Part 50

~Theatrical Jottings.~--What accommodation, if any, was provided here for "their majesties' servants," the playactors, in the times of Queen Anne and her successor, George I., is not known, but as Hutton tells us that in 1730 the amusements of the stage _rose_ in elegance so far that threepenny performances were given "in a stable in Castle Street," we may be sure the position held by members of the profession was not very high in the estimation of our townsfolk previous to that period. Indeed, it would almost seem as if the acting of plays was quite an innovation at the time named, and one that met with approval, for shortly after we read of there being theatres in Smallbrook Street, in New Street, and "a new theatre" in Moor Street. The first-named closed in 1749 or 1750; the second is _supposed_ to have been on the site of the present Theatre Royal, but it could not have been a building of much importance as we find no note of it after 1744; the third, built in 1739, was taken possession of by the disciples of Wesley, and on March 21, 1764, was opened as a chapel. Previous to the last event, however, another theatre had been erected (in 1752) in King Street, leading out of New Street, near to the Free School, which, being enlarged in 1774, is described by Hutton as having few equals. In this year also (1774) the Theatre Royal was erected (at a cost of nearly £5,700) though the latter half of its title was not assumed until August, 1807, on the occasion of the Royal assent being given to the house being "licensed." A bill had been introduced into the House of Commons for this purpose on the 26th of March, 1777, during the debate on which Burke called Birmingham "the great toyshop of Europe," but it was thrown out on the second reading. The King Street Theatre, like its predecessor in Moor Street, after a time of struggle, was turned into a place of worship in 1786, a fate which, at a later date, also befell another place of public entertainment, the Circus, in Bradford Street, and the theatrical history of the town, for a long term of years centred round the Theatre Royal, though now and then spasmodic attempts were made to localise amusements more or less of a similar nature. One of these, and the earliest, was peculiarly unfortunate; early in 1778 a wooden pavilion, known as the "Concert Booth," was erected in the Moseley Road, dramatic performances being _given_ between the first and last parts of a vocal and instrumental concert, but some mischievous or malicious incendiary set fire to the building, which was burnt to the ground Aug. 13 of the same year. Four years later, and nearly at the same date (Aug. 17) the Theatre in New Street met with a like fate, the only portion of it left being the stone front (added in 1780) which is still the same, fortunately coming almost as safely through the next conflagration. The proprietors cleared away the ruins, and erected a more commodious structure, which, under the management of Mr. William Macready, was opened June 22, 1795. In the meantime, the King Street Theatre having been chapelised, the town appears to have been without any recognised place for dramatic entertainments other than those provided in the large rooms of the hotels, or the occasional use of a granary transmogrified for the nonce into a Thespian arena. On the night of the 6th of January, 1820, after the performance of "Pizarro," the Theatre Royal was again burnt out, but, possibly from having their property insured up to £7,000, the proprietors were not so long in having it rebuilt, the doors of the new house being opened on following Aug. 14. This is, practically, the same building as the present, which has scats for about 3,500, the gallery holding 1,000. Many of the first artists of the profession have trod the boards of the Old Theatre since the last-named date, and Birmingham has cause to be proud of more than one of her children, who, starting thence, have found name and fame elsewhere. The scope of the present work will not allow of anything move than a few brief notes, and those entirely of local bearing, but a history of the Birmingham stage would not be uninteresting reading.

A wooden building in Moor Street, formerly a circus, was licensed March, 19, 1861; closed in 1863, and cleared off the ground in 1865.

Theatrical performances were licensed in Bingley Hall in 1854.

The Prince of Wales Theatre, previously Broad Street Music Hall, was opened in 1862. It was reconstructed in 1876, and has accommodation for an audience of 3,200.

The Holte Theatre was opened May 12, 1879, the license to the Lower Grounds Co. being granted November 29, 1878.

The last new Theatre, the Grand, in Corporation Street, must rank as one of the handsomest edifices in the town. It faces what was once the Old Square, and has a frontage of 120ft., the height to the cornice of the roof being 52ft., the whole being capped with a dome, supporting a winged figure of Auroro, which, drawn in a car by prancing horses, is 15ft. high. The interior is laid out in the most improved modern style, ornately decorated throughout, and provides accommodation for over 3,000 persons. The cost is put at £30,000, of which £17,000 went to the builders alone, and the theatre is the property of Mr. A. Melville. The opening day was Nov. 14th, 1883.

The "Interlude of Deritend Wake, with the representation of a Bull-baiting" was part of the performance announced at the King street Theatre, May 31, 1783.

Mrs. Sarah Siddons, whose _début_ in London the previous season had been anything but successful, came to Birmingham for the summer season of 1776. Henderson, one of her colleagues here, notwithstanding the Drury Lane veto, declared that she was "an actress who never had an equal nor would ever have a superior"--an opinion quickly verified.

One of Kean's benefits was a total failure. In the last scene of the play "A New Way to Pay Old Debts," wherein allusion is made to the marriage of a lady, "Take her," said Kean, "and the Birmingham audience into the bargain."

Garrick was visiting Lord Lytton at Hagley on one occasion when news was brought that a company of players were going to perform at Birmingham. His lordship suggested that Garrick should write an address to the audience for the players. "Suppose, then," said he, "I begin thus:

"Ye sons of iron, copper, brass and steel, Who have not heads to think, nor hearts to feel."

"Oh," cried his lordship, "if you begin like that, they will hiss the players off the stage, and pull the house down." "My lord," replied Garrick, "what is the use of an address if it does not come home to the business and bosoms of the audience?"

A "Birmingham Garrick," was the name given to an actor named Henderson (1782), whose friends did not think him quite so great a tragedian as he fancied himself.

Kemble made his last appearance on the Birmingham stage July 9, 1788.

Robinson Crusoe, or Harlequin Friday, was the pantomime in 1790.

Madame Catalini first appeared at Royal in 1807.

Incledon, the famous tenor, sang here first time in same year.

William Charles Macready made his _debût_ on the stage of the Royal as _Romeo_, June 7, 1810. He took his farewell benefit Aug. 13, 1871.

Alfred Bunn had the Theatre in 1823, during which year there appeared here Mr. and Mrs. C. Kemble, W.C. Macready, Joey Grimaldi, Miss Ellen Tree (afterwards Mrs. Charles Kean), W. Farrer, Braham, Elliston, Dowton, Rignold and Power.

Barry Sullivan was born here in 1824.

In 1824 the whole town was up in arms taking part in the "Battle of the Preachers and the Players," which was commenced by the Rev. J. Augell James delivering a series of sermons bitterly inveighing against the theatre, as a place of amusement, and pouring forth the most awful denunciations against the frequenters thereof. Alfred Bunn, the manager, was not slow to retort. He put "The Hypocrite" on the boards, Shuter, the clever comedian and mimic, personating Mr. James in the part of _Mawworm_ so cleverly that the piece had an immense run. The battle ended in a victory for both sides, chapel and theatre alike being crammed. If it pleased the godly it was a god-send for Bunn whose exchequer it filled to repletion.

Signer Costa was at the Festival in 1829, and he afterwards appeared on the stage at the Royal.

Paganini first fiddled at the Royal, January 22, 1832.

Sheridan Knowles, Macready, Paganini, Matthews, and Miss Ellen Tree were among the Stars at the Royal in 1833.

Mercer H. Simpson took the management of the Royal in 1838. His farewell benefit was on December 16, 1864, and he died March 2, 1877, aged 76.

Sims Reeves' first visit to this town was in May, 1843; his last appearance at the Festivals was in 1873; at the Royal in May, 1875, and at the Town Hall, March 25, 1884.

Jenny Lind first sang here Aug. 29, 1847; she sang for the Queen's Hospital at Town Hall, Dec. 28, 1848; her last concerts were Jan. 22-23, 1862.

Madle. Rachael first played here Aug. 19, 1847.

Charles Dickens and his amateur friends gave their special performances in aid of the Shakespeare House Fund, at the Royal, June 6 and 27, 1848, the receipts amounting to £589.

Variety was not wanting at our New Street Theatre in 1852. Among the artistes advertised to appear were: A strong Man who had 5 cwt. of stone broken (by a sledge hammer) on his chest nightly; performing Dogs and Horses; Madame Grisi, Signor Mario, Haymarket Company, Benjamin Webster, and Madame Celeste, etc., etc.

Miss Menken, the female _Mazeppa_, appeared at Prince of Wales', May 15 1865, and at the Royal in Nov. 1807.

Miss Neilson's first appearance here was in Nov. 1868, in an adaptation, by Mr. C. Williams, a local dramatist, of Miss Braddon's "Captain of the Vulture."

Mr. Irving first appeared as _Hamlet_ in this town at Prince of Wales', Dec., 1877.

Sarah Bernhardt was at Prince of Wales', July 4-6, 1881.

Kyrle Beilew last appeared here at Prince of Wales', Sept, 17, 1881.

Mrs. Langtry was at Prince of Wales', May 29, 1882.

Edwin Booth's first appearance here was at the Royal, as _Richelieu_, Dec. 11, 1882.

Bobby Atkins, whose real name was Edward, was the most popular comedian of the Royal, with which he had been connected for more than twenty-five years. He died in 1882, in his 64th year. His bosom friend, John Barton, made his exit from the world's stage April 16, 1875.

Sir. George Rignold's mother is stated by Mr. Thomas Swinbourne (himself a native) to have been a leading actress of the Theatre Royal and very popular, as indeed she would necessarily be, her _role_ of parts including _Hamlet_ and _Virginius_. The father was, says Mr. S., "an admirable terpsichorean artiste, and George inherits the talents of both parents, with a dash of music besides, for, like _William_, in 'Black-eyed Susan,' he 'plays on the fiddle like on angel.'"

Two or three of our places of amusement have been turned into chapels permanently, and therefore it was hardly a novelty to hold "Gospel services" in the Prince of Wales's Theatre, October 3, 1875, but it was to their credit that "the gods" behaved themselves.

~Time.~--When it is exactly twelve at noon here in Birmingham, it is 7min. 33secs. past at Greenwich, 12min. 50secs. past at Dover, and 16min. 54secs. past at Paris; while it wants 1-1/2mins. to the hour at Manchester, 9-1/2min. at Glasgow, 17min. 50secs. at Dublin, and 26-1/2mins. at Cork. At Calcutta, the corresponding time would be 6.1-1/2 p.m., Canton 7.40 p.m., Japan 9.15 p.m., Mexico 5.34 a.m., New Orleans 8.5 a.m., New York 7.11 a.m., New Zealand 11.45 p.m., Nova Scotia 7.55 a.m., San Francisco 4.5 a.m., St., Petersburg 2.10 p.m., Sydney 10.12 p.m., and at Washington just seven o'clock in the morning.

~Tithes.~--One hundred and fifty years ago (if not, considerably later) the Rector of St. Martin's was paid tithes in cash based on the value of the crops, &c., one acre of good wheat being tithed at 7s. 6d.; an acre of good barley at 4s. 4-1/2d.; an acre of flax and hemp, if pulled, at 5s.; an acre of good oats, peas, or potatoes, and all kinds of garden stuff at 3s. 9d.; for meadow land 4d. an acre, and 2d. for leasow (or leasland); 3d. being claimed for cow and her calf. 1-1/2d. for each lamb, &c. In course of time these payments were changed into a fixed tithe rent, but before matters were comfortably settled, the Rector found it necessary to give notice (April, 1814) that he should enforce the ancient custom of being paid "in kind." The gun trade was brisk at that time, but whether the reverend gentleman took his tenths of the guns, what he did with them, or how the parties came to terms is not recorded.--The tithes formerly due in kind to the Vicar of Edgbaston were commuted by Act passed June 8, 1821, into art annual "corn rent," payable by the occupiers or all kinds in the parish.

~Tower.~--Originally, all guns made here for Government, had to be put together in London, but when the French Revolution broke out, it was seen that a quicker mode of procedure was necessary, and an establishment in Bagot Street was erected in 1798, where all guns for Government were viewed and stamped with the "Tower" mark. Hence the name.

~Town Criers~ were first appointed in 1526. Jacob Wilson entered into office May 4, 1853, and was pensioned off with 15s. a week in August, 1879, after a family tenure of the office, according to Jacob, of about 350 years. Surely it was a crying shame to stop the children of that family from crying in the future. The last of the criers did not last long after deposition from office, Jacob's last words being uttered in 1881.

~Town Improvements.~--Some fifty and odd years ago Dobbs, a local comedian, used to sing,

"Brumagem has altered so, There's scarce a place in it I know; Round the town you now must go To find old Brumagem."

Had he lived till these days he might well have sung so, for improvements are being carried out so rapidly now that in another generation it is likely _old_ Birmingham will have been improved off the face of the earth altogether. Prior to the days of steam, our forefathers went about their work more leisurely, for it was not until 1765 that the Act was obtained for the "enlightening" of the streets, and four years later when the first Act was passed (April 21, 1769) for street improvements. The Street Commissioners appointed by this Act, and who held their first meeting May 22, 1769, for many years did little more than regulate the traffic of the streets, keep them clean_ish_, and look after the watchmen. In course of time the operations of the said Commissioners were extended a little, and it is to them that we owe the existence of the central open space so long known as the Bull Ring, for they gave £1,730, in 1801, for the removal of nine tenements there and then blocking the way. Money must have been of more value then than now, for if such a purchase was necessary at the present date one or two more figures would require being added to the amount. This town improvement was completed in 1806, when the Commissioners purchased the remaining houses and shops round St. Martin's, but property owners had evidently learned something during the five years, for whereas the Commissioners at first estimated the further cost at £10,957, they reluctantly had to provide no less than £22,266, the additional sum required being swallowed up by "incidental expenses." The poet already quoted had apparently been absent during these alterations, for he wailingly bemoaned--

"Poor old Spiceal Street half gone, The poor old Church stands all alone, And poor old I can only groan, That I can't find Brumagem."