ABSTRACT

In the mid-nineteenth century, well before the “renovation” of the theatre associated with the names of T. W. Robertson and Sir Squire and Lady Bancroft, there was a vital and developing stagecraft, albeit unaccompanied by any literary drama worthy of the name. 1 Since evasions of the old monopolies had been permitted, or at any rate winked at, the repeal of the Licensing Act (1843) caused little or no immediately perceptible change, though in the long run the effect was wholesome. The minor theatres were already coming into prominence. Reforms for which Robertson has often been given credit were, it is now recognized, under way before he appeared. Apart from technical innovations in the structure of the theatres and the mounting of plays, there was evidence of progress in various kinds of drama. In melodrama the development was from vulgar staginess to a considerable degree of dignity and fidelity to reality, and in naturalistic burlesque, as performed by Mme Vestris and Charles Mathews, a piquant contrast between the extravagances of sentiment and situation and the quietness of acting and deportment. Before 1865 a decidedly realistic kind of acting had appeared in the London theatres. What was lacking was a playwright to provide dramas giving scope to the actors of the new school.