Abstract
In the late eighteenth century, and with increasing momentum in the early nineteenth, the minor theatres in London steadily challenged the monopoly of the two patent houses—with great ingenuity in circumventing several Licensing Acts; with highly imaginative and lively (albeit generally unsophisticated) bills; and with eager support from the workers, flocking to the capital as part of the industrial age, for whom the minor theatres provided escape. By the time Planché's “Mother Drama” admitted confusion about her sons “Legitimate Drama” and “Illegitimate Drama” on the stage of the Olympic Theatre on 16 April 1838, the minor theatres had prevailed.
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