Setting the Scene
Entertainment in the early 18th century was often centred on cruel sports, such as cock fighting, and bull-baiting, while public executions drew large crowds. Traditional games such as chess, draughts, and backgammon were popular, as was professional horse racing and bare fist boxing. The wealthier people enjoyed card games, gambling, and visiting spas. In the early 18th century the majority of towns in England were without theatres, but by the late 18th century this had changed, and theatres had been built in most towns.
Prior to the 18th Century aristocracy were the theatre goers, but during the century middle class merchants and financiers prospered and the new audiences wanted less formal and more sensational entertainment.
Whilst “Quality” sat in the boxes, working men and women squeezed into hot and dirty galleries. Audiences were rude, noisy and dangerous, and alcohol and food were consumed in quantity. There was much chatting and coming and going during performances. Actors were pelted with rotten fruit and vegetables, whilst in front of stage, young men would drink, eat nuts and mingle with prostitutes in the notorious “pit”.
By the late 18th and early 19th century audiences were more democratic and equal. Auditoriums were darkened and curtains closed between scene changes. New codes in polite behaviour – silence and attentiveness, arriving on time - transformed audiences and made theatre going a more respectable and enjoyable experience.
Theatre programmes from the outset were very varied, ranging from sentimental plays, which appealed to the feelings, and comedies designed to make audiences laugh, to serious drama – plays showing conflict between love, honour and duty. Some were controversial and some dealing in political satire (E.G. Henry Fielding) were banned.
Newcastle’s first Theatre Royal – Drury Lane
The cultural life of Newcastle in the 18th century was largely dependent upon its industrial wealth for providing entertainment. If the poor had their street hawkers, selling printed broadside ballads, then the aristocracy had their formal arrangements to encourage leisure pursuits. For instance, The Assembly Rooms were built in Fenkle Street for card playing and elaborate balls. It was said that in the mid-18th century life in Newcastle had become more comfortable for those who were well off.
Apart from a short period of Restoration comedy when it was able to present plays in Charles II’s reign; at other times, they had to be acted out secretly on account of Puritan hostility. Then from 1735 onwards The Turks Head Long Room in the Bigg Market was used for forty years by a York Company of players. This was known as The Theatre in the Bigg Market.
Following a public meeting in 1784 King George III granted a Royal Patent to The Theatre Royal. This enabled the theatre to be opened on Drury Lane, off Mosley Street in 1788 costing about £6000. Subscribers raised the majority of the money through shares. The shortfall was borrowed from banks. The architect was Mr David Stephenson. It was usually opened four months in the year plus race weeks and during the assizes. The capacity was 1350 persons and admittance charges were one shilling for the gallery and three shillings for the pit. Various alterations and improvements were made at different times. One of these was a plan drawn by Mr Dobson for alterations to the entrances.
Austin and Whitlock, who had been manager of the Turks Head Theatre became manager. A year later Austin retired and Munden became his business partner. From 1791-1806 Stephen Kemble took over his position.
A letter in The Morning Post 24 February 1823 reported a serious incident at the theatre. During the production of the farce ‘Tom and Jerry’ on the 19 February a gas lamp had set fire to one of the wood works. “Eight individuals were literally trodden to death.” Mr. Decamp, Manager announced that it would be after the winter period before the theatre could reopen.
As part of Grainger and Dobson’s design for the city, it was decided that a new theatre should be built on Grey Street. It was designed by local architects Benjamin Green and opened under the management of Montague Penley on 20 February 1837 with a performance of Merchant of Venice. The interior decoration housed gilt plaster ornaments of nymphs, dancing boys and musical instruments.
On the morning of 24 November 1899 the fire brigade were called out to a fire at the theatre. By mid-morning the stage was ablaze. Despite all efforts, the fire spread to dressing rooms and roof. It was reported that “occupants from surrounding dwelling-houses appeared in the street “in the scantiest of raiment” The scene was one of complete devastation. The only portion remaining intact was the furthest point at the back of the auditorium. Despite the devastation the exterior walls remained standing.
After the fire - The New Theatre Royal.
After the fire in 1899 Newcastle was fortunate to obtain the services of Frank Matcham – the most iconic theatrical designer in the country. To have a Matcham theatre is a great honour for any city. His interiors are noted for Victorian opulence, plush seating, ample use of gold leaf, marble staircase, rich mahogany woodwork and a great glass chandelier in the auditorium. The new theatre was opened on New Year’s Eve 31st December 1901 with a pantomime “The Forty Thieves”
One can imagine the Edwardian theatre goers in evening dress entering the magnificent portico on Grey Street. However ordinary people who could only afford the cheapest seats in the gallery, or “the gods”, had to use a separate entrance on Shakespeare Street.. To get there they had to climb a stone staircase nearly the height of the building and sit upon wooden benches, not seats.
The Theatre Royal was open as usual during the First World War, but the management did not want depressing plays performed. Gilbert and Sullivan operettas performed by the D’Oyley Carte Opera Company were very popular. Fundraising was allowed in the theatre. Programmes were printed on cheaper quality paper.
According to Miss nelly Curless who worked in the Grand Circle from 1912 till 1972, Beer was not available, and ladies were not served in the bar until 1930. On Friday nights everyone in the circle and stall wore evening dress.
In 1939 a government closure order on all forms of entertainment was short lived, owing to a serious fall in morale, and the Theatre carried on during the Second World War. Touring Companies faced difficulties with wartime travel.
The Theatre Royal is the largest regional theatre, however in the early decades of the century it had competition from the Tyne Theatre, the Grand, Heaton, music halls, variety halls, and from the 1920s the cinema, and from the 1950s television.
By the 1970s the number of touring theatres and variety theatres in the provinces had declined dramatically, but the Theatre Royal survived, although it was put on the market in 1966 in the belief that it could only survive for about three years. In June 1968, just 24 hours before closure, Newcastle Corporation agreed to rent the Theatre for one year, and the “Friends of the Theatre Royal” was formed to help raise some of the money asked.
Many plays were performed at the theatre by famous playwrights, including Shaw, Oscar Wilde, J B Priestley, Noel Coward, Terence Rattigan plus many more modern writers. Touring companies would bring the plays to Newcastle either before, or after a London run. Most of the famous actors have visited the theatre including Lawrence Olivier, Richard Burton, Sir Ian McKellan and Dame Judi Dench.
Again in 1970, the Journal listed the problems for provincial theatres. Actors no longer wanted to travel far from London, and the cost and conditions of theatrical digs were no longer acceptable to younger actors.
Newcastle Corporation bought the Theatre for £185,000 and in 1986-87 there was a major refurbishment. It was only then that patrons of the “cheap seats” could enter through the main entrance.
The theatrical year nowadays includes a wide variety of programmes. A pantomime is performed over Christmas; there are plays, Northern opera productions, classical ballets and modern dance, musicals and entertainments for children. Since 1977 the Royal Shakespeare Company has performed at the theatre. Musicals seem to be increasingly popular.
By the beginning of this century the interior of the Theatre Royal was looking very dingy and in need of redecoration. It was decided to have a complete restoration using, as far as possible Frank Matcham’s original designs, but with the comforts expected by modern patrons. The work was carried our between March and September 2011.
The seats were sold. Original plasterwork was retained, but the whole of the rest of the auditorium was demolished. The wallpaper, tiles, carpet designs, gold leaf, lighting and brass fittings were restored. Edwardian style seats were put in, but with more size and legroom for the larger bodies of modern people. There is air-conditioning and more modern light fittings. Facilities backstage were updated. Now there is a new restaurant “Pasqualino’s” and a café.
The newly refurbished Theatre Royal opened in September 2011 with the play “The madness of King George 111” – the King who gave the theatre its original charter.
Some Trivia!
“Tom and Jerry”, or” Life in London” was a stage adaptation by William Moncrieff of Pierce Egan's “Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom.” At least six plays were based on these characters, and followed their adventures and sorties into prize fighting and horse racing. They were the inspiration for the later cartoon characters
Miss Olga Nethersole 1870 – 1957 appeared at the Theatre Royal in a play called “Sappho”. This play featured the first full on stage kiss, which became known as the Nethersole Kiss! A sexually charged scene ended in Miss Nethersole being carried upstairs. The first night London audience had no problem with this, but the press branded it “shocking” resulting in the police storming the theatre the next night and closing the show. However it reopened after a court case and went on to be a box office hit!
Miss Kitty Loftus 1876 – 1943 appeared at the Theatre Royal in “Naughty Nancy” (The writer thought it prudent to abandon the web search for Naught Nancy!)
No theatre is complete without its ghosts. The Theatre Royal is no exception. According to legend, a lady from the 1880’s, who was in love with one of the actors, fell to her death from the upper circle. She was stretching out her hand when he was in stage. She is known as “The Grey Lady”. It has been said that in 1935 an actress committed suicide in the theatre and her ghost is still present.
We may not be sure whether the spirits have returned but audiences constantly return to see world class drama, musicals and dance.
Sources:
“Paranormal Newcastle” Gordon Rutter arthurlloyd.co.uk/Newcastle Theatre Royal
“The Theatre Royal Newcastle – A new Short History” - by Vanessa Histon
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