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The Politics of Romantic Theatricality, 1787–1832

Part of the Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print Book Series

DOI: 10.1057/9780230801417

ISBN: 978-1-349-35569-3

Publisher: Palgrave Macmillan UK - Springer Journals

Nov 21, 2015

1 - 9 of 9 Chapters

Available

Introduction

Worrall, David

Pages: 1 –18

[The subtitle of this book is drawn from Leman Thomas Rede’s The Road to the Stage; or, The Performer’s Preceptor (1827). Rede’s extraordinary volume was not merely an acting manual of gesture and speech but offered would-be players ‘Clear and Ample Instructions for Obtaining Theatrical...
Available

Busby, Burletta and Barnwell: Music, Stage and Audience

Worrall, David

Pages: 19 –47

[The terms of the restrictions imposing burletta as the principal dramatic form in Georgian London were perfectly well understood by contemporaries of Ireland, Dibdin and Moncrieff. The curtailment of speech was, inevitably, subjected to withering popular ridicule. The song writer Jacob Beuler,...
Available

Dramatic Topicality: Robert Merry’s The Magician No Conjurer and the 1791 Birmingham Riots

Worrall, David

Pages: 48 –67

[The main purpose of this chapter is to demonstrate that drama retained the ability to respond to topical debates affecting contemporary political culture. In many ways, registering topical representations in the theatre is the evidential precondition for much of this book’s contents.155 The...
Available

Blackface and Black Mask: The Benevolent Planters versus Harlequin Mungo

Worrall, David

Pages: 68 –106

[This chapter will analyse the portrayal of slavery in two late-1780s dramas, William Bates’s Harlequin Mungo; or, A Peep into the Tower (1787) and Thomas Bellamy’s The Friends; or, The Benevolent Planters (1789), and how this issue provoked dissimilar responses in London’s East End and West End...
Available

Belles Lettres to Burletta: William Henry Ireland as Fortune’s Fool

Worrall, David

Pages: 107 –134

[The case of William Henry Ireland, probably the most famous eighteenth-century Shakespeare forger, is already well known to literary scholars through his notorious ‘Shakespearean’ tragedy, Vortigern.355 What has not been noticed before is that the cultural conditions of stage drama in Britain in...
Available

The Libertine Reclaimed: Burletta and the Cockney Presence

Worrall, David

Pages: 135 –165

[This chapter will argue that the unnoticed presence behind the attacks on the so-called Cockney School of poets which emanated from Blackwood’s Edinburgh Magazine was the parallel growth and assertiveness of Cockneys both as fictional characters and as Londoners spectating and acting on the...
Available

The Royal Amphitheatre and Olympic Tom and Jerry Burlettas

Worrall, David

Pages: 166 –189

[This chapter, and the one which follows, are given over to demonstrating the workings of the popular or plebeian public spheres of drama specific to the non-patent playhouses operating in late Georgian London. Burletta was the optimum dramatic genre for these theatres to develop since it was...
Available

Moncrieff’s Tom and Jerry and its Spin-Offs

Worrall, David

Pages: 190 –205

[By the time Moncrieff wrote his Tom and Jerry for the Adelphi in the late autumn of 1821, there was already a strong metropolitan cultural tradition of dramatic representations derived from Pierce Egan’s original Life in London. This chapter, like Chapter 6, shows how dramas in London developed...
Available

Conclusion: The Canadian Tom and Jerry Murder

Worrall, David

Pages: 206 –210

[The Tom and Jerry burlettas of the early 1820s, prefigured as they were by a string of what one might call ‘Giovanni in XYZ’ plays of the late 1810s, mark the maturity of a genuine public plebeian dramatic sphere located at the heart of London. Whatever the arguments which might be posited about...

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