Theatre from Restoration through Romanticism
Restoration and 18th Century

1. When was the English Restoration?

From 1660 to 1700.

     To whom was the English crown restored?

Charles II (reign :1660 to 1685 )

2. What are the characteristics of a Restoration Comedy of Manners?

Restoration (and 18th century) comedy ridiculed human failings-- breaches of a "sophisticated code of manners" established by the courtiers of Charles II. They assumed (but never stated) an ideal mode of life which they expected the audience to accept.

The Ideal Gentleman was well born, dressed well, was poised and witty, skilled in love making, was able to conduct several affairs simultaneously, never boasted of his affairs, was always discreet, and never fell in love (or showed true compassion). If he was married, he could not be jealous if his wife took a lover.

The Fashionable Young Lady was familiar with the world of intrigue, but did not become involved in it. If she was a widow (or married to an older man) she could take a lover, as long as she was not found out. If she was married, she should not expect constancy in her husband.

3. What title do many consider the best example of an English Comedy of Manners?

William Congreve's (1670-1729) The Way of the World (1700). Read the play snyopsis on page A-4 in the Appendix.

4. What type of dramas did John Dryden write?

Dryden (1631-1700) is primarily remembered for his Neo-Classic tragedies.

5. What is the title of his most important play?

All For Love, or A World Well Lost (1677)

6. On what earlier work is it based?

William Shakespeare's Anthony and Cleopatra.

     What changes did he make?

He condensed the 15 years of dramatic time in Shakespeare's play into one 24 hour day. He compressed Shakespeare's large cast (30 men and 4 women) drama into a much smaller and more managable size (6 men and 4 women). Unlike Shakespeare who had scenes in Rome and Egypt, Dryden's play takes place in one location: in front of the temple of Isis in Alexandre, Egypt. He took Shakespeare's episodic tragedy, and turned it into a small cast climactic tragedy which observed the unity of time and place.

7. How did the actor-manager system function?

During the Elizabethan period, the acting company was a stock company. The control of the organization was vested in the "shareholders." A Restoration acting company was owned and controlled by one man: the manager. He usually was the leading actor of the company, and chose those plays which best exhibited his abilities. The remainder of the acting company was hired and did not share in the company's profit (or loss).

8. Who was the leading English actor-manager of the 18th Century?

David Garrick (1717-1779). In addition to being an actor with over ninety roles in his repertory and the manager and "patent holder" of Drury Lane (1747 to 1776), he was a playwright, director and designer. As a director he oversaw the entire production process. He expected his actors to be on time, to have their lines memorized, and to act during rehearsal. As a designer he introduced appropriate and historically accurate costumes to the English stage.

9. When were women introduced onto the English stage?

During the Restoration.

10. What problems did theatre managers encounter when hiring an actress?

Since acting was still socially unacceptable, it was often difficult recruiting women to perform on stage. There also were few women's roles in the plays (primarily the work of Shakespeare) that most managers staged.

11. Who was Nell Gwynn?

Nell Gwynn (1650-1687), one of the most popular comic actress of the Restoration, performed for only four years: 1665-1669. During her tenure on stage she became the mistress of King Charles II and bore him two illegitimate sons. She was retired from the stage, by order of the King, in 1669.

12. What was a legitimate theatre?

They were the only legal theatres in London permitted to present full length (five act) dramas. These theatres were also known as Royal Theatres (because they were licensed by the King ) and Patent Theatres (because the document which licensed them was called a patent).

13. How many legitimate theatres operated in London during the 17th century?

Two. These were originally (in 1660) the two playhouses managed by William Davenant (1606-1668) and Thomas Killigrew (1612-1683). After parliment passed the Licensing Act of 1737, the two legitimate houses were Covent Garden and Drury Lane.

     How long did they retain this monopoly?

183 years, from 1660 to 1843.

14. What was a minor theatre?

A minor theatre was a London playhouse which could not perform "regular" drama.

     What type of plays were they permitted to present?

1. Short plays (two or three act),
2. Operas,
3. Melodramas and
4. Illustrated lectures.

15. What did the Restoration stage look like?

The Restoration stage was a proscenium theatre with a deep forestage or apron. There was a proscenium opening which framed the scenery. Most of the action took place on the forestage. Entrances and exits were made through doors on the either side of the apron.The 650 seats (in 1700) were distributed between the pit, boxes, and galleries. The most expensive seats were in the private boxes (four shillings) which surrounded the first floor pit (two shillings, six pence). The cheapest seats were in the two galleries (one shilling, six pence and one shilling). See the illustration of Drury Lane on page 319.

16. What type of scenery was used on an English Restoration stage?

Restoration theatres used the wing - border - backdrop style of scenery. Because of the cost, scenic units painted for one show were usually incorporated into a theatre's stock set for use in other productions.

17. What type of comedies did Richard Sheridan write?

Sheridan (1751-1816) is remembered for his sentimental comedies. Like Restoration comedy, they were also a comedy of manners, but they reaffirmed middle class morality.

18. What is the title of his most important work?