Book contents
- Frontmatter
- Part 1 Introduction
- Part 2 Performance and context
- Part 3 Text and context
- 7 Comedy and farce
- 8 Encountering melodrama
- 9 The music hall
- 10 Theatre of the 1890s
- 11 New theatres for a new drama
- 12 The fallen woman on stage
- 13 Reimagining the theatre
- 14 The East-End theatre
- Select bibliography
- Index
- Series List
11 - New theatres for a new drama
from Part 3 - Text and context
Published online by Cambridge University Press: 28 May 2006
- Frontmatter
- Part 1 Introduction
- Part 2 Performance and context
- Part 3 Text and context
- 7 Comedy and farce
- 8 Encountering melodrama
- 9 The music hall
- 10 Theatre of the 1890s
- 11 New theatres for a new drama
- 12 The fallen woman on stage
- 13 Reimagining the theatre
- 14 The East-End theatre
- Select bibliography
- Index
- Series List
Summary
In 1904, the Court Theatre was a shabby, late-Victorian playhouse seating barely more than 600 patrons, a few underground stops away from the fashionable “theatreland” of the West End. That spring, H. Granville Barker, twenty-seven, an actor, director, and playwright, hired to direct and to play a supporting role in a production of The Two Gentlemen of Verona, booked the theatre for a series of matinees of Candida, by George Bernard Shaw. By the following fall, Barker, in partnership with J. E. Vedrenne, the business manager for the theatre's previous principal lessee, embarked on his own management of the theatre. Every second week a new staging would be given three matinee performances; if public attention or artistic merit warranted, the production would be moved into the evening bill for a limited run.
- Type
- Chapter
- Information
- The Cambridge Companion to Victorian and Edwardian Theatre , pp. 207 - 221Publisher: Cambridge University PressPrint publication year: 2004
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