The 19th century was the age of a truly popular theatre. New theatres opened to satisfy a demand for entertainment from the workers who flooded into the major cities as
the Industrial Revolution took hold. Pantomime, ballad
opera, melodrama, circus, equestrian drama, aquatic drama and burlesque were
all popular forms of entertainment.
Middle class support for the theatre diminished between 1820 and 1850. Actors were ‘rogues and scurvy vagabonds’ and audiences were often rowdy during the performance.
The production standards were shabby and sets and costumes were thrown together from stock scenery and wardrobes. From the mid 19th century, there was a conscious effort
by the theatre to throw off its rowdy associations and win acceptance by the new middle classes.
Victorian theatre was in essence spectacular and the advances in stage technology and lighting had a great effect on production styles. Pictorial
theatre with its lavish and detailed sets and costumes reflected the Victorian obsession with history and archaeology and appealed to the educated middle classes.
Theatres were redesigned and the cheap benches near the stage were replaced by comfortable
padded seats. The rowdier audience members were moved up into the galleries. Carpets were laid in the aisles and the pit
was renamed the stalls. By the 1890s theatres such as Drury Lane under Augustus Harris were spending enormous amounts on design and
costume.
This was the era of the great actor-managers (male and female) who produced, directed and starred in their own theatres: the Kembles,
Eliza Vestris, Charles Kean, Henry Irving, and Herbert
Beerbohm Tree. Some
actors became international stars touring to Europe and America.
Despite the advances in stage design and production the 19th century did not produce many notable dramatists, the exceptions at the end of the century being Oscar Wilde,
George Bernard Shaw and Arthur Pinero. The most produced author in the 19th century was Shakespeare. The Bancrofts at the Haymarket Theatre introduced ‘Cup and Saucer’ drama
with its drawing-room manners and attention to the realistic details of everyday life. This heralded the start of the new drama of
George Bernard Shaw and director Harley Granville Barker - influenced by the writings of Ibsen.