167-479: Charles Macklin (26 September 1699 – 11 July 1797), (Gaelic: Cathal MacLochlainn , English: Charles McLaughlin ), was an Irish actor and dramatist who performed extensively at the Theatre Royal, Drury Lane . Macklin revolutionised theatre in the 18th century by introducing a "natural style" of acting. He is also famous for accidentally killing a man during a fight over a wig at the same theatre. Macklin
334-490: 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
501-410: 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
668-496: 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
835-655: A Greek Jewish woman from Crete , who was a member of a distinguished family. They had two sons, Flavius Justus and Flavius Simonides Agrippa. Josephus's life story remains ambiguous. He was described by Harris in 1985 as a law-observant Jew who believed in the compatibility of Judaism and Graeco-Roman thought, commonly referred to as Hellenistic Judaism . Josippon , the Hebrew version of Josephus, contains changes. His critics were never satisfied as to why he failed to commit suicide in Galilee, and after his capture, accepted
1002-423: 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,
1169-476: A Roman onslaught. In Upper Galilee , he fortified the towns of Jamnith , Seph , Mero , and Achabare , among other places. Josephus, with the Galileans under his command, managed to bring both Sepphoris and Tiberias into subjection, but was eventually forced to relinquish his hold on Sepphoris by the arrival of Roman forces under Placidus the tribune and later by Vespasian himself. Josephus first engaged
1336-604: A brief visit to Rome in the early 60s ( Life 13–17). In the wake of the suppression of the Jewish revolt, Josephus would have witnessed the marches of Titus 's triumphant legions leading their Jewish captives, and carrying treasures from the despoiled Temple in Jerusalem . It was against this background that Josephus wrote his War . He blames the Jewish War on what he calls "unrepresentative and over-zealous fanatics" among
1503-421: 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
1670-609: A detailed examination of all the available manuscripts, mainly from France and Spain. Henry St. John Thackeray and successors such as Ralph Marcus used Niese's version for the Loeb Classical Library edition widely used today. On the Jewish side, Josephus was far more obscure, as he was perceived as a traitor. Rabbinical writings for a millennium after his death (e.g. the Mishnah ) almost never call out Josephus by name, although they sometimes tell parallel tales of
1837-448: A different path to playing this character. While Macklin did not return to Shakespeare's script exactly as it was written, he did make his own edits to his script that were much closer than Granville's text. Instead of portraying Shylock as the usual comic pantolone, he played him as darkly villainous, serious, and highly satirical. Next, rather than dress Shylock as a clown, Macklin researched his role. He studied Josephus ' Antiquities of
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#17327723680922004-457: A good memory that he could recite any speech after reading through it once. As a challenge, Samuel Foote allegedly wrote The Great Panjandrum , a nonsense poem designed to be particularly difficult to memorise. The word Panjandrum has since passed into the English language. In about 1768 Johan Zoffany created a painting of Macklin's renowned role of Shylock . Maria Macklin was included in
2171-468: 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
2338-529: A long career which was often steeped in controversy before dying aged 97. It is thought that Macklin was born near Culdaff , a village in Inishowen in the north of County Donegal in the province of Ulster , Ireland, in 1690, and moved to Great Britain in either 1725 or 1726; the dates in his early life are not entirely clear. According to William Archer in Eminent Actors , "at his death, Macklin
2505-410: A long relationship before they were married on 13 February 1778. Macklin lived a tempestuous life, often involved in lawsuits, sometimes acting as his own lawyer. In 1735 he quarrelled with a fellow actor named Thomas Hallam , whom he accidentally killed by thrusting his cane through Hallam's eye. The pair had argued over a wig whilst performing a new farce, Trick for Trick . The incident occurred in
2672-520: 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
2839-436: A performer, Macklin was confined to the mainstream practices of 18th-century theatre companies but, through training young actors, he was able to put his ideas into practice. Appleton states that "Macklin believed acting a science, founded upon nature. He stressed the importance of a thorough knowledge of one's role, of propriety of dress, and of attention the business of the scene; the necessity of avoiding monotony of tone". It
3006-670: A person of great experience in everything belonging to his own nation, he attained to that remarkable familiarity with his country in every part, which his antiquarian researches so abundantly evince. But he was controlled by political motives: his great purpose was to bring his people, the despised Jewish race, into honour with the Greeks and Romans; and this purpose underlay every sentence, and filled his history with distortions and exaggerations. Josephus mentions that in his day there were 240 towns and villages scattered across Upper and Lower Galilee , some of which he names. Josephus's works are
3173-400: 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
3340-455: 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
3507-972: A significant, extra-Biblical account of the post-Exilic period of the Maccabees , the Hasmonean dynasty, and the rise of Herod the Great . He also describes the Sadducees , the Pharisees and Essenes , the Herodian Temple, Quirinius 's census and the Zealots , and such figures as Pontius Pilate , Herod the Great , Agrippa I and Agrippa II , John the Baptist , James the brother of Jesus , and Jesus . Josephus represents an important source for studies of immediate post-Temple Judaism and
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#17327723680923674-524: A systematic order, proceeding topically and logically" and included all relevant material for their subject. Antiquarians moved beyond political history to include institutions and religious and private life. Josephus does offer this wider perspective in Antiquities . The works of Josephus are major sources of our understanding of Jewish life and history during the first century. His first work in Rome
3841-628: 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
4008-475: 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
4175-480: 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
4342-483: 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
4509-462: 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 –
4676-468: Is damaged in some places. In the Life , Niese follows mainly manuscript P, but refers also to AMW and R. Henry St. John Thackeray for the Loeb Classical Library has a Greek text also mainly dependent on P. André Pelletier edited a new Greek text for his translation of Life . The ongoing Münsteraner Josephus-Ausgabe of Münster University will provide a new critical apparatus. Late Old Slavonic translations of
4843-435: 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
5010-423: Is repentance: in later life he felt so bad about the traitorous War that he needed to demonstrate … his loyalty to Jewish history, law and culture." However, Josephus's "countless incidental remarks explaining basic Judean language, customs and laws … assume a Gentile audience. He does not expect his first hearers to know anything about the laws or Judean origins." The issue of who would read this multi-volume work
5177-531: Is the Jew/ That Shakespeare drew" is a phrase attributed to Pope. Many tried to replicate Macklin's performance of Shylock, but none of the six actors that attempted the role at the rival Covent Garden theatre from 1744 to 1746 were able to match nearly the acclaim that Macklin had received for his Shylock. Even Macklin was unable to match his performance. He did have a varied career, filled with at least 490 roles, but none of them were anywhere near
Charles Macklin - Misplaced Pages Continue
5344-528: 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
5511-538: Is unresolved. Other possible motives for writing Antiquities could be to dispel the misrepresentation of Jewish origins or as an apologetic to Greek cities of the Diaspora in order to protect Jews and to Roman authorities to garner their support for the Jews facing persecution. Josephus was a very popular writer with Christians in the 4th century and beyond as an independent source to the events before, during, and after
5678-443: 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,
5845-664: The Haskalah ("Jewish Enlightenment") in the 19th century, when sufficiently "neutral" vernacular language translations were made. Kalman Schulman finally created a Hebrew translation of the Greek text of Josephus in 1863, although many rabbis continued to prefer the Yosippon version. By the 20th century, Jewish attitudes toward Josephus had softened, as he gave the Jews a respectable place in classical history. Various parts of his work were reinterpreted as more inspiring and favorable to
6012-411: The nomen Flavius from his patrons, as was the custom amongst freedmen . Vespasian arranged for Josephus to marry a captured Jewish woman, whom he later divorced. Around the year 71, Josephus married an Alexandrian Jewish woman as his third wife. They had three sons, of whom only Flavius Hyrcanus survived childhood. Josephus later divorced his third wife. Around 75, he married his fourth wife,
6179-651: The Egyptians , who, in turn, taught the Greeks . Moses set up a senatorial priestly aristocracy, which, like that of Rome, resisted monarchy . The great figures of the Tanakh are presented as ideal philosopher-leaders. He includes an autobiographical appendix defending his conduct at the end of the war when he cooperated with the Roman forces. Louis H. Feldman outlines the difference between calling this work Antiquities of
6346-772: The Roman province of Judea —to a father of priestly descent and a mother who claimed royal ancestry . He initially fought against the Roman Empire during the First Jewish–Roman War as general of the Jewish forces in Galilee , until surrendering in AD ;67 to the Roman army led by military commander Vespasian after the six-week siege of Yodfat . Josephus claimed the Jewish messianic prophecies that initiated
6513-660: 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
6680-527: 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
6847-530: 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
Charles Macklin - Misplaced Pages Continue
7014-485: 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
7181-617: The 17th century. The 1544 Greek edition formed the basis of the 1732 English translation by William Whiston , which achieved enormous popularity in the English-speaking world. It was often the book—after the Bible—that Christians most frequently owned. Whiston claimed that certain works by Josephus had a similar style to the Epistles of St. Paul . Later editions of the Greek text include that of Benedikt Niese , who made
7348-597: The 18th century is usually described as bombastic or declamatory, terms that suggest its emphasis on oratorical skills". Due to this emphasis on speaking, rehearsal time was short, stage movement was standardised, and actors often spoke directly to the audience rather than characters onstage. Wilson and Goldfarb go on to say that there were a few innovators who were "opposed to the emphasis on declamation, stereotypical positions of performers onstage, and singsong delivery of verse; they wanted to create individual characters, and they wanted to have more careful rehearsal procedures". As
7515-767: The 19th century. Macklin's drive and discipline to perfect himself as an actor and teacher still inspires theatre practitioners today. Macklin is remembered today in his native Inishowen, where the Charles Macklin Autumn School is held each October in the village of Culdaff. 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,
7682-476: 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
7849-537: 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,
8016-744: The First Jewish–Roman War made reference to Vespasian becoming Roman emperor . In response, Vespasian decided to keep him as a slave and presumably interpreter . After Vespasian became emperor in AD 69, he granted Josephus his freedom, at which time Josephus assumed the Emperor's family name of Flavius . Flavius Josephus fully defected to the Roman side and was granted Roman citizenship . He became an advisor and close associate of Vespasian's son Titus , serving as his translator during Titus's protracted siege of Jerusalem in AD 70, which resulted in
8183-461: The Galileans and by the Romans; he was guilty of shocking duplicity at Jotapata, saving himself by sacrifice of his companions; he was too naive to see how he stood condemned out of his own mouth for his conduct, and yet no words were too harsh when he was blackening his opponents; and after landing, however involuntarily, in the Roman camp, he turned his captivity to his own advantage, and benefited for
8350-519: The Greek also exist, but these contain a large number of Christian interpolations. Author Joseph Raymond calls Josephus "the Jewish Benedict Arnold " for betraying his own troops at Jotapata, while historian Mary Smallwood , in the introduction to the translation of The Jewish War by G. A. Williamson , writes: [Josephus] was conceited, not only about his own learning, but also about the opinions held of him as commander both by
8517-500: 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 ,
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#17327723680928684-461: The Jews (cf. Life 430) – where the author for the most part re-visits the events of the War and his tenure in Galilee as governor and commander, apparently in response to allegations made against him by Justus of Tiberias (cf. Life 336). Josephus's Against Apion is a two-volume defence of Judaism as classical religion and philosophy , stressing its antiquity, as opposed to what Josephus claimed
8851-618: The Jews , and in the old testament. He learned that Italian Jews , especially from Venice , were known to wear red hats, so he took that as a basis for his costume. In seeking to portray Jews exactly how they looked, Macklin emphasised the notion of historical accuracy in costuming, which would later become an inherent feature of realism in the 19th century. Macklin did not merely "study" the Jews. According to Appleton, "he actually interacted with them in marketplaces and learned to gradually adapt their way of speech". Finally, opening night came. This faithfulness to Shakespeare's original intent for
9018-488: The Jews , completed during the last year of the reign of the Emperor Flavius Domitian , around 93 or 94 AD. In expounding Jewish history, law and custom, he is entering into many philosophical debates current in Rome at that time. Again he offers an apologia for the antiquity and universal significance of the Jewish people. Josephus claims to be writing this history because he "saw that others perverted
9185-517: The Jews instead of History of the Jews . Although Josephus says that he describes the events contained in Antiquities "in the order of time that belongs to them," Feldman argues that Josephus "aimed to organize [his] material systematically rather than chronologically" and had a scope that "ranged far beyond mere political history to political institutions, religious and private life." An autobiographical text written by Josephus in approximately 94–99 CE – possibly as an appendix to his Antiquities of
9352-542: The Jews than the Renaissance translations by Christians had been. Notably, the last stand at Masada (described in The Jewish War ), which past generations had deemed insane and fanatical, received a more positive reinterpretation as an inspiring call to action in this period. The standard editio maior of the various Greek manuscripts is that of Benedictus Niese , published 1885–95. The text of Antiquities
9519-424: The Jews, who led the masses away from their traditional aristocratic leaders (like himself), with disastrous results. For example, Josephus writes that " Simon [bar Giora] was a greater terror to the people than the Romans themselves." Josephus also blames some of the Roman governors of Judea , representing them as corrupt and incompetent administrators. The next work by Josephus is his 21-volume Antiquities of
9686-596: 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
9853-403: The Roman army at a village called Garis , where he launched an attack against Sepphoris a second time, before being repulsed. At length, he resisted the Roman army in its siege of Yodfat (Jotapata) until it fell to the Roman army in the lunar month of Tammuz , in the thirteenth year of Nero 's reign. After the Jewish garrison of Yodfat fell under siege, the Romans invaded, killing thousands;
10020-442: The Roman forces and became prisoners. In 69 AD, Josephus was released. According to his account, he acted as a negotiator with the defenders during the siege of Jerusalem in 70 AD, during which time his parents were held as hostages by Simon bar Giora . While being confined at Yodfat (Jotapata), Josephus claimed to have experienced a divine revelation that later led to his speech predicting Vespasian would become emperor. After
10187-468: The Scene Room of the Theatre Royal, Drury Lane, in front of many witnesses, and Macklin, after the sudden fit of temper, was sorry and arranged for a physician to attend to Hallam. The cane had pierced through Hallam's eye into his brain and he died one day later. Macklin was tried for murder, conducted his own defence and, though not acquitted, escaped with manslaughter . The punishment for manslaughter
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#173277236809210354-452: 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
10521-423: 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
10688-487: 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
10855-496: 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
11022-460: The actions of both parties with accuracy." Josephus confesses he will be unable to contain his sadness in transcribing these events; to illustrate this will have little effect on his historiography, Josephus suggests, "But if any one be inflexible in his censures of me, let him attribute the facts themselves to the historical part, and the lamentations to the writer himself only." His preface to Antiquities offers his opinion early on, saying, "Upon
11189-644: The actors, led by Garrick, were forced to accept the owner's terms, they had to abandon Macklin, who, as the stage manager, could have quelled the actors' strike, rather than participated in it. Macklin felt betrayed by Garrick and the other actors and he refused the £3 a week that Garrick offered him. He also acted regularly in Dublin, in the Aunger Street and Smock Alley Theatres and in the Crow Street Theatre, which he founded in 1758. Macklin
11356-459: The ancient geography of the region: Outside of the Scriptures, Josephus holds the first and the only place among the native authors of Judaea; for Philo of Alexandria, the later Talmud, and other authorities, are of little service in understanding the geography of the country. Josephus is, however, to be used with great care. As a Jewish scholar, as an officer of Galilee, as a military man, and
11523-470: 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
11690-420: 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
11857-468: The audience are right. There's a geography in humour as well as in morals, which I had not previously considered." Brian Friel used the play as the basis for his one-act The London Vertigo produced in Dublin in 1992. Macklin revolutionised acting in the 18th century by introducing a natural style of acting, being the first actor of his generation to break away from the old declamatory style. According to Wilson Goldfarb, "the predominant approach to acting in
12024-434: 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
12191-443: The character, combined with Macklin's revolutionary method of attempting some semblance of realism in his performance, resulted in uproarious applause. Macklin himself confesses, "On my return to the green-room, after the play was over, it was crowded with nobility and critics, who all complimented me in the warmest and most unbounded manner". King George II saw the production and was so moved he could not fall asleep that night. "This
12358-456: 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
12525-685: The context of early Christianity . A careful reading of Josephus's writings and years of excavation allowed Ehud Netzer , an archaeologist from Hebrew University , to discover what he considered to be the location of Herod's Tomb , after searching for 35 years. It was above aqueducts and pools, at a flattened desert site, halfway up the hill to the Herodium , 12 km south of Jerusalem—as described in Josephus's writings. In October 2013, archaeologists Joseph Patrich and Benjamin Arubas challenged
12692-419: 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
12859-524: The difference between history and philosophy by saying, "[T]hose that read my book may wonder how it comes to pass, that my discourse, which promises an account of laws and historical facts, contains so much of philosophy." In both works, Josephus emphasizes that accuracy is crucial to historiography. Louis H. Feldman notes that in Wars , Josephus commits himself to critical historiography, but in Antiquities , Josephus shifts to rhetorical historiography, which
13026-415: 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
13193-478: 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
13360-432: The entourage of Titus. There, he became a Roman citizen and client of the ruling Flavian dynasty . In addition to Roman citizenship , he was granted accommodation in the conquered Judaea and a pension. While in Rome and under Flavian patronage, Josephus wrote all of his known works. Although he only ever calls himself "Josephus" in his writings, later historians refer to him as "Flavius Josephus", confirming that he adopted
13527-488: The fall of Jerusalem , and the subsequent fall of the fortresses of Herodion, Macharont and Masada and the Roman victory celebrations in Rome, the mopping-up operations, Roman military operations elsewhere in the empire and the uprising in Cyrene . Together with the account in his Life of some of the same events, it also provides the reader with an overview of Josephus's own part in the events since his return to Jerusalem from
13694-404: 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
13861-514: The founder of the Arabs , the connection of "Semites", "Hamites" and "Japhetites" to the classical nations of the world , and the story of the siege of Masada . Scholars debate about Josephus's intended audience. For example, Antiquities of the Jews could be written for Jews—"a few scholars from Laqueur onward have suggested that Josephus must have written primarily for fellow Jews (if also secondarily for Gentiles). The most common motive suggested
14028-474: The ghost of Dan Leno in a dressing room. Josephus Flavius Josephus ( / dʒ oʊ ˈ s iː f ə s / ; ‹See Tfd› Greek : Ἰώσηπος , Iṓsēpos ; c. AD 37 – c. 100 ) or Yosef ben Mattityahu ( Hebrew : יוֹסֵף בֵּן מַתִּתְיָהוּ ) was a Roman–Jewish historian and military leader. Best known for writing The Jewish War , he was born in Jerusalem —then part of
14195-654: 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
14362-547: 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
14529-501: The identification of the tomb as that of Herod. According to Patrich and Arubas, the tomb is too modest to be Herod's and has several unlikely features. Roi Porat, who replaced Netzer as excavation leader after the latter's death, stood by the identification. Josephus's writings provide the first-known source for many stories considered as Biblical history, despite not being found in the Bible or related material. These include Ishmael as
14696-534: The income from a subscription edition of two of his best plays, The Man of the World and Love in a Maze . He wrote many plays, including Love a la Mode (1759), The School for Husbands, or The Married Libertine (1761), and The Man of the World (1781). The True-Born Irishman (1763), renamed The Irish Fine Lady for its English production, was a hit in Ireland, but a flop in England. Macklin observed: "I believe
14863-463: 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 ,
15030-557: The life of Jesus of Nazareth . Josephus was always accessible in the Greek-reading Eastern Mediterranean. His works were translated into Latin, but often in abbreviated form such as Pseudo-Hegesippus 's 4th century Latin version of The Jewish War ( Bellum Judaicum ). Christian interest in The Jewish War was largely out of interest in the downfall of the Jews and the Second Temple, which
15197-596: The management. He lived a long life and may have died a centenarian, although that is not without doubt. While his second wife gave his birth year as 1690 on the memorial tablet installed in St. Paul's Church, Covent Garden , making him 107 at his death; others have suggested that he was born in 1699 or 1710. His memorial shows a dagger piercing the eye of a theatrical mask, a contrite reference to his altercation with Thomas Hallam. Macklin's famous role as Shylock and introduction of naturalistic acting would later influence realism in
15364-726: 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
15531-537: The near-total razing of the city and the destruction of the Second Temple . Josephus recorded the Great Jewish Revolt (AD 66–70), including the siege of Masada . His most important works were The Jewish War ( c. 75 ) and Antiquities of the Jews ( c. 94). The Jewish War recounts the Jewish revolt against Roman occupation. Antiquities of the Jews recounts the history of
15698-540: 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
15865-454: 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
16032-487: The one that catapulted him to stardom in eighteenth-century London, was Shylock in The Merchant of Venice on 14 February 1741. For several decades, the popular version of the play was a "fixed" text by George Granville, titled The Jew of Venice . In it, many roles were expanded, while Shylock and others were dramatically shortened. The eighteenth-century audiences were used to seeing a comic Shylock. Macklin wanted
16199-461: 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
16366-498: 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
16533-487: The painting in the role of Portia and Jane Lessingham is at the foot of the dias. The painting is unusual in that it includes the lawyer Lord Mansfield to the left who may have commissioned the painting. The painting is now in The Tate in London. Macklin returned to the stage, but finally retired in 1789, when he found he was no longer able to recall the entire part of Shylock. He lived another eight years, supported by
16700-412: 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,
16867-466: The patronage of Romans. The works of Josephus provide information about the First Jewish–Roman War and also represent literary source material for understanding the context of the Dead Sea Scrolls and late Temple Judaism. Josephan scholarship in the 19th and early 20th centuries took an interest in Josephus's relationship to the sect of the Pharisees . Some portrayed him as a member of
17034-708: The people of Tiberias appealed to King Agrippa 's forces to protect them from the insurgents. Josephus trained 65,000 troops in the region. Josephus also contended with John of Gischala who had also set his sight over the control of Galilee. Like Josephus, John had amassed to himself a large band of supporters from Gischala (Gush Halab) and Gabara , including the support of the Sanhedrin in Jerusalem. Meanwhile, Josephus fortified several towns and villages in Lower Galilee , among which were Tiberias, Bersabe , Selamin , Japha , and Tarichaea , in anticipation of
17201-480: The philosophical school of the Pharisees as a matter of deference, and not by willing association. The works of Josephus include useful material for historians about individuals, groups, customs, and geographical places. However, modern historians have been cautious of taking his writings at face value. For example, Carl Ritter , in his highly influential Erdkunde in the 1840s, wrote in a review of authorities on
17368-486: 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
17535-454: The prediction came true, he was released by Vespasian, who considered his gift of prophecy to be divine. Josephus wrote that his revelation had taught him three things: that God, the creator of the Jewish people, had decided to "punish" them; that "fortune" had been given to the Romans; and that God had chosen him "to announce the things that are to come". To many Jews, such claims were simply self-serving. In 71 AD, he went to Rome as part of
17702-485: 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
17869-431: The primary source for the chain of Jewish high priests during the Second Temple period. A few of the Jewish customs named by him include the practice of hanging a linen curtain at the entrance to one's house, and the Jewish custom to partake of a Sabbath-day 's meal around the sixth-hour of the day (at noon). He notes also that it was permissible for Jewish men to marry many wives ( polygamy ). His writings provide
18036-480: 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
18203-470: 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
18370-421: The release of some Jewish priests. Upon his return to Jerusalem, at the outbreak of the First Jewish–Roman War , Josephus was appointed the military governor of Galilee . His arrival in Galilee, however, was fraught with internal division: the inhabitants of Sepphoris and Tiberias opted to maintain peace with the Romans; the people of Sepphoris enlisted the help of the Roman army to protect their city, while
18537-555: 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
18704-416: 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,
18871-555: The rest of his days from his change of side. In the Preface to Jewish Wars , Josephus criticizes historians who misrepresent the events of the Jewish–Roman War , writing that "they have a mind to demonstrate the greatness of the Romans, while they still diminish and lessen the actions of the Jews." Josephus states that his intention is to correct this method but that he "will not go to the other extreme ... [and] will prosecute
19038-491: The same events that Josephus narrated. An Italian Jew writing in the 10th century indirectly brought Josephus back to prominence among Jews: he authored the Yosippon , which paraphrases Pseudo-Hegesippus's Latin version of The Jewish War , a Latin version of Antiquities , as well as other works. The epitomist also adds in his own snippets of history at times. Jews generally distrusted Christian translations of Josephus until
19205-536: 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
19372-455: The scene. Macklin was one of the forerunners to stress the need to regularise rehearsals. Appleton states that "actors, compelled by the repertory system to know scores of parts, generally relied on conventional attitudes, gestures, and tones to carry them through a performance and felt little enthusiasm for this discipline. Sometimes they were absent from rehearsals. Often they arrived late, stumbled through their lines and drifted away". Macklin
19539-466: The sect and as a traitor to the Jewish nation—a view which became known as the classical concept of Josephus. In the mid-20th century, a new generation of scholars challenged this view and formulated the modern concept of Josephus. They consider him a Pharisee but describe him in part as patriot and a historian of some standing. In his 1991 book, Steve Mason argued that Josephus was not a Pharisee but an orthodox Aristocrat-Priest who became associated with
19706-553: 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
19873-482: 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
20040-488: The stage. Appleton portrays how Macklin trained his students to do this: “In the garden of his Drumcondra, Dublin house, two of his pupils would stroll down two parallel walks while Macklin walked in the middle. They would walk for ten paces, and then exchange bits of conversation. They would repeat this many times until Macklin was satisfied in every particular”. In this way, Macklin drilled his students until they acquired an ease of speech and manner. To cope with projection in
20207-524: The survivors committed suicide. According to Josephus, he was trapped in a cave with 40 of his companions in July 67 AD. The Romans (commanded by Flavius Vespasian and his son Titus, both subsequently Roman emperors ) asked the group to surrender, but they refused. According to Josephus's account, he suggested a method of collective suicide; they drew lots and killed each other, one by one, and Josephus happened to be one of two men that were left who surrendered to
20374-506: 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
20541-417: 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
20708-469: 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
20875-407: 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
21042-699: 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
21209-482: 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
21376-555: The theatres, Macklin would often recite from Milton 's Paradise Lost or soliloquies from Macbeth or Othello, having his students to imitate him in clarity, speech, and volume. Appleton adds that "while he concentrated primarily on achieving clear and natural diction, he stressed as well the importance of mastering variety of tone and pause to indicate transitions of thought and associations of ideas". Macklin taught his students three fundamental pauses: moderate, longer, and grand. Each type of pause served an important function depending on
21543-442: 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
21710-612: The truth of those actions in their writings", those writings being the history of the Jews. In terms of some of his sources for the project, Josephus says that he drew from and "interpreted out of the Hebrew Scriptures" and that he was an eyewitness to the wars between the Jews and the Romans, which were earlier recounted in Jewish Wars . He outlines Jewish history beginning with the creation, as passed down through Jewish historical tradition. Abraham taught science to
21877-558: 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
22044-559: The uproar his Shylock caused. Even his two closest in hype, roles from The Confederacy and Love for Love, were roles designed to emulate Shylock. He played Shylock for nearly the next fifty years, as well as Iago in Othello and the Ghost in Hamlet . In Ben Jonson 's Volpone , he played the part of Mosca. He was the creator of Sir Pertinax Macsycophant, a famous burlesque character, and he
22211-556: 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
22378-540: 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
22545-413: The very words of Macklin himself who quoted “that he was born in the last year of the last century”. His early life may remain a mystery, but we can be certain of his age at death. His family's surname was McLaughlin , but "seeming somewhat uncouth to the pronunciation of an English tongue,” he changed it for the English stage. He found various jobs as an actor in London, but, apparently, his Ulster accent
22712-465: The whole, a man that will peruse this history, may principally learn from it, that all events succeed well, even to an incredible degree, and the reward of felicity is proposed by God." After inserting this attitude, Josephus contradicts Berossus: "I shall accurately describe what is contained in our records, in the order of time that belongs to them ... without adding any thing to what is therein contained, or taking away any thing therefrom." He notes
22879-476: The world from a Jewish perspective for an ostensibly Greek and Roman audience. These works provide insight into first-century Judaism and the background of Early Christianity . Josephus's works are the chief source next to the Bible for the history and antiquity of ancient Israel , and provide an independent extra-biblical account of such figures as Pontius Pilate , Herod the Great , John the Baptist , James, brother of Jesus , and Jesus of Nazareth . Josephus
23046-448: 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
23213-594: 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
23380-434: Was Macbeth at Covent Garden in 1772, in a production with authentic Scottish costumes. Together with David Garrick , his student, friend, and partner, Macklin revolutionised acting in the 18th century. Garrick and Macklin eventually had a falling out in the mid-1740s, which derailed Macklin's rise whilst propelling Garrick's own career. Macklin, then the stage manager at Drury Lane, participated in an actor walkout. When
23547-613: 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
23714-455: 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
23881-489: 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
24048-633: 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
24215-717: Was an account of the Jewish War, addressed to certain "upper barbarians"—usually thought to be the Jewish community in Mesopotamia —in his "paternal tongue" ( War I.3), arguably the Western Aramaic language . In AD 78 he finished a seven-volume account in Greek known as the Jewish War ( Latin Bellum Judaicum or De Bello Judaico ). It starts with the period of the Maccabees and concludes with accounts of
24382-494: Was an obstacle to success and he could not find a steady theatre home until he was noticed in a small character role in Henry Fielding 's Coffee-House Politician at Lincoln's Inn Fields in 1725. It was after that fine performance, that would go unnoticed by a lesser actor, that he was snatched up by the Theatre Royal on Drury Lane as an actor and a resident acting manager, serving with James Quin . Their relationship
24549-426: 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
24716-634: Was believed to be 97, but his biographers have endeavoured to show that he was at least 107. The main lines of controversy are to be found in the 3 biographies of Congreve, Kirkman, and Cook". Thomas Kirkman and William Cooke, in Eminent Actors , assert that "William MacLochlainn, father of Charles Macklin, had a daughter and a son, who were born two months prior to the Battle of the Boyne , which took place in 1690". Given this information, this would make Macklin 107 years old at his death. However, in his own words, he
24883-518: Was born 'in the last year of the last century', making the year 1699 the year of his birth. In fact, The Monthly Mirror of February 1796, a year before his death, stated that: "Macklin, according to this statement, must be in his hundred and sixth year, or thereabouts, whereas he is in fact no more than ninety-seven". According to William Archer, author of Eminent Actors , there “were no registers of births, deaths, and marriages kept in Ireland in 1690”. Given this information, we must once again go with
25050-512: Was born in County Donegal in the Irish region of Ulster in the north of Ireland. He was raised in Dublin , where he attended school in Islandbridge after his father's death and his mother's remarriage. Macklin became known for his many performances in the tragedy and comedy genre of plays. He gained his greatest fame in the role of Shylock in The Merchant of Venice . Macklin enjoyed
25217-458: Was born into one of Jerusalem's elite families. He was the second-born son of Matthias, a Jewish priest . His older full-blooded brother was also, like his father, called Matthias. Their mother was an aristocratic woman who was descended from the royal and formerly ruling Hasmonean dynasty . Josephus's paternal grandparents were a man also named Joseph(us) and his wife—an unnamed Hebrew noblewoman—distant relatives of each other. Josephus's family
25384-521: 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,
25551-593: 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
25718-430: Was involved in a relationship with an Irish actress. Her name was thought to be Ann Grace or Ann Grace Purvor. She was a noted actress and she assumed the name of Macklin although it is likely the pair never married. Their daughter, Maria Macklin (1733–1781), became a popular actress. Ann died on 28 December 1758 and he began an affair with his servant Elizabeth Jones, whose age was matched to that of his daughter. They had
25885-413: 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
26052-477: Was not only concerned about his individual actors, but with the whole production, and so everyone had to come prepared and on time. This led to a relentless discipline unmatched in other students at the time. For the rest of his life, Macklin would continue to train his students with such intensity and passion and through them, make an important contribution to the English Theatre. During the 1730s Macklin
26219-507: Was not uncommon for Macklin to advise a student to unlearn all they had learned about acting. According to Appleton "Macklin made this the preliminary condition for all of his pupils. To hesitate was to be instantly dismissed. But once the condition had been agreed to, Macklin proved a dedicated teacher, willing to take infinite pains and often willing to instruct them for nothing". Most importantly, Macklin wanted his students to speak as they would in everyday life; basically transferring reality to
26386-509: Was professional, but full of plenty of animosity. Macklin devotes a lengthy section of his memoirs to Quin, giving examples of their disagreements. Macklin admits that "nothing but the necessity of business could ever make them associate together". Even the necessity of business sometimes dissolved; however, after some contract and pay disagreements in the 1741–42 season, Macklin and nearly the entire Drury Lane resident company left and attempted to find work elsewhere. Macklin's most important role,
26553-620: Was replaced by Samuel Foote at Drury Lane when he was appearing in An Englishman in Paris . It was written by Foote and he took Macklin's role. Maria Macklin remained in the cast and Macklin opened his own establishment in 1753. He opened a tavern at which he gave a nightly lecture followed by a debate, which Macklin called the British Inquisition. According to some histories, Macklin claimed at one of these shows to have such
26720-644: 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
26887-414: Was the branding of a letter 'M' upon the hand, by this period not with a hot but with a cold iron, although there is no evidence that this was actually carried out on Macklin. In 1772 he sued the organizers of a riot among the theatregoers who had demanded that he be fired. He recovered £600, but chose to accept instead the defendants' purchase of £100 in tickets at three benefits for himself, his daughter and
27054-541: 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
27221-580: Was the norm of his time. Feldman notes further that it is significant that Josephus called his later work "Antiquities" (literally, archaeology) rather than history; in the Hellenistic period, archaeology meant either "history from the origins or archaic history." Thus, his title implies a Jewish peoples' history from their origins until the time he wrote. This distinction is significant to Feldman, because "in ancient times, historians were expected to write in chronological order," while "antiquarians wrote in
27388-415: 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
27555-485: 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
27722-558: Was wealthy. He descended through his father from the priestly order of the Jehoiarib , which was the first of the 24 orders of priests in the Temple in Jerusalem . Josephus calls himself a fourth-generation descendant of " High Priest Jonathan", referring to either Jonathan Apphus or Alexander Jannaeus . He was raised in Jerusalem and educated alongside his brother. In his mid twenties, he traveled to negotiate with Emperor Nero for
27889-740: Was widely considered divine punishment for the crime of killing Jesus . Improvements in printing technology (the Gutenberg Press ) led to his works receiving a number of new translations into the vernacular languages of Europe, generally based on the Latin versions. Only in 1544 did a version of the standard Greek text become available in French, edited by the Dutch humanist Arnoldus Arlenius . The first English translation, by Thomas Lodge , appeared in 1602, with subsequent editions appearing throughout
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