Great Britain -- Social conditions -- 19th century; London (England) -- Description and travel
Russell-street, the Death’s-head pipes were like theatrical memento mori,
admonishing beholders of the decline of the playhouse as an Institution.
I walked up Bow-street, disposed to be angry with the shops there, that
were letting out theatrical secrets by exhibiting to work-a-day humanity
the stuff of which diadems and robes of kings are made. I noticed that
some shops which had once been in the dramatic line, and had struggled
out of it, were not getting on prosperously—like some actors I have
known, who took to business and failed to make it answer. In a word,
those streets looked so dull, and, considered as theatrical streets, so
broken and bankrupt, that the FOUND DEAD on the black board at the police
station might have announced the decease of the Drama, and the pools of
water outside the fire-engine maker’s at the corner of Long-acre might
have been occasioned by his having brought out the whole of his stock to
play upon its last smouldering ashes.
And yet, on such a night in so degenerate a time, the object of my
journey was theatrical. And yet within half an hour I was in an immense
theatre, capable of holding nearly five thousand people.
What Theatre? Her Majesty’s? Far better. Royal Italian Opera? Far
better. Infinitely superior to the latter for hearing in; infinitely
superior to both, for seeing in. To every part of this Theatre, spacious
fire-proof ways of ingress and egress. For every part of it, convenient
places of refreshment and retiring rooms. Everything to eat and drink
carefully supervised as to quality, and sold at an appointed price;
respectable female attendants ready for the commonest women in the
audience; a general air of consideration, decorum, and supervision, most
commendable; an unquestionably humanising influence in all the social
arrangements of the place.
Surely a dear Theatre, then? Because there were in London (not very long
ago) Theatres with entrance-prices up to half-a-guinea a head, whose
arrangements were not half so civilised. Surely, therefore, a dear
Theatre? Not very dear. A gallery at three-pence, another gallery at
fourpence, a pit at sixpence, boxes and pit-stalls at a shilling, and a
few private boxes at half-a-crown.
Public-domain text, read in full here on John Shaqi.
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