The practice of the Theatre is of great antiquity. We find it in great
repute among the Greeks; we also find, the more a nation is civilized,
the more they have supported the stage. It seems designed for two
purposes, improvement and entertainment.
There are certain exuberances that naturally grow in religion,
government, and private life which may with propriety be attacked by the
poet and the comedian, but which can scarcely be reduced by any other
power. While the stage therefore keeps this great end in view, it
answers a valuable purpose to the community. The poet should use his pen
to reform, not to indulge a corrupt age, as was the case in the days of
Charles the Second, when indecency was brought on to raise the laugh.
Perhaps there is no period of time in which the stage was less polluted,
owing to the inimitable Garrick, than the present: notwithstanding there
is yet room for improvement.
Tragedy is to melt the heart, by exhibiting the unfortunate; satiate
revenge, by punishing the unjust tyrant: To discard vice, and to keep
undue passions within bounds.
Comedy holds up folly in a ridiculous light: Whatever conduct or
character is found in the regions of absurdity, furnishes proper
materials for the stage; and out of these, the pen of a master will draw
many useful lessons.
The pulpit and the stage have nearly the same use, but not in the same
line--That of improving the man.
The English stage opened about the conquest, and was wholly confined to
religion; in whose service it continued, with very little intermission,
to the extinction of the Plantagenets. The play-houses were the
churches, the principal actors the priests, and the performances taken
from scripture; such as the Fall of Man, the Story of Joseph, Sampson,
Histories of the Saints, the Sufferings of Christ, Resurrection, Day of
Judgment, &c.
Theatrical exhibition in Birmingham, is rather of a modern date. As far
as memory can penetrate, the stroller occupied, occasionally, a shed of
boards in the fields, now Temple-street: Here he acted the part of
Distress, in a double capacity. The situation was afterwards changed,
but not the eminence, and the Hinkleys dignified the performers booth!
In about 1730, the amusements of the stage rose in a superior stile of
elegance, and entered something like a stable in Castle-street. Here the
comedian strutted in painted rags, ornamented with tinsel: The audience
raised a noisy laugh, half real and half forced, at three-pence a head.
In about 1740, a theatre was erected in Moor-street, which rather gave a
spring to the amusement; in the day time the comedian beat up for
volunteers for the night, delivered his bills of fare, and roared out an
encomium on the excellence of the entertainment, which had not always
the desired effect.
In 1751, a company arrived, which anounced themselves, "His Majesty's
servants, from the theatres-royal in London; and hoped the public would
excuse the ceremony of the drum, as beneath the dignity of a London
company." The novelty had a surprising effect; the performers had
merit; the house was continually crouded; the general conversation
turned upon theatrical exhibition, and the town was converted into one
vast theatre.
In 1752 it was found necessary to erect a larger theatre, that in King
Street, and we multiplied into two London companies.
The pulpits took the alarm, and in turn, roared after their customers:
But the pious teachers forgot it was only the fervour of a day, which
would cool of itself; that the fiercer the fire burns, the sooner it
will burn out.
This declaration of war, fortunately happening at the latter end of
summer, the campaign was over, and the company retreated into winter
quarters, without hostilities.
It was afterwards found, that two theatres were more than the town chose
to support; therefore that in Moor-street was set for a methodist
meeting, where, it was said, though it changed its audience, it kept its
primeval use, continuing the theatre of farce.
In 1774, the theatre in King-street was enlarged, beautified, and made
more convenient; so that it hath very few equals.
About the same time that in New-street was erected upon a suitable spot,
an extensive plan, and richly ornamented with paintings and
scenery.--Expence seems the least object in consideration.
An additional and superb portico, was erected in 1780, which perhaps may
cause it to be pronounced, "One of the first theatres in Europe."
Two busts, in relief, of excellent workmanship, are elevated over the
attic windows; one is the father, and the other the refiner of the
British, stage--Shakespear and Garrick.
Also two figures eight feet high, are said to be under the chissel, one
of Thalia, and the other of Melpomene, the comic and the tragic muses;
the value one hundred and sixty guineas. Places are reserved for their
reception, to augment the beauty of the front, and shew the taste of
the age.