Chapter I: Preface

It is unnecessary to apologise for a new edition of Dr. Doran's _Annals of the Stage_. The two editions already published have been for many years out of print, and the first is so rare that copies of it bring a high price whenever they occur for sale. And this demand is not a mere bibliographical accident, for the book has held for many years a recognised position as the standard popular history of the English stage. The admirable work of Genest, indispensable as it is to every writer on theatrical history, and to every serious student of the stage, is in no sense a popular work, and is, indeed, rather a collection of facts towards a history than a history itself.

In preparing this new edition every effort has been made to add to its interest by the introduction of portraits and other illustrations, and to its authority as a book of reference, by correcting those errors which are scarcely to be avoided by a writer working among the confused, inaccurate, and contradictory documents of theatrical history. No one who has not ventured into this maze can conceive the difficulty of keeping the true path, and I can imagine nothing better calculated to sap one's self-confidence than the task of noting the false turnings made by such a writer as Dr. Doran. I can hardly hope that my own work, light as it is in comparison with his, will be found free from sins of omission, and even of commission.

My principle has been to pass no error, however trifling; but, at the same time, I have not thought myself entitled to discuss matters of opinion, or to criticise, either directly or indirectly, Dr. Doran's treatment of his subject. Thus it would be easy to supplement the information regarding the ancient theatres and the theatre of Shakspeare's time contained in the first and second chapters; but, as Dr. Doran obviously intended that his real work should begin with the Restoration Theatres, I have not interfered with his scheme. I trust that, in this, as in other respects, my work has been done in a spirit free from captiousness.

The illustrations to this edition have been chosen, not from the book "illustrator's" point of view, but with a serious desire to increase its value as a history. In the case of the portraits, those which Dr. Doran specially mentions, have, wherever it was possible, been selected, and in every instance I believe the portrait given is an accurate and trustworthy likeness. The headpieces, intended to form a supplement to the full-page illustrations, include portraits of persons whose importance scarcely justified their place among the larger pictures, drawings of theatres, and of actors in character. The tailpieces are reproductions of Sayer's beautiful little drawings of Garrick and his contemporaries in their best characters; and in their case no chronological arrangement is possible.

For many valuable notes I am indebted to the kindness of Mr. Alban Doran, who intrusted to me his father's annotated copy of this work. These notes have in every case been acknowledged and marked "_Doran MS._"

ROBERT W. LOWE.

LONDON, _September 1887_.

CONTENTS.

CHAPTER I. PAGE

PROLOGUE 1

CHAPTER II.

THE DECLINE AND FALL OF THE PLAYERS 37

CHAPTER III.

THE "BOY ACTRESSES," AND THE "YOUNG LADIES" 60

CHAPTER IV.

THE GENTLEMEN OF THE KING'S COMPANY 96

CHAPTER V.

THOMAS BETTERTON 109

CHAPTER VI.

"EXEUNT" AND "ENTER" 136

CHAPTER VII.

ELIZABETH BARRY 149

CHAPTER VIII.

"THEIR FIRST APPEARANCE ON THE STAGE" 162

CHAPTER IX.

THE DRAMATIC POETS 183

CHAPTER X.

PROFESSIONAL AUTHORS 213

CHAPTER XI.

THE DRAMATIC AUTHORESSES 237

CHAPTER XII.

THE AUDIENCES OF THE SEVENTEENTH CENTURY 246

CHAPTER XIII.

A SEVEN YEARS' RIVALRY 274

CHAPTER XIV.

THE UNITED AND THE DISUNITED COMPANIES 310

CHAPTER XV.

UNION, STRENGTH, PROSPERITY 317

CHAPTER XVI.

COMPETITION, AND WHAT CAME OF IT 337

CHAPTER XVII.

THE PROGRESS OF JAMES QUIN, AND DECLINE OF BARTON BOOTH 356