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 FROM THE 
 
 BENNO LOEWY LIBRARY 
 
 COLLECTED BY 
 
 BENNO LOEWY 
 
 1854-1919 
 BEQUEATHED TO CORNELL UNIVERSITY 
 
Cornell University Library 
 PN 2594.P69 
 
 Suggestions for establishing an English 
 3 1924 026 122 626 
 
The original of tiiis book is in 
 tine Cornell University Library. 
 
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 the United States on the use of the text. 
 
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SUGGESTIONS 
 
 FOE ESTABLISHING AN x^ 
 
 ENGLISH AET THEATEE. 
 
 By J. E. PLANOHE, 
 
 Somerset SeraM. 
 
 LONDON: 
 
 WYMAN & SONS, 81, GKEAT QUEEN STKEET, 
 LINCOEN'S-INN FIELDS, W.O. 
 #!N j 1879. 
 
SUGGESTIONS FOE A NATIONAL THEATEE, 
 
 The desirability of the establisliment of a theatre 
 in London "not wholly controlled by the pre- 
 dominant taste of the public" was eloquently 
 advocated by Mr. George Godwin, editor of the 
 Builder, in his speech as chairman of a meeting 
 of the Society for the Encouragement of the Fine 
 Arts, at their rooms in Conduit-street, when the 
 late Dr. Doran delivered his lecture, " For and 
 against . Shakspeare," and the question then 
 mooted has since been unanimously answered 
 in the affirmative at the Social Science Congress 
 at Cheltenham, where Mr. Godwin reproduced 
 his arguments, strengthened by the cordial sup- 
 port of Mr. Henry Irving, Mr. Hermann Vezii), 
 and several others eminently qualified to pro- 
 nounce their opinions on the subject. 
 
 A considerable number of gentlemen, well- 
 wishers to the cause, including many of the 
 theatrical profession, having both publicly and. 
 privately expressed their approval of the main 
 object of the movement, the views of some of the 
 original promoters of it are now formulated, for 
 
( 4 ) 
 
 tlie consideration of all wlio are interested in its 
 success. 
 
 In the first place, it is necessary to declare as 
 explicitly as possible that no rivalry or competi- 
 tion is contemplated with any existing establish- 
 ment, the objects of the direction of the proposed 
 theatre being strictly limited : — 1. To the restora- 
 tion to the stage of the masterpieces of the great 
 dramatists of the last three centuries, which with 
 some very few exceptions have been either wholly 
 neglected or spasmodically revived by modern 
 managers, and are unknown to the present genera- 
 tion of playgoers. 2. The production of original 
 plays of the highest class, which for commercial 
 or other reasons have, notwithstanding their 
 intrinsic merit, been unable to obtain represen- 
 tation. And 3. The general cultivation and 
 encouragement of histrionic art and the welfare 
 and respectability of its professors. It is believed 
 that these objects can only be attained by the 
 foundation of a theatre on the model of the 
 Theatre Tranpais at Paris; but it is almost hope- 
 less to expect that, although thousands upon 
 thousands are annually voted by our Parliament 
 for the support of academies, museums, school- 
 boards, and other institutions connected with art 
 and education, it would sanction the appropriation 
 of the smallest subsidy in aid of an art in which 
 are combined the graces of all the others, and of 
 a school which for educational purposes surpasses 
 any as yet existing. 
 
(' 5 ), 
 
 In ;defaultj th-ereforej pf r such assistance from 
 Government, at any rate at present, as is afforded 
 to tte National Theatre in Erance, the stability 
 of a liTational Theatre in England must be 
 assured by annual subscriptions amounting to a 
 sum sufficient to cover the natural expenses, and 
 .guarantee the direction from loss and the company 
 from a calamity, of too-frequent occurrence, — 
 the choice between taking half-salaries and a 
 sudden termination of their engagements, perhaps 
 in the very middle of the season. 
 
 As the raising of such a fund is necessarily the 
 
 first step to be taken, and as unless satisfactorily 
 
 effected the project must fall to the ground, it 
 
 may be held useless to enter into an explanation 
 
 „,of the mode in which it is suggested the fund 
 
 •should be employed and the theatre conducted; 
 
 ,,at the same time it is obvious that without some 
 
 information on those subjects it would be idle to 
 
 expect any one to subscribe. The following pror 
 
 .positions, embodying the principal points of the 
 
 scheme, are therefore respectfully submitted to 
 
 the public for consideration. 
 
 It is estimated that the sum pf £20,000 wpuld 
 be amply sufficient to cover the whole expenses 
 pf a season of eight months, or, more strictly 
 ;speaking, ihirty-two weeks, commencing at the 
 end of October and terminating at the end of 
 June. This estimate is formed on the rough 
 palculation that the total' average daily expendi- 
 ture would not exceed £100 or £600 weekly 
 
( 6 ) 
 
 •(£19j200) at starting, that expense being natu- 
 rally reduced by the gradual increase of scenery, 
 dresses, and decorations available in future 
 seasons, the original cost of wliioli must be 
 defrayed during the preceding, and would even- 
 tually constitute a valuable property. 
 
 The subscribers to this fund to be considered 
 proprietors, who should have a first charge on 
 the receipts of the theatre of 3 per cent, per 
 annum interest on the amount of the sums 
 individually subscribed, and in whom should be 
 vested the property of every description belonging 
 to the theatre, before or behind the curtain. They 
 should have power to appoint the treasurer of 
 the theatre and box-office keeper, and be legally 
 secured against any responsibility beyond the 
 amount of their original subscription* Their 
 privilege to- be limited to their personal free 
 admission to any part of the house before the 
 curtain, except the private boxes, with the liberty 
 •of securing a seat in advance of the perform- 
 ance. 
 
 Assuming the sum raised, the next step would 
 be the possession of a theatre the auditorium of 
 which was capable of accommodating without 
 inconvenience, at moderate prices ( say, stalls, 
 7s. ; lower boxes, 5s.; upper ditto, 3s.; pit, 2s.; 
 and gallery, Is.), a sufficient number of persons 
 to produce a receipt of not less than £260 per 
 representation, at periods of special attraction, 
 exclusive of private boxes, the number of which 
 
( 7 ) 
 
 would have to be regulated according to the 
 construction of the theatre. 
 
 The general Control of the theatre to be 
 exercised by a board of directors, say seven 
 in number, none of whom should be either 
 dramatists or actors, but men of acknowledged 
 eminence in literature and art, and whose names 
 and character would be a sufficient assurance to 
 the public that their councils would be guided 
 by sound judgment, cultivated taste, and strict 
 impartiality. Their services should be gratui- 
 tous. Their privileges, — the appointment of 
 the acting manager, free access at all times to 
 every part of the house, and a commodious 
 private box for their joint occupancy, but not 
 for disposal. 
 
 The acting manager to be entrusted with the 
 formation of the company, the appointment of the 
 stage-manager and his subordinates, the heads 
 of the scenic and mechanical departments, the 
 master and mistress of the wardrobe, and the 
 musical director, all salaries being submitted to 
 the board of directors for sanction previously to 
 the signature of an engagement. 
 
 The acting manager to select the plays for 
 representation (the board of directors having the 
 power of veto), and to decide on the days for 
 their production and repetition. Also to make out 
 "the bill of the play," which should contain simply 
 the title of the piece, the name of the author, 
 the distribution of the characters, the time of 
 
( 8 ) 
 
 pefformancej and the prices of admission, or othor 
 necessary information. 
 
 With respect to the time of performance, in- 
 dependently of the rapidly-increasing favour with 
 which morning, or more correctly speaking, after- 
 noon representations appear to be regarded by 
 the public, there are many and very important 
 •advantages attending such a practice, which 
 induce the promoters strongly to recommend its 
 adoption by the directors of a National Theatre. 
 First of all, the inestimable one to the actor, whose 
 daily labour terminates at an early hour in the 
 evening, leaving the remainder of it to be devoted 
 by him to repose, recreation, or study according 
 to his inclinations, and affording him valuable 
 opportunities of visiting other theatres and wit- 
 nessing the impersonations of the most dis- 
 tinguished artists, English or foreign. To the 
 public the advantages are equally considerable. 
 The hours from three to six p.m. are specially 
 those which are most at the disposal of the 
 fashionable world, and for all classes the con- 
 venience of morning dress, particularly in bad 
 weather, the Hberty obtained for social or domestic 
 enjoyment in the evening, and the ability to reach 
 even a distant home without the risk of " missing 
 the last train," especially when accompanied by 
 ■ children, — an anxiety which not only detracts from 
 the pleasure of the spectators, but constantly 
 compels large parties to rise and hurry from 
 their seats before the fall of the curtain, to the 
 
( 9 ) 
 
 great annoyance of both actors and audience^ as 
 well as regret to themselves,^— must surely be 
 obvious to every one. Nor should we omit to 
 call attention to the profit derivable from the 
 occasional letting of the Theatre in the evening 
 for concerts, lectures, &c. Still this is a point 
 which would remain open for discussion. 
 
 It now only remains for us to suggest the mode 
 by which the subscriptions and receipts should 
 be apportioned for the general benefit of the 
 institution. 
 
 Taking the aforesaid estimate of the weekly 
 /expenses as fairly correct, the first sum to be 
 provided would be the interest on the £20,000 
 subscribed, amounting to £600, which, for the 
 better security of the proprietors, it is proposed 
 should be taken fi:om the receipts at the doors 
 daily. Excluding Passion-week, Ash-Wednesday, 
 and, say four or five days before Christmas, the 
 number of play-»days in the season would amount 
 to 180, and the deduction to abQut'£20 per week, 
 which must be regarded as rent. 
 
 We now come to the working expenses of the 
 establishment, the largest portion of which would 
 of course be the salaries of the company and its 
 officers. Here we arrive at a point on which 
 there will probably be more difference of opinion 
 than any other. It being impracticable, in the 
 first instance, to place the actors engaged in this 
 projected theatre in a relative position tO the 
 Membres Sodetaires of the Theatre Fran gais,- the 
 
( 10 ) 
 
 question is how nearly we can enable thehi to 
 approach it beneficially, both as aflFects their 
 pecuniary and professional interests. 
 
 As it is the avowed intention to avoid to the 
 extent of their, power any cause for the hostility 
 of contemporary managements by competition 
 with them in the market for the services of popular 
 artists, the promoters suggest that the highest 
 salary should not exceed £25 or £30 per week. 
 Actors and actresses who, in consequence of their 
 individual attraction, can and do command double 
 such sums, are not expected to reduce their terms 
 for the love of art or the cultivation of it in others. 
 The principal object of the national theatre is the 
 education of the profession as much as that of the 
 public, and its promoters confidently believe that 
 there are hundreds on the metropolitan and pro- 
 vincial stages who only require the opportunity, 
 nnder judicious guidance, to develope the latent 
 genius that is smouldering in their souls. Every 
 day the list is increasing of young and intelligent 
 women and men who have attracted the notice of 
 the press and the experienced playgoer ; and 
 independently of them, the list of supporters of a 
 proposed national theatre includes members who 
 have already won their spurs as far as it has been 
 possible for them to do so in the class of characters 
 to the interpretation of which they have been 
 limited, and which, whatever their merits, are not 
 to be named in comparison with those in the 
 standard drama of this country which they have 
 
( 11 ) 
 
 -the laudable ambition to prove tbey are worthy 
 to illustrate. 
 
 To them and all who are inchned to volunteer 
 in this " forlorn hope," as some considfer it, of thiD 
 * English stage, th6 following propositions, founded 
 on the usages of the "Theatre 'Fvmgs&s," are 
 offered for their consideration. As no play, how- 
 ever attractive, would be repeated any number of 
 days consecutively, the same priacipal performers 
 would not be called upon to appear more than 
 twice or three times in the week. If, however, 
 any of them should be required to strengthen the 
 cast of pieces performed on alternate days, they 
 would in addition to their jBxed salary receive a 
 stipulated sum per diem, on the principle of the 
 French theatre, known therein as their " feu " ; 
 and it is also suggested that the members should 
 have a beneficial interest in the success of the 
 institution by a distribution amongst them of 
 one-third of any profits resulting from it in the 
 shape of a percentage according to the annual 
 amount of their fixed salary ; the other two-thirds 
 being appropriated, one to a fund to be called 
 the- directors' fund, to provide for casualties or 
 extraneous expenses, and the other to the for- 
 mation of a fund for the gradual paying-off 
 of the subscribing proprietors, with a view to 
 eventually transferring the entire property of 
 the theatre to the members for their sole use 
 and benefit. 
 
 It is unnecessary here to enter into details 
 
( 12 ) 
 
 affecting minor tliough not less important arrange,*- 
 ments, as they must depend upon the adoption 
 or modification of the above programme, wliich 
 is respectfully submitted to the provisional com- 
 mittee, which has been already formed, and to 
 aU well-wishers to the movement. 
 
 ■WnU.'S AKD .SOZTSj FBlNIEBSy GBEAT QTIEEir STBEBT, LOKSOIT,