Back to England and America

Back to England and America

1735 This year William Hogarth* (1697-1764) the English artist, engraver and painter, best known as a supreme pictorial satirist, gets the government to pass legislation protecting designers from piracy (Hogarth's Act*.) He is busy doing his engravings and paintings from 1718-64.

1735 - America: Amateurs give a season of three performances in Charleston, South Carolina, and the next year they build a theater there. Strolling players are heard of throughout the colonies, as well as local amateur troupes.

1737 Things are getting organized in America with all this immigration. This year William Byrd founds Richmond, Virginia.

1737 - In England the authority of the Lord Chamberlain to intervene directly in regulating theatres and in acting as censor (mainly in religious and political references) of the plays permitted to be performed is legally spelled out in the Licensing Act of 1737. These powers will not be modified until 1843. The validity of Charles II*'s patents has been questioned for about ten years and during the 1730's there are four unlicensed theatres operating in London. Prime Minister Walpole* is very annoyed by the theatrical attacks of the political satires put on at the unlicensed theatres so he rushes a bill through parliament. It isn't very well thought out. The law prohibits acting for "gain" in any play not licensed by the Lord Chamberlain and it restricts authorized theatres to the City of Westminster. This puts Drury Lane* and Covent Garden* in the legitimate area and the others outside. The law doesn't make any provisions for theatre troupes outside London. It has a big effect on plays and on all theatre activity. There will be a whole range of clever ways of getting around the law. One of the results of the law will be to send English actors off to America to make a living. Another result is to reduce the demand for new plays, and the opportunity to produce plays, for the rest of the century.

1739 - Carolina Neuber* breaks with Gottsched* and both their careers begin to decline. However, her principles are picked up, perpetuated and extended by other troupes. Her influence will eventually show up in the first national German theatre.

1740 In Prussia Frederick II ( later to be called the Great*) comes to the throne. He tries to claim some territory and gets into the War of Austrian Succession* immediately. This war comes out of the crisis created when the male Hapsburg* line dies out, and will last until 1748.

1740 - Germany: One of the actors in Neuber*'s troupe, Johann Friederich Schonemann* (1704-82) leaves to form his own company. He will use her methods and repertory and continue the reform of professional theatre. He takes with him the actress, Sophia Carlotta Schroder* (1714-92) who debuts this year in a German version of Racine's* Mithridate* with terrific success. The actor Konrad Ekhof* (1720-78) joins the troupe this year too. He will stay for 27 years. Ekhof* will develop a more natural acting style and become the first professional theatrical theorist on German dramatic art.

Neuber* takes her troupe to Russia where they replace the Commedia del'Arte * company. England: Samuel Richardson* (1689-1761) comes out with his domestic novel Pamela: or

Virtue Rewarded* which will be adapted for the theatre and achieve phenomenal popularity. 1741 - In England this is the year of great acting. First, there is a really startling production of

Shakespeare's* The Merchant of Venice*. We need to take a moment here to take notice of the English trend in doing Shakespeare's plays. The role of Shylock* in this play has been being played by low comedians ever since the Restoration began. This year Charles Macklin* (see above 1730) persuades the management of Drury Lane* to let him play the role differently. He becomes famous overnight playing Shylock* as a dignified and tragic figure.

One of the startling things he does is get a costume for the merchant Jew that looks more like both the character, and the period it takes place in. Of course all the other actors on the stage are still wearing their contemporary clothes. But it is a step in the direction that will come with the next period. It is becoming usual for actors to make a career of playing a few choice roles over and over. Macklin* will play this one off and on until 1789.

The second instance of great acting this year involves David Garrick* (1717-79.) He has been acting ever since he started at the age of eleven. This year he gets a chance to appear as Richard III in Shakespeare's play at Goodman's Fields Theatre*. It's a terrific success and soon he is drawing crowds to the theatre. However, what with those licensing laws, the theatre soon closes and Garrick* gets hired on at Drury Lane* in 1742. He embarks on an exceptional career as one of the greatest English actors ever. His successes will last until his retirement in 1776. He will join the management and introduce many reforms. [see below]

1741 - In Russia Empress Elizabeth* overthrows the government of Anna* and rules as regent for Ivan VI.* She, too, continues cultural pursuits, especially importing Italians for opera and French for plays. She rules from 1741-62 and real theatre progress will be made during her reign.

1742 - In Germany the actor Konrad Ernst Ackermann* (1712-71) joins Schonemann's acting troupe.

1744 - Lighting keeps improving to keep up with all that spectacle. By this time England is using light ladders to hold lights on either side of the stage.

1745-51 In France the bickering between the fair companies and the legitimate Opera leads to an injunction against all performances of Comic Opera. In order to fill the entertainment gap the English pantomime is introduced and audiences love it, so it stays.

1745 The last Jacobite revolt occurs this year. This time the "Young Pretender" (Charles Edward Stuart, grandson of James II*, also known as "Bonnie Prince Charlie"*) lands in Scotland, raises the Stuart standard and leads an army south where they are defeated by George* II in the famous battle at Culloden. This fracas will send another batch of Scots emigrating to the American colonies (mostly into the Carolinas.)

1747 - This is the year Garrick* joins the management of Drury Lane* where he will later become sole manager. He gradually changes just about everything related to production. One thing that changes is the length of time for rehearsals. He sometimes takes as long as eight weeks to get a show ready. His acting style is natural (in contrast to his competition, especially Quin*). At this time in England there is a range of fine actors, many of whom are acting with Garrick* in Shakespeare's* plays.

Peg Woffington* (c. 1714-60) plays spirited heroines in comedy and "breeches" parts (where the girls get to wear men's clothes and show off their legs.)

Kitty Clive* (1711-85) is terrific in farce and spirited comedy. Frances Abington* (1737-1815) is best known for her work in high comedy.

Susanna Cibber* (1714-66, daughter-in-law of Colley) specializes in tragic roles and learns to tone down her declamatory style while working with Garrick*.

Hannah Pritchard* (1711-68) becomes known as the finest tragic actress of her time, especially in the role of Lady Macbeth*.

Spranger Barry* (1719-77, begins in Irish theatre) is Garrick*'s biggest rival. He appears at the rival theatre, Covent Garden* and with Garrick* at Drury Lane*.

1748 The French author and theorist, Montesquieu,* comes out with his Spirit of Laws* which profoundly influences political thought in Europe and America.