Samuel Phelps' revival of The Duchess of Malfi at Sadler's Wells on November 20, 1850 resulted in Webster's tragedy holding the boards in Great Britain and America for some twenty-five years. These performances were enumerated and their casts identified in an earlier article. I want now to attempt a fuller description of some representative productions, both for the light they throw upon the attitudes and practices of nineteenth-century theatre and for the useful insights they give us into the nature of Webster's tragedy itself.

Little is known about the productions of Thomas-Killigrew's plays before the closing of the theaters, and there is even considerable doubt whether some of them were produced at all. During the Interregnum Killigrew lived in exile on the Continent and lacking playhouse, playgoers and actors, nevertheless continued to write his plays as “a diversion.” With the restoration of King Charles II to the throne of England, however, Killigrew's theatrical fortunes rose considerably. On August 21, 1660 Charles II issued a grant bestowing upon Killigrew, then a Groom of the Bedchamber, and upon Sir William Davenant “full power and authority to Erect two Companies of Players.”

The first use of the limelight in the theatre occurred on December 26, 1837, at Covent Garden, then under the management of William Charles Macready. This marked the beginning of modern stage lighting. The limelight was the first practical spotlight used in the theatre, and the use of the spotlight is basic to all modern lighting theory and practice. To make a spotlight two things are necessary, a lens and a point source of light of high intensity. (The light source must be small so that it can be focused by the lens.) A reflector can be added to increase the efficiency of the instrument. Reflectors and lenses had been in use for several centuries, but until this time there was no light source of sufficient brilliance which was at the same time small enough to make the spotlight practical.

The American theatre patron of the 1840's knew what he liked in entertainment, and he expressed himself vigorously on the subject. His tastes were highly eclectic. Melodrama and romantic spectacle were his dramatic staples at a theatrical buffet which also included phrenologists, magicians, ventriloquists, jugglers, automatons, and a whole range of human physical oddities from Siamese twins to Belgian giants, not the least of which was one Hervio Nanno who, although handicapped by withered legs, boasted hands and arms of such strength that, dressed as a green fly, he literally could climb all over the theatre and auditorium.

One of the highpoints of theatrical management in London during the early part of the 19th century was achieved by Madame Vestris in the nine seasons she operated the Olympic Theatre from January 3, 1831 to May 31, 1839. Important contributions in management, acting and scenic decor were made and have been commented upon. The free list was suspended; the practice of “puffing” (praising a work in advance of actual performance) was abandoned; the final curtain was rung down each night at 11 P.M. instead of the usual hour of midnight; actors' benefit performances were abolished; failures were withdrawn as quickly as possible from further performances; and by allowing no one behind the scenes to visit with actors and actresses the general atmosphere backstage was improved.