NOTES AND QUERIES. [12 s. m. AUG., 1917.
identification is derived from a letter of
which I transcribe the principal portions,
though the name of the manager to whom it
was addressed does not appear :
DEAR SIR,
Animated by no motive beyond a sincere wish for yoar service, I have ventured to introduce the following few observations to your notice, in the firm hope, however mistaken I may be in my ideas, that yon will do justice to the friendly spirit with which they are offered.
After seriously revolving in my mind the present state of things at the Pantheon, I am led to these conclusions. Either that no specific plan of management has been laid down, or that that plan is wholly and absolutely wrong.
I have already given my opinion that a suc- ession of old, worn-out pieces will neither contribute to the amusement of the public, nor the emolument of the proprietor, and this for two reasons. If the pieces are intrinsically bad. they will attract no-where ; if otherwise, are they not more likely to draw an audience to the established theatres, where everything that can justify curiosity is to be foand in perfection ?
If we turn to the Surrey Theatre, Astley's, &c.> we see a different system set in action, and carried on with success. No rivalry is entered into with the regular theatres ; three or four original pieces are all that the season produces ; they are striking and shewy, brought forward with little expence, and productive of astonishing advantage.
In proof of the superiority of this plan, we have only to look to the change of performances which Mr. Elliston has been compelled to adopt at the S[urrey] Th[eatre] after a long struggle to establish his burlettas from the regular drama, supported by the exertions of himself, Dowton, De-Camp, Mrs. Edwin, &c. What has been the consequence ? He lost some thousands of pounds, dismissed his great actors, withdrew from his own boards, and is now making money by ' Gellert, the Faithful Dog,' and other pro- ductions of the same class.
" If thy right eye offend thee, pluck it out. If thy right hand offend thee, cut it off." If, then, your theatre is a losing speculation, shut it up. Close your doors for a limited space, and then reopen with a species of amusements more likely to give satisfaction, and, in that, better cal- culated to ensure your success ....
Do not for a moment suppose that I presume to dictate, where I only venture to advise, and be 'convinced that whether those observations, which a long life of theatrical experience gives me some claim to make, be or be not honored with your approval, yet that nothing will give me greater satisfaction than to feel assured that you regard my humble endeavours as intended tojpromote your welfare and as sure tokens of my good will.
Dear Sir, I have the honor to be
Your sincere friend and servant, DOMENICO CORRI.
Friday, September 24th, 1313, Bathbone Place.
Many years later (actually March, 1839) this place was reopened as the Pantheon
Amateur Theatre or Dramatic Academy.
The announcement (Weekly Dispatch, Mar. 3,
1839) is worth transcribing for its fine
suggestion of the immortal Turveydrop :
Smythson, Professor and Preceptor of the Protean Art, Agent to British and Foreign Theatres, Purchaser and Vendor of Dramatic Property, announces the opening of this Thespian Saloon to-morrow, Monday. This great desi- deratum will be devoted to the concentration and nurture of talent for the immediate supply of the metropolis, and facilitating the intercourse between Provincial managers and Performers. Nor will it be confined solely to the devotees of Thespis, but extended to the disciples of Apollo and Apelles of every clime and of every grade. The advantages expected to emanate from this attempt are too multifarious for insertion here, but will be announced in the form of a synopsis. Ingression to transpire at 11 A.M. / To sab- Egression to terminate at 4 P.M. (scribersonly.
Letters free will be met by a prompt attention; all others rejected.
N.B. No business transacted upon Sabbaths.
This occasional use of a subscription theatre by amateurs or change of purpose tends to confuse the identity of halls or rooms suitable for both classes of entertain- ments. The King's Cross Theatre is a well- known example of such frequent change, but the following are only known to me by r eason of their use by amateurs :
Victoria Theatre, Rushbrooke House, Brixton, 1846.
Eclectic Theatre, Denmark Street, 1831.
Bass' Rooms, Vauxhall Bridge Road, 1831.
Amateur Theatre, Thomas Street, Hackney Road, 1821-36. The wardrobe, sold by Debenhams, Jan. 22, 1836, included a number of dresses worn by Edmund Kean and Terry.
The Private or Amateur Theatre, Berwick Street, 1823. Our regretted contributor Mr. W. Douglas informed me that this was at No. 97, and that Oxberry, Harley, Huntley, W. H. Williams, and Miss Ellen Tree began there.
The Gem Theatre in Catherine Street deserves special mention. It originated with the Minor Theatre, but in 1827 a Mr. Seekamp built on its site the Thespian Institution and Greek Cafe. The prospectus suggests that the preceding place of enter- tainments had been very undesirable :
" His intention is to render it completely respectable .... and that they may be under no apprehensions from the idea it is an illegal in- stitution, he begs leave to state that the New Police of the district have kindly undertaken to inform him when he is about to outstep the boundary of the law, to prevent the entrance of any disreputable company, and to do away wit"
