Abstract
In 1795, the Haymarket Theatre began its season with a light-hearted song that sums up a choice faced by late eighteenth- and early nineteenth- century performers:
When people appear
Quite unable to hear,
’Tis undoubtedly needless to talk; …
’Twere better they began
On the new invented plan,
And with Telegraphs transmitted us the plot: …
But our House here’s so small
That we’ve no need to bawl,
And the summer will rapidly pass,
So we hope you’ll think fit
To hear the Actors a bit,
Till the Elephants and Bulls come from grass:
Then let Shakespeare and Jonson go hang, go hang!
Let your Otways and Drydens go drown!
Given [sic] them Elephants and White bulls enough,
And they’ll take in all the town,
Brave boys!1
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Notes
Although there are many excellent sources for the “illegitimate” stage, including Richard Altick’s The Shows of London, the best remains Jane Moody’s Illegitimate Theatre in London, 1770–1840 (Cambridge: Cambridge University Press, 2000).
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© 2012 Melynda Nuss
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Nuss, M. (2012). Introduction Impossible Theatres. In: Distance, Theatre, and the Public Voice, 1750–1850. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137291417_1
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DOI: https://doi.org/10.1057/9781137291417_1
Publisher Name: Palgrave Macmillan, New York
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