Sans Pareil/Adelphi Theatres Curtain Up: 1806-1899
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Bar Charts 1806-1900All the bar charts are also on the Graphics Gallery page under the heading Bar Charts of Titles, Performers, Genre. Selecting the thumb images to the left brings up a full-size version of the graph. This section of Book 1 utilizes some seasonal data to produce statistical analyses of matters of interest to theatre historians. The user is warned sources are not by any means sacrosanct. They varied in both content and inclusiveness, but there is much they have to reveal. For example, the first bar chart clearly demonstrates the rising number of days the theatre was open each season (a number over 300 almost certainly indicates continuous performances). As with all the graphs, a purple bar averages the entire century and is followed by blue bars indicating each season from 1806 to 1900. Tables displaying their relevant numerical values follow. Bar chart 8 reflects the fall in the number of pieces played nightly. In 1832-33, fifteen pieces were offered; by the end of the century, there was sometimes only one. Bar chart 2 traces the decline in the number of genres performed each season. At first, these designations had been legal obfuscations; then they had flourished, many becoming parodies of terminology. A classic example is Tom and Jerry; or, Life in London described as an "entirely new classic, comic, operatic, didactic, moralistic, Aristophanic, localic, analytic, terpsichoric, panoramic, camera-obscura-ic extravaganza burletta of fun, frolic, fashion and flash." Editors had the responsibility of entering a “genre assessment.” Tom and Jerry is undoubtedly a farce, but some pieces were more difficult to classify, and the “Compiler’s Handbook” lists 91 possible terms (See Dramatic Genres and Their Abbreviations (Alphabetized by genre)on pages 13-15). Later in the century, a single word genre appeared in the program, simplifying the editor’s task and, perhaps, helping to restore a sense of dignity suitable to the more refined taste the Adelphi sought to project. Other bar graphs confirm what was always suspected. Men did, indeed, hold sway over the profession, but the numbers can be deceptive. Although Jane Scott and Céline Céleste were managers, this fact barely appears in the sources. (Miss Scott, however, was listed in six other categories.) Consequently, these data are to be treated with several grains of salt. In only one category did the proportion of females surpass 50% and that was dancers (61%). As actresses, women represented 43%, as singers 41% of the company. Even in wardrobe, they only managed 43%. This statistic may be because Godbee appeared on bills more than his wife. Unfortunately, there are no statistics related to compensation. Bar chart 5 is, in some ways, a surprise. It reveals the number of performers appearing each season. At the years passed, the decrease in the number of productions was not accompanied by a decline in the strength of the company. Far from it. In the last two years of the century, the Adelphi employed more personnel than in any previous season. Days Open per Season
Illustration 3 Bar Chart 1: Days Open Directory: AdelphiTheatreCalendar AdelphiTheatreCalendar -> The Adelphi Theatre Project Sans Pareil Theatre, 1806-1819 AdelphiTheatreCalendar -> The Adelphi Theatre Project Sans Pareil Theatre, 1806-1819 AdelphiTheatreCalendar -> Sans Pareil/Adelphi Theatres Seasonal Digests: 1806-1899 AdelphiTheatreCalendar -> Sans Pareil/Adelphi Theatres Seasonal Digests: 1806-1899 AdelphiTheatreCalendar -> Sans Pareil/Adelphi Theatres Curtain Up: 1806-1899 Download 6.82 Mb. Share with your friends:
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