasion. The comedian Stanley Lupino said he had seen
15260-442: The title role. The new theatre made some concessions toward intimacy, seating 3,060 people, about 550 fewer than the earlier building (though this size is still considered an extremely large theatre). On 6 September 1817, gas lighting was extended from the audience area to the stage, making it the first British theatre to be gaslit throughout. In 1820, the portico that still stands at the theatre's front entrance on Catherine Street
15400-558: The upper gallery led to riots in 1737, and Fleetwood's gambling problems entangled the theatre in his own financial difficulties. It was during this period that actor Charles Macklin (a native of Inishowen in County Donegal in Ulster ) rose to fame, propelled by a singular performance as Shylock in an early 1741 production of The Merchant of Venice , in which he introduced a realistic, naturalistic style of acting, abandoning
15540-607: The venue has had ongoing renovations, and in July 2021, the theatre reopened after over two years' of extensive work and closures related to the COVID-19 pandemic . Disney's Frozen made its West End debut at Drury Lane on 27 August, with general shows starting from 8 September 2021. A playhouse known as the Cockpit Theatre used by Queen Anne's Men on Drury Lane was targeted by rioting apprentices on 4 March 1617. After
15680-540: The very back of the stage, a wide door opened to reveal Drury Lane. An added difficulty for Killigrew and his sons Thomas and Charles was the political unrest of 1678–1684 with the Popish Plot and the Exclusion Bill crisis distracting potential audiences from things theatrical. This affected both the King's and the Duke's companies, but most of all the King's which had no profit margin to carry them through
15820-461: The west end was a church, linked to two identical houses. The south side was left open. Work on the church was completed in 1633, at a cost to the Bedford estate of £4,886, but it was not consecrated until 1638 due to a dispute between the earl and the vicar of St Martin-in-the-Fields . It remained a chapel within the parish of St Martin-in-the-Fields until January 1646, when Covent Garden was made
15960-429: The western one remains today. To the sides of the portico there were two elaborate pedimented gateways to the churchyard that were removed, then replaced, continuing the "Tuscan" style. Plans and historical images show a variety of relatively small structures rising from the roof, some shown housing bells. The roof is now completely bare, and two bells can be seen in recesses cut high on the western facade. The portico
16100-448: The world" ) and Charles Hart held out for shares and good contracts in the King's Company. Such a division of power between the patentee, Killigrew, and his chief actors led to frequent conflicts that hampered the Theatre Royal as a business venture. Nevertheless, it was mostly at the struggling Theatre Royal, rather than at the efficiently run Lincoln's Inn Fields, that the plays were acted that are classics today. This applies especially to
16240-594: The younger Sort, some Ladies of Reputation and Virtue, and abundance of Damsels that haunt for Prey, sit all together in this Place, Higgledy-piggledy, chatter, toy, play, hear, hear not. Farther up, against the Wall, under the first Gallery and just opposite to the Stage, rises another Amphitheatre, which is taken by persons of the best Quality, among whom are generally very few Men. The Galleries, whereof there are only two Rows, are fill'd with none but ordinary People, particularly
16380-557: Was Grade I listed in February 1958. In 2000, Theatre Royal Drury Lane was purchased by Andrew Lloyd Webber . Since 2014 , it has been owned and managed by LW Theatres, Lloyd Webber's management company. The seating plan for the theatre remains the same and the auditorium is still one of the largest in London's West End . It is one of the 40 theatres featured in the 2012 DVD documentary series Great West End Theatres , presented by Donald Sinden . On 15 May 2013, Lloyd Webber revealed
16520-457: Was a great inspiration for Roger Morris (1695–1749) when designing the stable block for Althorp House , Northamptonshire, which is believed to have been built between 1732 and 1733. In the Palladian style and constructed of local ironstone, the east and north sides of the stables feature the deep porticos, both of which face the house. Many architectural historians have expressed the view that
16660-455: Was a significant figure at the theatre during the Collins years and wrote books which record much more than its musical life. In 1922, under the ownership of managing director Sir Alfred Butt , the theatre underwent its last major interior renovation of the 20th century. At a cost of £150,000, it became a four-tiered theatre able to seat just over 2,000 people. It was decorated with one of
16800-489: Was abolished by the Theatres Act 1843 , but the patent had been largely toothless for decades and this had little immediate effect. On the other hand, other theatres, used to presenting musical entertainments, continued to do so, and Drury Lane continued as one of the most accepted venues for legitimate theatre. The 19th-century run of financial and artistic failures at Drury Lane was interrupted by four plays produced over
16940-633: Was added, and in 1822 the interior underwent a significant remodelling. The colonnade running down the Russell Street side of the building was added in 1831. Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of Cataract of the Ganges had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water. There were those concerned that
17080-531: Was ahead of her time with her exemplification of social problems in the theatre. In 1716, as a response to a Whig leader's illness and subsequent retirement, Centlivre contributed a poem to a small publication entitled State Poems . Her contribution was "Ode to Hygeia". She followed this with a series of poems in response to the political climate of the time. After attacks by satirist Alexander Pope on Centlivre and others, she and co-author Nicholas Rowe published her next play, The Cruel Gift (December 1716). It
17220-426: Was any sense of intimacy and connection to the company on stage lost, but the very size of the theatre put a great deal of the audience at such a distance from the stage so as to make hearing a player's voice quite difficult. To compensate, the productions mounted in the new theatre tended more toward spectacle than the spoken word. An example of such a spectacle is a 1794 production that featured real water flowing down
17360-485: Was apparently brick with stucco . The other sides of the building remain brick, with details in stone. The triangular pediments at both ends are in wood. In 1630, the 4th Earl of Bedford was given permission to demolish buildings on an area of land he owned north of the Strand , and redevelop it. The result was the Covent Garden Piazza, the first formal square in London. The new buildings were classical in character. At
17500-477: Was disguised as a male cousin, Jack. There she remained hidden for some months studying grammar and acquiring "some of the terms of logic, rhetoric, and ethics" before "attracting too much attention" and deciding to head to London. The more believable scenario has her joining a company of strolling actors in Stamford (about 25 miles from Holbeach), where she gained popularity acting in breeches roles , for which she
17640-552: Was first performed in December 1709, and satirized the squirearchy of Tory gentlemen. This political satire appeared during an ongoing election campaign, and the Tory press struck back. The weekly Female Tatler printed an "interview" that it claimed to have done with Centlivre, where she insulted the actors and blamed them for all her failures. The acting company was on the verge of walking out on her before she persuaded them that she
17780-521: Was forced to commission the technically advanced and expensive Theatre Royal playhouse by the success of the rival Duke's Company , which was drawing fascinated crowds with their "moveable" or "changeable" scenery and visually gorgeous productions at the former Lisle's Tennis Court at Lincoln's Inn Fields . Imitating the innovations at Lincoln's Inn Fields, the Theatre Royal also featured moveable scenery with wings or shutters that could be smoothly changed between or even within acts. When not in use,
17920-523: Was frequently revived in later years. In 1705, Centlivre, in a brief moment away from the theatre, wrote a complimentary poem for a collection by Sarah Fyge Egerton . Centlivre continued the gambling theme in her next play entitled The Basset Table , performed in November 1705. Although not explicit regarding its authorship, this play's Epilogue indirectly attributes the play to a woman. Following her success with The Basset Table , Centlivre wrote Love at
18060-543: Was her first heroic drama (often considered tragedy): the reception was good, and the play was performed seven times that year. In February 1718 Centlivre published A Bold Stroke for a Wife . This comical farce was very successful and is considered by some to be her best play. It is the only play for which Centlivre claims complete originality. (It was not uncommon for dramatists to procure various plot pieces and characters from other works.) Continuing her political works, in 1717 Centlivre directed her attention to Charles XII ,
18200-593: Was in need of updating by the end of the 18th century and was demolished in 1791, with the company moving temporarily to the new King's Theatre , in the Haymarket . A third theatre was designed by Henry Holland and opened on 12 March 1794. In the design of the theatre boxes, Henry Holland asked John Linnell for assistance. The designs by Linnell survive in the V&;A Print Room – there are also designs by Henry Holland and Charles Heathcote Tatham who were involved in
18340-413: Was managed, from 1747 to Adam's retirement in the 1770s, by David Garrick . The King's Company never recovered financially from the loss of the old Theatre Royal Bridges Street. The cost of constructing the new theatre, replacing their costumes and scenery lost in the fire and competitive pressure from the rival Duke's Company contributed to its decline. Eventually, in 1682, the King's Company merged with
18480-508: Was performed in June 1702. Well received in its own right, the play did not see a lengthy stage life. Over the next five years or so, Centlivre's work was less successful. As a result, her next two plays, The Stolen Heiress (December 1702) and Love's Contrivance (June 1703), were performed under attempts to conceal the sex of the author. Although received well, all of Centlivre's plays up to this point had been performed at inopportune times in
18620-471: Was preferred to the rectory of St. Paul's where he served during the plague. The first known victim of the 1665–1666 outbreak of the Plague in England, Margaret Ponteous, was buried in the churchyard on 12 April 1665. The east end, facing the piazza, is now faced in stone, with a massive portico, its boldly-projecting pediment supported by two columns and two piers. There were originally three doorways behind
18760-587: Was shut down by order of the Crown on 5 June. It remained closed for 18 months until the autumn of 1666, during which time it received at least a little interior renovation, including widening of the stage. Located well to the west of the City boundary, the theatre was unaffected by the Great Fire of London , which raged through the City in September 1666, but it burned down six years later on 25 January 1672. During
18900-729: Was somewhat better received. These plays were thought to have "figures [that] are shadowy and [a] plot [that] is unconvincing." Her plays were popular with audiences but less so with literary critics such as William Hazlitt who wrote condescendingly of them. Satirist Alexander Pope found her writings offensive for political and religious reasons, and thought them a threat to greater dramatists by pandering to popular taste. He assumed that she had helped with Edmund Curll 's anti-Catholic pamphlet The Catholic Poet: or, Protestant Barnaby's Sorrowful Lamentation . Regardless of her peers' opinions, her plays continued to be performed for over 150 years after her death. The diarist Agnes Porter , governess to
19040-423: Was suited due to a "small Wen on her left Eye lid, which gave her a Masculine Air." Centlivre's skill in such roles charmed many men, especially Mr Fox, who would soon become Centlivre's first husband when she was sixteen. However, he died less than a year later. Following Fox's death, Centlivre is claimed to have married an army officer named Carroll, who died in a duel a year and a half after their union. She kept
19180-541: Was the eccentric French conductor and composer of light music Louis-Antoine Jullien (1812–1860), who successfully invited Berlioz to visit London and give concerts in the Theatre. The house's fortunes rose again under the management of Augustus Harris from 1879. In the 1880s and 1890s, the theatre hosted many of the productions of the Carl Rosa Opera Company . Harris focused increased resources on
19320-415: Was the on-stage highlight; like Macklin before him, he made his reputation as Shylock , premiering in the role in 1814. Kean remained until 1820 through praise and notorious disputes with local playwrights such as Charles Bucke . Elliston leased the theatre from 1819 until he went bankrupt in 1826. An American, Stephen Price of New York City's Park Theatre , followed from 1826 to 1830. Through most of
19460-485: Was the tallest building in London. The "very popular notion that our theatres ought to be very small" proved hard to overcome. Various accounts from the period bemoan the mammoth size of the new theatre, longing for the "warm close observant seats of Old Drury," as one May 1794 theatregoer put it. Actress Sarah Siddons , then part of the Drury Lane company, called it "a wilderness of a place" (and left Drury Lane along with her brother John Philip Kemble in 1803). Not only
19600-400: Was the victim of a politically inspired hoax. All of Centlivre's later works have a clear anti- Tory , pro- Whig political affiliation, "notable through the characters of tory fathers or guardians, whose party fervour forms another obstacle to the happiness of young lovers – always whiggishly inclined." In March 1710, Centlivre released A Bickerstaff's Burying , a political satire. Despite
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