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Introduction Impossible Theatres

Distance, Theatre, and the Romantic Voice

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Distance, Theatre, and the Public Voice, 1750–1850
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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

  1. 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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