British theatre, 1895–1946: art, entertainment, audiences – an introduction

Abstract

In 1895 three major figures in the history of British theatre came centre stage in revealing ways. Henry Irving, master of theatrical illusion and the most famous performer of the age, knelt before Queen Victoria and rose as the first actor in history to be knighted. Oscar Wilde, that Dubliner brilliant in his plays and impudent in society, had two productions running simultaneously in London: An Ideal Husband and The Importance of Being Earnest . G. B. Shaw, virtually unknown as a playwright, began a three-year mission of modernity and socialism as theatre critic for the Saturday Review . Shaw complained frequently that Irving, whom he greatly admired, wasted his talents on weak and insignificant work, and he was disturbed to find himself laughing mechanically at Wilde’s masterpiece. Shortly after The Importance of Being Earnest ’s brilliant opening, Wilde was in grave trouble with the law over his homosexuality. Just as his play marks the high point of Victorian comedy, so Wilde’s trial signals a turn in the history of Victorian righteousness. Irving’s knighthood and Wilde’s disgrace: the poles of late Victorian attitudes to the theatre demonstrated within a single year, with Shaw as touchstone commentator. Despite such anecdotal charm, 1895 does not distinguish the beginning of a new era for theatre in Britain. Yet in some ways it is fortunate that this volume on the twentieth century begins at a date not historiographically remarkable, for what most characterised the theatre in the 1890s was a determined insistence on security and continuity.

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