Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Abbreviations
- Introduction
- 1 Making Up a Company
- 2 Brussels
- 3 Navigating up the Rhine
- 4 Moving into the Interior
- 5 Berlin
- 6 On to Vienna
- 7 Hungarian Rhapsodies
- 8 Comparisons and Contrasts
- 9 Personal and Personnel Matters
- 10 Hungarian Rap Sheet
- 11 Prussia, Germany, Switzerland
- 12 Homeward Bound
- 13 Interpreting Shakespeare
- 14 Further Travels
- Appendixes
- Notes
- Selected Bibliography
- Index
- Miscellaneous Endmatter
12 - Homeward Bound
Published online by Cambridge University Press: 05 December 2013
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgments
- Abbreviations
- Introduction
- 1 Making Up a Company
- 2 Brussels
- 3 Navigating up the Rhine
- 4 Moving into the Interior
- 5 Berlin
- 6 On to Vienna
- 7 Hungarian Rhapsodies
- 8 Comparisons and Contrasts
- 9 Personal and Personnel Matters
- 10 Hungarian Rap Sheet
- 11 Prussia, Germany, Switzerland
- 12 Homeward Bound
- 13 Interpreting Shakespeare
- 14 Further Travels
- Appendixes
- Notes
- Selected Bibliography
- Index
- Miscellaneous Endmatter
Summary
Aldridge appears to have left Switzerland with the hope of securing employment at Munich's Court Theater, which was run by Dr. Franz von Dingelstedt, with whom he had sought an engagement two years earlier, but again nothing was offered to him there. On August 20, the Münchener Punsch reported that “the African actor, the Othello au naturel, the Esslair of Senegal, the tropical Grunnert [sic], the Dahn of the wilderness—has departed our city again after a long stay to return to London. Since Mr. Aldridge did not have an English troupe with him, and since, given the local conditions, it did not seem appropriate for him to play his English lead role with German actors, we were unfortunately unable to see this notable actor.” Accordingly, Aldridge began to consider other options. On August 24 he sent a letter, translated into French, to a theater manager in Paris, proposing to bring a troupe of British actors to the French capital:
Sir,
For three years I have toured the principal cities of Germany, Austria, Hungary, etc., where my representations have been crowned with the greatest success. It is unheard of that a person of African nationality should have attempted to play dramatic roles. The success I have had in the greatest theaters of Germany, that is to say, at Berlin, Vienna, Wurtemburg, Frankfurt/M, has increased my desire to make an attempt in the French capital. His Majesty, the King of Prussia, has condescended to honor me with the Large Gold Medal for Art and Sciences, the Emperor of Austria with the Medal of Ferdinand, and Switzerland with the White Cross. I have also received letters of recommendation from the courts of Prussia, Austria, and Saxe-Coburg to the court of France. My intention is to come to France with a troupe of English players to give the following representations: Othello, Macbeth, King Lear, Richard III, The Merchant of Venice, and Bertram. My conditions are as follows: I ask for a guarantee to cover the expenses I will have to bring my troupe to Paris, and the engagement must be for twelve nights. For each performance I ask for half the net receipts or a fixed salary.…
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- Ira AldridgePerforming Shakespeare in Europe, 1852-1855, pp. 199 - 224Publisher: Boydell & BrewerPrint publication year: 2013