Document ID ET-D434, Image 2 of 8
Programme of Charles Kean's production of "The Winter's Tale" at The Princess's Theatre in 1856. The free list is entirely suspended. Monday May 19th, & During the week, The Performers will commence with [?][?][?][?][?][?][?][?][?][?][?][?] A New [?] in One Act, by C. Dance. Esq. called The Victor Vanquished. Charles the Twelfth King of Sweden, (under the [?] Name of the [?] [?] - Mr. Frank Matthews, Baron de [?] (his secretary) - Mr. Barley, Servant - Mr. Daly, [?] (Niece of the [?] a [?]) - Miss Carlotta [?]. After which will be presented (19th, 20th, 21st, 22nd, 23rd & 24th [?]) Shakespeare plat of the Winters Tale. (The performance terminates by a quarter-part [?]). The Scenery under the Direction of Mr. Grieve, and painted by Mr. Grieve, Mr. W. Gordon, Mr. F. Lloyds, Mr. Cuthbert, Mr Dates, Mr Morgan, Mr C. Gordon and numerous Assistants. The overture and music composed for the [?] by Mr. J. l. Matton. The Dresses and [?] by Mr. Oscar [?]. The Decorations and Appointments by Mr. [?]. W. Bradwell. The Dresses by Mrs and Miss [?]. The Machinery by Mr. [?] [?], [?] Mr [?] of No 13, New Bond Street. For Authorities for Costumes, see End of the Book, Published & Sold in this Theatre. [?] (King of [?]) – Mr. Charles Kean, [?] (his son) – Miss Ellen Terry, ([?] Lords), Camillio – Mr. Graham, Antigonus – Mr. Cooper, Cleomence – Mr. J. F. Cathcart, Dion – Mr. Q. Everett, Two other Sicillian Lords – Mr. Barsby and Mr. Raymond, Elder of the [?] - Mr. Rolleston, Officer of the Court of Judicature – Mr Terry, An Attendant on the young Prince [?] - Mr. Brazier, [?], King of Bithyata – Mr. Ryder, Flortzel (his son) – Miss Heath, [?] (a [?] Lord) – Mr H. Mellon, A [?]. Mr. Paulo Keeper of the Prison. Mr Collett, An Old Shepherd – (reputed Father of [?]) – Mr. Meadows, Clown, (his son) – Mr. H. Saker, Servant to the Old Shepherd – Miss Kate Terry, [?] (a [?]) – Mr. Harley, Time, as Chores – Mr. F. Cooke, Hermione (Queen to [?]) – Mrs. Charles Kean, Perdita (Daughter to [?] and Hermione) – Miss Carlotta [?], Pauline (Wife to [?]) – Mrs. Ternan, [?] (a Lady) – Miss Clifford, Two other Ladies (Attending on the Queen) – Miss Eglinton, Miss. M. Ternan, Shephereders, [?] - Miss. J. Brougham, [?] - Miss E. Brougham. Lords, Ladies and Attendants. [?] for a Dance, Shepherds, [?], Guards &c. Scene – Sometimes in Sicilia, Sometimes in Bithynia. Act 1 – Scene 1 – Sicilia. View of the Temple of Minerva at Syracuse (Restored). In the foreground the Fountain of Arethusa (Restored). Time- [?]. Scene 2. Banqueting Room in the Palace in which will be introduced the Pyrrhic Dance. Act 2 – Scene 1 Court of the Gynaeconitis or women's apartments. Scene 2. A Prison. One of the [?] or Prisons of Syracuse, excavated out of the Rock and known as the Ear of [?]. Scene 3. A Room in the Palace, with view of part of the city of Syracuse. The Designs of the tapestries in this Scene are taken from some of the richest [?] [?] vases discovered in the South of Italy. Act 3 – Scene, the Theatre at Syracuse prepared for The Trial of Queen Hermione. Act 4 – Scene 1 Bithynia. A desert country near the sea. A Classical Allegory, representing the Court of Time. Luna in her car, accompanied by the [?] (personified) [?] before The Approach of Phoerus, Chronos. As Time, [?] the Glove, describes the Events of the Sixteen Years supposed to have elapsed. Ascent of Phoebus in the Chariot of the Sun. Scene 2. A Room in the Palace of Polixenes. Scene 3. A Road Near the Shepherd's Farm. Scene 4. A Pastoral Scene in Bithynia with a Distant View of the City of [?], on the Lake [?]; together with the Chain of Lofty Mountains, known as the Mysian Olympus. [?] will be introduced Dance of Shepherds & Shepherdesses, and also the Festival of Dionysus (or Bacchus). Act 5. – Scene 1 – Sicilia. Garden of the Palace Leontes. This Scene is adapted from a Drawing found at [?]). Scene 2. The Tombs of Syracuse (Restored) Sunset. Scene 3. The Peristyle of Paulina's House with part of The Sculpture Gallery. Night. Shakespeare's Play of The Winter's Tale will be repeated every evening. Preceded by the Victor Vanquished. Books of Shakespeare's Play of the Winter's Tale as arranged for representation of the Royal Princesses' Theatre, with Historical and Explanatory Notes, by Charles Kean, may be had at the Box-Office of the Theatre, Price One Shilling. Stage Manager, - Mr George Eillis, Treasurer. Mr. S. Lambert. Box Book-Keeper – Mr. [?]. Dress Circle 5s. Boxes 4s. Pit 2s. Gallery, 1s. Second Price – Dress Circle, 2s. 6d., Boxes, 2s. Pit, 1s, Gal., 6d. Orchestra Stalls, 6s. Private Boxes, £2 12s. 6d, £2 2s & £1 11s 6d. Box office [?] [?] [?] a Quarter is [?] o'clock. Doors open at Half-past 6. Performances commence at 7. Private Boxes and Stalls may be obtained at the Libraries and of Mr. Massingham at the Box-Office of the Theatre Oxford Street. Any person wishing to secure places can do so by paying One Shilling [?] every party and [?] [?], which [?] will be [?] until 9 o'clock to the Boxes and in the Stalls the Whole [?]. Gallery Door in Castle Street, Children in Arms will not be admitted. [?] [?] will commence [?] [?] [?] o'clock [?] [?] [?] with the [?] [?] of the Performance. [?] [?] [?] [?] to be made to Mr. Treadaway, at the Stage Door [?][?][?][?][?][?][?][?][?][?][?][?][?][?]. Note by the Producer. The last revival of "The Winter's Tale" was that produced by Miss Mary Anderson, at the Lyceum, 1887. This production was a memorable one, for not only was it distinguished by great taste and beauty in its outward treatment, but it afforded the young American actress an opportunity of doubling the parts of Hermione and Perdita, and it would be difficult to determine whether Miss Anderson distinguished herself more by her an impressive tragedy as Hermione, or by the winning charm of her comedy as Perdita. In the character of Leontes, Mr. Forbes Robertson shared in Miss Anderson's triumph. The production of Charles Keane, in which, as is well known, Miss Ellen Terry made her first appearance on the stage, at the Princess's Theatre, was on a most elaborate scale – of its sumptuousness some idea is conveyed by the descriptive playbill issued at the time, of which are reduced facsimile reproduction will be found on the opposite page. It is often supposed that elaborate decoration is entirely of modern growth - but indeed, as will be seen by a glance at the playbill of 1856, the productions of the late Charles Kean appear to have been treated with a care for detail and a lavishness of outlay considerably in excess of our more simple methods of to-day. Following the custom of this Theatre, in regard to Shakespearean productions, the play has been compressed into three Acts. Thus Act 1. ends with the Trial Scene corresponding with Act III., Scene 2 of that printed text. It is thought that by this means an approach is made towards the Shakespearean ideal swift and coherent action. While no liberties have been taken with the text, certain novelties in the treatment have been introduced. Thus, in the Prison Scene in Act 1., the newborn child of the imprisoned Hermione is seen, and it is thought that situation may thus gain an added poignancy. Again, in the Scene outside the Shepherd's Cottage, Florizel comes in the early morning to awaken his beloved Shepherdess by throwing a posy in at her window. The young maid, nothing loth, steals forth into the dew in the company of her lover to gather flowers for her garlands. Autolycus asleep in the tall grass, awakens, for this snapper-up of unconsidered trifles rises early. The present version begins as it ends, with a solemn note – the singing of the hymn to Apollo. This hymn, it is interesting to record, was discovered, engraved on marble, At Delphi, in May 1893 by the French Archaeological School in Athens. It was composed about 278 B.C. In treating a play such as "The Winter's Tale" in which the classic element is overlapped by English medievalism some difficulty is of course experienced in deciding upon the presumed period of the play. The anachronisms in the text are numerous and well known. The introduction of the Oracle of Delphi, the Emperor of Russia mentioned as Hermione's father, the statue of Hermione presumed to be the work of an Italian Painter, Giulio Romano, the existence on a sea coast of Bohemia, the description of the sheep shearer as a "Puritan" who "sings psalms to horn pipes"; all these and others are anachronisms which prevent any definite period been assigned to the play and triumphantly vindicate the poet's superiority or indifference to the considerations of time, Space and archaeological accuracy. I have again been fortunate in securing the cooperation of Mr. Percy Macquoid, R.I., in designing the costumes and although, under the circumstances it has been impossible that's the costumes of Bohemia and Sicily should be historically contemporaneous, they are in either case absolutely representative of mediaeval Europe and classic Sicily. The music has been arranged by the Musical Director of the Theatre, Mr. Adolph Schmid. I welcome our honoured guest, Miss Ellen Terry, and the distinguished Company which surrounds her at his Majesty's Theatre during my absence. To the public I commend this, my twelfth Shakespearean production, the first production at this Theatre in which the name of the present Manager has been absent. H.B.T.
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