Titlebook: Queen Victoria and the Theatre of Her Age; Richard W. Schoch Book 2004 Palgrave Macmillan, a division of Macmillan Publishers Limited 2004

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The Lions Repaid Allee the Christmas pantomime .. It was the first time she had seen a play since her coronation seven months earlier. Bored by the traditional holiday entertainment, she complained that the performance was ‘noisy and nonsensical as usual’.1 Yet she was enthralled by another act on the bill: the liontam

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Little People (Good and Bad)Prince Frederick William of Prussia. The couple had become engaged at Balmoral in September 1855, when the Princess Royal was only fourteen. The heir presumptive to the throne of Frederick the Great – known in the Royal family as ‘Fritz’ – was twenty-four. The wedding took place nearly two-and-half

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Vulgar Victorian Trashemost author – Shakespeare, the Swan of Avon? To put the matter differently, how could she reconcile public obligation with private passion? Unlike her subjects, the Queen was not allowed to relax at a night out at the play. Even when visiting a theatre ‘.’ she was closely watched by the management,

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The Queen is Alarmedlligrew. In so doing, the King established a royal precedent for controlling theatre (though not always successfully) in the capital city. The patents, granted to successive generations of theatre owners, remained in effect until they were abolished under the Theatres Regulation Act of 1843. Althoug

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Refuge at the Foot of the Throne of Parliament for Bristol, praised the Queen for both her devotion to the theatre and her annual charitable contribution of £100. However excessive it now seems, Berkeley’s laudation tells us that Victoria’s place in theatrical culture was powerfully symbolic. She was the sign and testament of the

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