1785

__Theatre Season 1784-1785 of The London Stage __ The Drury Lane theatre experienced a series of changes during the 1784-1785 season. Thomas King was reinstituted as “acting managership” after his year in retirement between the years of 1783-1784. While under this position he was noted for his influence over Mrs. Siddons, whose name is now mostly associated with playing Shakespeare’s Lady Macbeth. King also maintained his relationships with prominent members of the theatre district. His compassionate nature is demonstrated in his decision to host a benefit dinner for Mrs. Bellamy, a popular actress who was experiencing financial troubles since her career as an actress began. As part of this function, the well-known actress in tragedy, Mrs. Yates, made her last appearance in London. Even though this season did bear witness to the retirement of many famous actors and actresses, it also saw the premier of up and coming individuals, like Alexander Pope and Joseph Holman. Both of these men debuted on the Covent Garden stage and were immediately recognized as a threat to the more seasoned actors because of their incredible talent displayed in theatre productions. Along with the changes that occurred with the cast of actors and actresses, this opera house also experience financial uncertainty. Upon the theatre season starting, the Chancery of London began releasing members of the theatre because of the high cost demand Mr. Gallini, King’s manager, proposed. Ultimately, the Chancery determined that the amount owed to Mr. Gallini was much less than the amount he had presented. Even in its financial uncertainty, King’s theatre hosted 185 plays and 9 oratorios between September 16, 1784 and May 30, 1785. Some plays that were performed during this time included //The Beggar’s Opera//, //Hamlet,// and //The Tempest//. Collectively, this season earned a total of £29,449.

1785 was a year marked by a growing discontent made glorious summer by the sun of a rising British Empire. The “American war” had depleted the British treasury, a growing colonization effort of various non-white countries drew condemnation for being cruel, and the general exploration of the world revealed a multitude of cultures that were wholly foreign and peculiar to the British people. It should come as no surprise then that in December of 1785, a play called //Omai: or// //, a trip round the world, // by John O’Keefe would open at the Covent-Garden. The play was successful, as was the stage scene in general in 1785, but its success was due to greater social issues. The growth of the British Empire provoked a response from the population both in favor and against the colonization of new lands. Throughout the Restoration, the playhouse was used as a weapon in the war of propaganda between groups of opposing viewpoints, and 1785 proved no different. A pledge to the British identity increased the popularity of traditionally British plays such as Shakespeare’s masterpieces and popular early-Restoration plays. However, there were also productions that sought to build upon a portion of the population that seemed fascinated by the various foreign groups that were being discovered, and their potential for incorporation into the British social and economic system. All in all, 1785 was a year in a period of tumultuous change in the British Empire, which in turn influenced the stage industry.

In 1785, Covent-Garden made a “play” at usurping Drury Lane as the preeminent playhouse. Covent-Garden placed their hopes on //Omai: or, a trip round the world//. They sought to take Drury Lane’s number one spot with a focus on what appealed to the British society in 1785. This appeal would take the form of ornate set designs that trounced the familiar set designs of Drury Lane’s popular, aging productions. Drury Lane focused on traditional British plays to draw crowds. The house produced various Shakespearean plays and popular early Restoration classics like //The Beggar’s Opera//. But British society was expanding its interests in line with the expansion of the Empire. The cost of the “American war” produced criticism towards the expansion of the current economic and social British systems into new lands. Not only that, but colonization was expensive, dangerous, and potentially immoral. The playhouses capitalized on these concerns by playing Shakespeare’s vaguely anti-colonial (this subject is up for debate but in the context of the times the appeal was most likely this idea) production, //The Tempest// and of course, //Omai//. At the same time, the way plays were presented started to change. The rise of the pantomime was in full swing and presented a very different take on stage productions. //Omai// was a pantomime, and newspapers, like //The Westminster Magazine,// printed the songs that the audience was expected to know so they could learn them. A draw of the pantomime was the sing-along aspect, so people had to buy the newspapers to fully experience the play, and people who bought the newspapers regularly would be exposed to aspects of the play. The pantomime was thus highly promoted compared to other types of plays. This aspect of the pantomime was a factor in why they were so popular, and //Omai// was no exception. However, pantomimes did not have the luxury of dialogue to advance the story. Dramatic dialogue was only allowed in certain theaters for certain productions. So the pantomime had to present interesting visuals for the audience to look at in between songs. In 1785, the audiences sought set designs that showed aspects of the new cultures and flora that was being discovered around the world. Captain James Cook, an English explorer and a Captain in the Royal Navy, was a national hero due to his exploration of the Pacific Ocean and his journals documenting the strange and wonderful cultures and vegetation he encountered. In 1779, on his third voyage, the native Hawaiian people killed him and some of his men due to a disagreement. The revelation of his death in Britain elevated him to celebrity status (something that commonly happens to somewhat famous people when they die unexpectedly) and caused his works and his person to be more popular than ever before. So, naturally, someone made a play about his travels.



__She Stoops to Conquer __ Among the plays that were performed during this season, //She Stoops to Conquer// by Oliver Goldsmith was first performed on the London Stage on Tuesday, July 26, 1785, at the Hammersmith theatre. Mr. Wellman, Mrs. Monk, and Waldron are among some of the actors who performed in this play. This play is one of the few productions that were first performed during the 18th century that has continually maintained popularity throughout centuries, and is still being taught and performed to this day. Originally this play was entitled, //The Mistakes of a Night//, but was later changed to the current title, //She Stoops to Conquer//. Both of these respected names do represent aspects of this play, however, the title //She Stoops to Conquer// allows the audience to immediately understand the play’s objective. Like many plays that were performed during this era, //She Stoops to Conquer// addresses the complications of arranged marriages and social hierarchy. The play begins with a scene between Mr. Hardcastle and his daughter Kate, in which Mr. Hardcastle is trying to persuade her to meet Charles Marlowe, the son of a wealthy London family, in hopes that they will eventually marry. Upon their first meeting with one another, Kate learns that Marlowe is intimidated by women of a higher class. At which point she develops a plan to disguise herself as a maid because Marlowe has no trepidation with women of a lower class. Meanwhile, Marlowe is on his way to the Hardcastle residence with his companion George Hastings who has plans to seek out Miss Constance Neville for himself, but they become lost along the way. Thus, Marlowe and Hastings stop for directions and stumble upon Tony Lumpkin, Kate’s half-brother and Constance’s cousin. Lumpkin realizes who the strangers are and decides to play a trick on them by telling them they are a long way from their intended destination and brings them to the Hardcastle residence without them knowing of the true identity. Once there, Marlowe and Hastings behave inappropriately because they are under the impression they are staying at an inn. Kate hears of their arrival and quickly assumes the role of a housemaid. They end up falling in love with one another, however, Marlowe believes that Kate is a servant and decides to elope given her lower status. Eventually Marlowe learns of her true identity and they become engaged. Like most post-Restoration era comedies, this play ends with an engagement. __Omai: or, a trip round the world__ The play sees Omai as a king of his native land who is engaged to a woman named Londina, daughter of Britannia. The implications of the names of the females are blatantly apparent (also, the name “Britannia” was used by the Romans as a female personification of the British Isle). The marriage between Omai and woman named “Londina” represented a shift in the general British interest. The “exotic good looks” of Omai drew the desires of the aristocratic British females (and previous Restoration plays have given insight into the private lives of aristocratic British women) and the marriage between the two revealed an inherent desire of the British subconscious (albeit this desire is not quite subliminal) to foster romantic connections between themselves and foreign societies. But various other suitors threaten the marriage between the two. The threats to their union cause the two to embark upon an adventure to several foreign lands that were previously explored by Captain Cook. This voyage allowed the producers of the play to create very elaborate sets and costumes. These costumes and sets were extremely appealing to the audience, and the nature of the pantomime drew attention to the details that were included in the sets and costumes. At the end of the play, Omai and Londina defeat those who threatened their marriage and arrive in Tahiti. Captain Cook presents Omai with a British sword, which Omai takes with reverence and deference to the ostensible British superiority. In fact, after Captain Cook gives Omai the sword, the main rival to Omai and Londina’s union, Oberea, exclaims, “Oh joy! Away my useless spells and magic charms,/A British sword is proof against the world in arms.” Omai’s possession of the British sword installs him as King of Tahiti and the British and Tahitians are joined at the highest level. Omai, native of Tahiti __The Lounger __ //The Lounger // is a weekly journal that was published and distributed in London during the late 18th century. During 1785, //The Lounger// produced 35 issues between February 5, 1785 and October 1, 1785. As part of my assessment for this project I only considered the first 17 issues which included the dates between February 5th and May 29th. Initially, this journal discusses how humans come to define themselves, either through a specific designation, like an occupation, or through meaningless tasks that only seem to fill a temporary void but in the end only prove to be insignificant in their quest to find meaning. This premise sets the foundation for the rest of the journal entries. //The Lounger//, who we come to find is the assumed name of the journal, discusses how people discover self-worth and purpose. The author asserts that that humans can be categorized into two sets of people. The first being, individuals who need exterior influence to add value to their life, while the second group, finds significance through self-meditation and observance. As the reader of this journal it is easy to assume that “The Lounger” qualifies as a person who bears witness to external circumstances. Thus, the author discovers how the people around him measure their self-worth or purpose. Eventually, the writer comes to find that people are more invested in trivial matters and focus most of their attention on superficial ideas and objects. The journal thoroughly shows how society obsessed with vanity and less attention on displaying humility. Without hesitation, “The Lounger”, exposes specific examples and situations in which he has experienced this behavior and utilizes these examples as lessons for his audience. __Analysis __ Each of the above pieces of literature is pertinent in closely analyzing post-Restoration society. //The London Stage// provides an insight into how theatre was revitalized and used as a form of public entertainment. //She Stoops to Conquer//, is a classic example of how plays can sustain value and importance over centuries. While //The Lounger// is a testimonial account of how individuals need to maintain a sense of humility even as our society evolves. However, if you consider these three pieces as one entity, the most similar aspect would involve how each interpretation was a lesson for the audience. As a reader, we need and appreciate when an author provides a valuable message or lesson that helps us evaluate our life. In //The Lounger// and //She Stoops to Conquer//, each author is trying to expose how people obsess over menial aspects, like social status or wealth. Clearly, late 18th century society was consumed with social hierarchy and vanity which is obvious in the characters in //She Stoops to Conquer// and in the scenarios provided in //The Lounger//. Both of these mediums drew on what was occurring during this specific time period which was important for their intended audiences. The intricacies of Omai and Londina’s marriage are very critical to understanding the British desires of 1785. Obviously, Londina and Omai getting married represent a British willingness and desire to explore relations with Tahitians, or rather, exotic foreigners. But before the marriage, a British man promotes Omai to King. British belief followed that the King was representative of the people, so Omai being married to a Briton would allow his people to also engage in relationships with Britons. This fulfilled an underlying British desire to spread the boundaries of what is socially acceptable in British culture, namely the romantic interactions with foreign people. In //The Westminster Magazine//, monthly issues throughout 1785 focused on the degradation of the base of British culture. From July-December, several readers expressed discontent with the increased focus on the social ranking system. A letter to the editor in June 1785 had a reader show us that in 18th century England, a gentleman could only be a “gentleman” by birth. It is curious to note this point because a Briton promoted Omai, a regular Tahitian man, to King. The status quo of British society was to require high birth for high social standing, yet a national British hero breaks through that wall and elevates a normal person to King in his respective society. John O’Keefe must have agreed with the writer of this letter since he included this event in his play. Another letter in //The Westminster Magazine// rails against unrealistic dramatic dialogue in the theater. It seemed that in 1785, audiences were starting to show signs of fatigue with the standard Restoration play. A way to circumvent the inability to accurately recreate dramatic dialogue was to not include it at all. The rise of the pantomime certainly solved that issue by not including dramatic dialogue at all. And furthermore, the competition between Drury Lane and Covent-Garden in 1785 empowered consumers more so than before. They both sought to accrue the largest audiences and to do so required them to appeal to the public interest as much as possible. Thus the plays that were produced and during 1785 were indicative of what the English __people__ wanted, not particularly society. A different letter to the editor describes the ebbing of the King’s power, as evidenced by the shifting of land from royal holdings to the “Commons.” The fact that such a letter was printed indicates a rather large shift from what was allowed 100 or 200 years prior. This aspect of society can also be seen in //Omai// as the story shows a strong decentralization of power. Explorers in general had to make decisions without explicit consent of the King, as getting a message back to England would require an inordinate amount of time. Even though Captain Cook bestows Omai with the power of “Mighty George,” he does so after an extremely long journey, a journey where the King very well could be dead or not in power anymore. By showing this long journey and the decisions made throughout it, audiences were invited to imagine a life where the King did not dictate their lives. While not explicitly anti-royal, this aspect of //Omai// certainly could not be overlooked. Several concerns of the British people in 1785 were addressed and evidenced by //Omai.//

Works Cited Goldsmith, Oliver. //She Stoops to Conquer//. The Project Gutenberg EBook, 2008. EBook. //The London Stage, 1660-1800: A Calendar of Plays, Entertainments & Afterpieces, Together With Casts, Box-receipts and Contemporary Comment: Part 5, 1776-1800 //. 1st ed. Ed.Charles Beecher Hogan, et al. Carbondale: Southern Illinois UP, 1960. Print. //The Lounger: A Periodical Paper Published at Edinburgh in the Years 1785-1786 //. Vol. 1 (1785): pp. 1-151. Web. 6 Aug. 2012.

X, Y. (1785). To the EDITOR of the WESTMINSTER MAGAZINE. //The Westminster Magazine,//, 311-312. Retrieved from []

MONTHLY CHRONICLE. (1785). //The Westminster Magazine,//, 665-672. Retrieved from http://search.proquest.com/docview/6309086?accountid=14696

SONG. (1785). //The Westminster Magazine,//, 711. Retrieved from []

Z. (1785). To the EDITOR of the WESTMINSTER MAGAZINE. //The Westminster Magazine,//, 565-566. Retrieved from http://search.proquest.com/docview/6298658?accountid=14696

REFLECTOR'S compliments to the EDITOR of the westminster magazine, and thanks him for the ready insertion of his dramatic observations. he has taken the liberty to send him the remainder of those observations. (1785). //The Westminster Magazine,//, 413-415. Retrieved from http://search.proquest.com/docview/6303987?accountid=14696

O'Keeffe, John. __A short account of the new pantomime called Omai, Or, A trip round the world; performed at the Theatre-Royal in Covent-Garden. With the recitatives, airs, duetts, trios and chorusses; and a discription of the procession. The pantomime, and the whole of the scenery, designed and invented by Mr. Loutherbourg. The words written by Mr. O'Keeffe; and the musick composed by Mr. Shields.__ A new edition. London, M.DCC.LXXXV. [1785]. __Eighteenth Century Collections Online__. Gale. University of Maryland College Park. 10 July 2014

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__ Historical account of the most celebrated voyages, travels, and discoveries, from the time of Columbus to the present period. By William Mavor, LL.D. ... __ Vol. Volume 7. London, 1796-97. __Eighteenth Century Collections Online__. Gale. University of Maryland College Park. 10 July 2014

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Cook, James. __Captain Cook's three voyages to the Pacific Ocean. The first performed in the years 1768, 1769, 1770 and 1771: the second in 1772, 1773, 1774 and 1775: the third and last in 1776, 1777, 1778, 1779 and 1780. Faithfully abridged from the quarto editions. Containing a particular relation of all the interesting transactions during the several voyages. To which is prefixed, the life of Captain Cook. Complete in two volumes. ... (Illustrated with eight handsome copperplate engravings.).__ Vol. Volume 2. [Boston], Jan. 1797. __Eighteenth Century Collections Online__. Gale. University of Maryland College Park. 10 July 2014

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