Theatric Revolution

Abstract

This book argues that Romantic period drama for the stage is a neglected field of study. Looking beyond the Royal Theatres of Covent Garden and Drury Lane, it traces the link between networks of plebeian activism linked not only to theatricality, but also to specific ideologies around Freemasonry, radicalism, and attempts to avoid censorship. The role of the Lord Chamberlain and his Examiner of Plays is treated in detail. Drawing mainly on primary sources (including manuscripts) from the National Archives, Huntington Library, Folger and British Library, it documents the popular politicization of theatre, such as attempts to suppress the Royalty Theatre and the parallel growth in urban London private theatres working on the edge of legality. The connections to politics and working class subcultures are stressed throughout, not only by Queen Caroline’s consummate use of ‘illegitimate’ theatres such as the Royal Coburg (present day Old Vic) to forward her claims to the throne, but also contemporary drama’s reflection of issues such as provincial sex crime and the abolition of slavery. Moreover, this study of dramatic Romanticism emphasizes that Georgian theatricality permeated society through its private theatres (sometimes with paedophilic intent), ‘song-and-supper’ clubs, and constant confrontation with the oligarchic powers of the Royal Theatres and the Lord Chamberlain.