1800 Rudolphe Carbanel 1806 Rudolphe Carbanel 1865 John Ellis 1904 Kirk and Kirk
Years active
1782–1924
Architect
Unknown
The Surrey Theatre, London began life in 1782 as the Royal Circus and Equestrian Philharmonic Academy, one of the many circuses that provided entertainment of both horsemanship and drama (hippodrama). It stood in Blackfriars Road, near the junction with Westminster Bridge Road, just south of the River Thames in what is now the London Borough of Southwark.
The theatre stood near to the St George's Circus road junction.Surrey Theatre, 1865 and before
The Royal Circus was opened on 4 November 1782 by the composer and song writer, Charles Dibdin (who coined the term "circus" for that usage),[1] aided by Charles Hughes, a well-known equestrian performer. The entertainments were at first performed by children with the goal of its being a nursery for young actors. Delphini, a celebrated buffo, became manager in 1788 and produced a spectacle including a real stag-hunt. Other animal acts followed, including the popular dog act Gelert and Victor, lecture pieces, pantomimes and local spectacles. The popular comedian John Palmer then managed the theatre until 1789,[2] when he was committed to Horsemonger Lane Gaol as "a rogue and a vagabond".[3]
It continued in use until 1810, although it had a troubled existence, being burnt down in 1799 and again on 12 August 1805. Rebuilt in 1806 by the German architect of the Old Vic, Rudolph Cabanel, it was converted into a theatre by Robert Elliston. He renamed it the Surrey Theatre, being determined to perform Shakespeare and other plays. He reopened on Easter Monday and to avoid trouble with the law, which did not allow dialogue to be spoken without musical accompaniment except at the two patent theatres, he put a ballet into every such production, including Macbeth, Hamlet, and Farquhar's The Beaux' Stratagem. Contemporary reviewers noted that the Lambeth streets teemed with prostitutes.[4] Elliston left in 1814, and the Surrey became a circus again until Thomas Dibdin reopened it as a theatre in 1816. The arena where the equestrian exercises had been displayed was converted into a large pit for spectators, and the stables became saloons.[2]Fanny Fitzwilliam and Sally Brook starred in melodramas, but the theatre had little success overall. John Baldwin Buckstone made his first London appearance at the theatre, on 30 January 1823, as Ramsay in The Fortunes of Nigel. George Holland also appeared at the theatre, in 1826.
When Elliston returned in 1827, the theatre's fortunes changed. In 1829, Douglas Jerrold's melodrama Black-Eyed Susan, with T. P. Cooke as William, the nautical hero, ran for over 300 nights, which was extraordinarily successful for the time. Elliston made his last appearance at this theatre on 24 June 1831, twelve days before he died. Osbaldiston then took over and, among other plays, produced Edward Fitzball's Jonathan Bradford; or, the Murder at the Roadside Inn, which ran for 260 nights. Productions of Dickens dramas, among others, followed. Ira Aldridge, the first successful black actor, appeared here in the 1840s.[4]C. Z. Barnett's adaptation, A Christmas Carol; or, The Miser's Warning played in 1844. Richard Shepherd, who succeeded Alfred Bunn in 1848, remained at the theatre until 1869 and established its reputation for 'rough-and-tumble' transpontine melodrama.
On 29 January 1865, during the last scene of the pantomimeRichard Coeur de Lion, a fire began above the chandelier. The audience evacuated safely, but before the cast could leave the entire theatre was plunged into darkness, as the gas supervisor cut the gas supply to prevent an explosion. Panic ensued backstage, but the cast were led to safety through the burning scenery by the efforts of Green (acting manager), Rowella (the 'clown'), Evans (the 'pantaloon'), Vivian (the 'sprite') and others. The cast, still in their flimsy stage clothes, were conveyed to their lodgings in a fleet of cabs, provided by the police. In less than ten minutes the interior was ablaze, and the theatre was burnt down shortly after midnight.[5]
A new theatre, designed by John Ellis, seating 2,161 people in four tiers, opened on 26 December 1865. Little of note took place until 1881, when George Conquest took over, staging melodramas, many of them written by himself, and pantomimes.[6]
The Surrey flourished until his death in 1901.[7] The theatre was remodelled by Kirk and Kirk, as a music hall, but did not prosper, becoming a cinema in 1920. It finally closed in 1924, and the building was demolished in 1934. The site is now occupied by modern flats.
This article contains information about the literary events and publications of 1782.
Charles Dibdin was an English composer, musician, dramatist, novelist, singer and actor. With over 600 songs to his name, for many of which he wrote both the lyrics and the music and performed them himself, he was in his time the most prolific English singer-songwriter. He is best known as the composer of "Tom Bowling", one of his many sea songs, which often features at the Last Night of the Proms. He also wrote about 30 dramatic pieces, including the operas The Waterman (1774) and The Quaker (1775), and several novels, memoirs and histories. His works were admired by Haydn and Beethoven.
Thomas John Dibdin was an English dramatist and songwriter.
Philip Astley was an English equestrian, circus owner, and inventor, regarded as being the "father of the modern circus". Modern circus, as an integrated entertainment experience that includes music, domesticated animals, acrobats, and clowns, traces its heritage to Astley's Amphitheatre, a riding school that Astley founded in London following the success of trick-riding displays given by him and his wife Patty Jones in 1768. Astley's first competitor was equestrian Charles Hughes, who had previously worked with Astley. Together with Charles Dibdin, a famous author of pantomimes, Hughes opened a rival amphitheatre in London, which Dibdin called the Royal Circus and Equestrian Philharmonic Academy.
Robert William Elliston was an English actor and theatre manager.
Joseph Grimaldi was an English actor, comedian and dancer, who became the most popular English entertainer of the Regency era. In the early 1800s, he expanded the role of Clown in the harlequinade that formed part of British pantomimes, notably at the Theatre Royal, Drury Lane and the Sadler's Wells and Covent Garden theatres. He became so dominant on the London comic stage that the harlequinade role of Clown became known as "Joey", and both the nickname and Grimaldi's whiteface make-up design were, and still are, used by other types of clowns. Grimaldi originated catchphrases such as "Here we are again!", which continue to feature in modern pantomimes.
The Lyceum Theatre is a West End theatre located in the City of Westminster, on Wellington Street, just off the Strand in central London. It has a seating capacity of 2,100. The origins of the theatre date to 1765. Managed by Samuel Arnold, from 1794 to 1809 the building hosted a variety of entertainments including a circus produced by Philip Astley, a chapel, and the first London exhibition of waxworks by Madame Tussauds. From 1816 to 1830, it served as The English Opera House. After a fire, the house was rebuilt and reopened on 14 July 1834 to a design by Samuel Beazley. The building is unique in that it has a balcony overhanging the dress circle. It was built by the partnership of Peto & Grissell. The theatre then played opera, adaptations of Charles Dickens novels and James Planché's "fairy extravaganzas", among other works.
The Britannia Theatre (1841–1900) was located at 115/117 High Street, Hoxton, London. The theatre was badly damaged by a fire in 1900, forcing the sale of the lease. The site was reused as a Gaumont cinema from 1913 to 1940, before being demolished to make room for a more modern cinema which was never built. Housing has now been built on the site, which is marked by a London Borough of Hackney historic plaque.
William Reeve was an English theatre composer and organist.
Hippodrama, horse drama, or equestrian drama is a genre of theatrical show blending circus horsemanship display with popular melodrama theatre.
The theatrical genre of aqua drama that was popular in 19th century France, England, and the United States involved flooding the arenas of circuses for recreations of major naval conflicts and similar aquatic events; some venues participated to such a great extent in this once-popular form as to install permanent water-tanks on stage. Water-based spectacles, especially those portraying great naval battles, had been popular in Roman times, when they were known as naumachia, and the custom was resurrected at various times during the Middle Ages.
Sarah Egerton (1782–1847) was an English actress. The judgement of William Macready was that "her merits were confined to melodrama."
Charles Farley (1771–1859) was an English actor and dramatist.
The Blackfriars Rotunda was a building in Southwark, near the southern end of Blackfriars Bridge across the River Thames in London, that existed from 1787 to 1958 in various forms. It initially housed the collection of the Leverian Museum after it had been disposed of by lottery. For a period it was home to the Surrey Institution. In the early 1830s it notoriously was the centre for the activities of the Rotunda radicals. Its subsequent existence was long but less remarkable.
John Peter Bologna (1775 –1846), known as Jack Bologna on stage, was an Italian actor and dancer, who spent much time in England popularising the role of Harlequin in Georgian pantomimes and harlequinades in the early part of the 1800s at the Sadler's Wells and Covent Garden Theatres.
Charles Isaac Mungo Dibdin, or Charles Pitt or Charles Dibdin the younger, as he was professionally known, was an English dramatist, composer, writer and theatre proprietor. He was perhaps best known for his proprietorship of the Sadler's Wells Theatre and for the pantomimes and satirical farces that he wrote, and which were staged at many theatres across London. He employed Joseph Grimaldi at Sadler's Wells where Grimaldi appeared in many of his most successful pantomimes. He was the son of Charles Dibdin, brother of Thomas John Dibdin and godson of David Garrick.
George Augustus Oliver Conquest was a playwright, theatrical manager, acrobat and pantomimist described as "the most stunning actor-acrobat of his time".
James Sanderson was an English musician, now remembered as a composer. The tune for "Hail to the Chief", the presidential anthem of the United States, is attributed to him, taken from a Scottish Gaelic melody.
Samuel Thomas Russell was an English actor and stage manager. He appeared many times at Drury Lane and at the Haymarket. His most famous role was Jerry Sneak in The Mayor of Garratt.
Richard Nelson Lee, known as Nelson Lee was an English actor, theatre manager and writer of pantomimes and plays.
References
Earl, John and Michael Sell. Guide to British Theatres 1750-1950, pp.250 (Theatres Trust, 2000) ISBN0-7136-5688-3
Knight, William G. A Major London 'Minor': The Surry Theatre 1805-1865. London: STR, 1997.
Raymond, George. Memoirs of Robert William Elliston, Comedian. Olivier (1946)
Shepherd, Thomas Hosmer and James Elmes, Metropolitan Improvements; Or London in the Nineteenth Century London: Jones & Co. (1827-1831); Reissued, New York: Benjamin Blom (1968), pp.134 et. seq. ISBN0-405-08963-5
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