Abstract
While previous critics have classified Frances Brooke’s novel The Excursion (1777) as a moral tale aligned with either the sentimental or pastoral tradition, this article makes the case for interpreting The Excursion as a political satire directed against corrupt theatre politics. Reading the plot in the context of contemporary letters, periodicals, and theatrical miscellanies reveals a thick weave of topical allusions to the 1770s London stage and uncovers a buried homage to celebrity actress Mary Ann Yates, Brooke’s friend and business partner. Brooke leverages her novel to promote the interests of her theatrical circle and her own claim to be recognized as one of the great theatre managers of the day—specifically, as the equal to David Garrick. As a satire of theatre politics, The Excursion allows Brooke to map out a specific vision for what constitutes good acting, how the government should reform its theatre policy, and why accessible theatre is especially crucial for women, creative professionals, and audience members alike.
Published Version
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