Part 14 (1/2)
[ILl.u.s.tRATION: Birmingham Theatre, Hotel and Tavern.]
In the Synagogue, situated in the Froggery, they still preserve the faint resemblence of the ancient wors.h.i.+p. Their whole apparatus being no more than the drooping ensigns of poverty. The place is rather small, but tolerably filled; where there appears less decorum than in the christian churches. The proverbial expression ”as rich as a jew,” is not altogether verified in Birmingham, but perhaps, time is transfering it to the Quakers.
It is rather singular, that the honesty of a jew, is seldom pleaded but by the jew himself.
THEATRES.
The practice of the Theatre is of great antiquity. We find it in great repute among the Greeks; we also find, the more a nation is civilized, the more they have supported the stage. It seems designed for two purposes, improvement and entertainment.
There are certain exuberances that naturally grow in religion, government, and private life which may with propriety be attacked by the poet and the comedian, but which can scarcely be reduced by any other power. While the stage therefore keeps this great end in view, it answers a valuable purpose to the community. The poet should use his pen to reform, not to indulge a corrupt age, as was the case in the days of Charles the Second, when indecency was brought on to raise the laugh.
Perhaps there is no period of time in which the stage was less polluted, owing to the inimitable Garrick, than the present: notwithstanding there is yet room for improvement.
Tragedy is to melt the heart, by exhibiting the unfortunate; satiate revenge, by punis.h.i.+ng the unjust tyrant: To discard vice, and to keep undue pa.s.sions within bounds.
Comedy holds up folly in a ridiculous light: Whatever conduct or character is found in the regions of absurdity, furnishes proper materials for the stage; and out of these, the pen of a master will draw many useful lessons.
The pulpit and the stage have nearly the same use, but not in the same line--That of improving the man.
The English stage opened about the conquest, and was wholly confined to religion; in whose service it continued, with very little intermission, to the extinction of the Plantagenets. The play-houses were the churches, the princ.i.p.al actors the priests, and the performances taken from scripture; such as the Fall of Man, the Story of Joseph, Sampson, Histories of the Saints, the Sufferings of Christ, Resurrection, Day of Judgment, &c.
Theatrical exhibition in Birmingham, is rather of a modern date. As far as memory can penetrate, the stroller occupied, occasionally, a shed of boards in the fields, now Temple-street: Here he acted the part of Distress, in a double capacity. The situation was afterwards changed, but not the eminence, and the Hinkleys dignified the performers booth!
In about 1730, the amus.e.m.e.nts of the stage rose in a superior stile of elegance, and entered something like a stable in Castle-street. Here the comedian strutted in painted rags, ornamented with tinsel: The audience raised a noisy laugh, half real and half forced, at three-pence a head.
In about 1740, a theatre was erected in Moor-street, which rather gave a spring to the amus.e.m.e.nt; in the day time the comedian beat up for volunteers for the night, delivered his bills of fare, and roared out an encomium on the excellence of the entertainment, which had not always the desired effect.
In 1751, a company arrived, which anounced themselves, ”His Majesty's servants, from the theatres-royal in London; and hoped the public would excuse the ceremony of the drum, as beneath the dignity of a London company.” The novelty had a surprising effect; the performers had merit; the house was continually crouded; the general conversation turned upon theatrical exhibition, and the town was converted into one vast theatre.
In 1752 it was found necessary to erect a larger theatre, that in King Street, and we multiplied into two London companies.
The pulpits took the alarm, and in turn, roared after their customers: But the pious teachers forgot it was only the fervour of a day, which would cool of itself; that the fiercer the fire burns, the sooner it will burn out.
This declaration of war, fortunately happening at the latter end of summer, the campaign was over, and the company retreated into winter quarters, without hostilities.
It was afterwards found, that two theatres were more than the town chose to support; therefore that in Moor-street was set for a methodist meeting, where, it was said, though it changed its audience, it kept its primeval use, continuing the theatre of farce.
In 1774, the theatre in King-street was enlarged, beautified, and made more convenient; so that it hath very few equals.
About the same time that in New-street was erected upon a suitable spot, an extensive plan, and richly ornamented with paintings and scenery.--Expence seems the least object in consideration.
An additional and superb portico, was erected in 1780, which perhaps may cause it to be p.r.o.nounced, ”One of the first theatres in Europe.”
Two busts, in relief, of excellent workmans.h.i.+p, are elevated over the attic windows; one is the father, and the other the refiner of the British, stage--Shakespear and Garrick.
Also two figures eight feet high, are said to be under the chissel, one of Thalia, and the other of Melpomene, the comic and the tragic muses; the value one hundred and sixty guineas. Places are reserved for their reception, to augment the beauty of the front, and shew the taste of the age.
AMUs.e.m.e.nTS.