Angles Theatre

The Angles Theatre is a theatre and historic Georgian playhouse in the market town of Wisbech, Isle of Ely, Cambridgeshire, England. It is among the oldest of Britain's theatres.[1] The current premises consists of the original theatre and a former library, originally an 'infant' school built in 1837, both of which are Grade II listed.[2] The patrons are Sir Derek Jacobi, Jo Brand, Claire Tomalin and Dame Cleo Laine.

Angles Theatre
Angles Theatre Wisbech entrance, with the theatre behind left
AddressAlexandra Road, Wisbech, Cambridgeshire, PE13 1HQ
England
Coordinates52.6639°N 0.1590°E / 52.6639; 0.1590
Current usecommunity theatre and arts centre
Construction
Opened1790
Reopened1978
Website
www.anglestheatre.co.uk

The theatre was believed to have been built in 1790 as part of the Lincoln theatre circuit.[3][4] Regular performances at the theatre continued until about 1850 when it was used as a concert room for a number of years. At the end of the 19th century, part of the property was used by the School of Science and Art. The building was returned to use as a theatre in 1978.

History

18th century

The Licensing Act 1737 created the office of Examiner of Plays, whose activities included censoring all plays in Britain.[5]:4 The office holder when the theatre was built was John Larpent. In November 1778 he was appointed inspector of plays by the Marquis of Hertford, who was then Lord Chamberlain. He preserved manuscript copies of all the plays submitted to the inspector from 1737 to his death in 1824, including those produced at the theatre in Wisbech.[6]

Buildings in Wisbech in Pickard's Lane[7] and on the Sutton road were used as theatres in the19th century.[8] The Whitley and Herbert company of comedians performed in the town during Wisbech Race Week in June 1777.[9] In 1778/1779 Italian writer Giuseppe Marc'Antonio Baretti attended a theatre performance here.[10] Other early theatres in Wisbech, referred to in newspapers and other documents, appear to have only been temporary structures such as that erected near the High street by the company of James Augustus "Jemmy" Whitley (c. 1724–1781) for a season in 1779. The Ipswich Journal stated that Whitley announced, on 5 May 1779, an intention to build an elegant and extensive structure for the 1780 season.[11] With Whitley's death, however, that theatre was never built, and the way was left open for the development of a theatre in Wisbech by others.[12][13] The Theatrical Representations Act 1788 allowed local magistrates to licence occasional performances for periods of up to 60 days.[14]

The earliest reference to a theatre on Deadman's Lane (later Great Church Street and now Alexandra Road) is a benefit performance for Mr and Mrs James Edward Miller, of the play The Battle of Hexham, on Friday 20 May 1791, which was the last performance of the 1791 season.[15] The Stamford Mercury of 24 February 1792 stated, "A correspondent from Wisbech informs us, that a very elegant theatre is just fitted up in the compleatest stile (sic), and will be opened on Saturday, March 3d, with the admired comedy of As You Like It, and the Farce of No Song, No Supper. We have not the least apprehension but the proprietors will meet the encouragement their spirited exertions merit.[16] The theatre was built by Miller,[17] who managed the theatre jointly with Thomas Shaftoe Robertson until 2 May 1796, when Robertson purchased Miller's rights in all properties of the Lincoln theatre circuit.[18] In 1793 The Millers advertised the last benefit of the 1793 season at Wisbech Theatre to be Everyone Has His Fault and Don Juan on 26 April.[19]

When not in use for performances the theatre regularly held auctions, the most prominent of which was the sale of household furniture, linen and china from Wisbech Castle, belonging to the late Edward Southwell. This was most likely the first auction held at the "New Theatre" in November 1791, with the sale of the mentioned items not being permitted on the castle premises.[20]

Robertson married Frances Maria Ross in 1793.[21]

19th century

Thomas Robertson announced in the Stamford Mercury in 1806 that "The Theatre has undergone considerable improvement and will be lighted up with new and elegant chandeliers", however these are unlikely to have been supplied by gas as the town council didn't negotiate gas supplies until the 1830s.[22] Child actor William Henry West Betty performed here in 1808.[23] The use of weapons firing blanks, candles, oil lamps, fireworks and other special effects could cause fires and injuries. The actress Mary Brown (Fanny Robertson's half-sister) was a member of the company often appearing in Wisbech, until she married an actor of the Stamford company and moved to Stamford, where, in 1816 whilst working on a dress, a candle set her clothes on fire, she died of the burns received.[24] William Hilton the elder (father of William Hilton) created scenery for the Robertsons for many years until the 1820s.[25]

Madame Tussaud brought her touring waxwork show to the theatre, which opened on 14 November 1825.[26] The pit was covered over to enable the display of her works, and the exhibition was regarded as a huge success.[27] Tickets cost one shilling, and the theatre was crowded each evening, which included a performance from a military band. The display closed on 10 December 1825.[28]

A newspaper advert announces the opening of the 1827 season with Miss Sarah Booth's (of the Theatre-Royal, Covent Garden) appearance for five nights commencing with her as Juliet in Romeo and Juliet on 11 May. It also refers to the theatre being 'entirely new Painted' in addition to the improvements of last year.[29] The 'Infant Roscius' Master Herbert performed in Wisbech in 1829.[30] Edmund Kean performed in Wisbech from 19 to 22 April 1831.[31] The same year, Robertson died, leaving his wife Fanny in charge of the Robertson theatre company. T. W. Robertson, the son of her nephew, William Shaftoe Robertson, performed here aged five as Hamish, the infant son of the title character in Rob Roy.[32]

The banker James Hill (father of Octavia Hill and Miranda Hill) bought the theatre and adjoining land in 1835 and started to invest money in the theatre and in further developing the site. When the theatre opened in February, 1836 for a season of a month, it was advertised as the "New Theatre", with the scenic department and every other arrangement on a scale of expensive improvement never before attempted in Wisbech. [33] The improvements did not go unnoticed; on 27 May a Georgina Gooch was charged with stealing the theatre's gas fittings.[34] He built a progressive infant school in front of the theatre in 1838; the theatre and school both became part of the Angles Theatre in the 20th century.[1][35] On 27 June 1840 James Hill and Thomas Hill went bankrupt and their estates were sold by auction, including the Wisbech theatre, which Mrs. Robertson was then leasing.[36][37]

William Macready performed here in June, 1836.[38] Another West End actor brought by Mrs. Robertson to perform at Wisbech and other Lincoln circuit venues was Henry Compton. A critic wrote that his performance as Touchstone in As You Like It and as Mawwarm in Isaac Bickerstaff's The Hypocrite "was capital, he kept the audience in one tumult of laughter from beginning to end".[39]

The theatre opened for the usual five week season on 5 March 1841 with a new company. The theatre had been altered on the inside and considerably improved.[40] The Stamford Mercury reported, in 1842: "A Travelling fair known as The Mart arrives in Wisbech each March for 'Mart Week'. These showmen, travelling circuses, stall holders, both travelling performers and the local theatre sought to benefit from the large crowds attending the fair and race weeks."[41] Other travelling exhibitions used the theatre as a venue, in November 1842 a GRAND MOVING PANORAMA was set up at the theatre, claiming to use 20,000 feet of canvas to display scenes such as the 'Fire of York Minster' and the whole city of New York. Prices were similar to those for a theatrical performance: Boxes 2s, Pit 1s and Gallery 6d.[42]

The Wisbech theatre had been "lately fitted up and decorated at great expense, for the purpose of public assemblies and concerts" when it was offered for sale by auction at the White Hart Inn on 2 May 1843. The Robertson company continued as a tenant [43] The Licensing Act 1737 was modified by the Theatres Act 1843 so that spoken drama could be performed in any theatre. In April 1843, The Theatre wrote: "On Monday evening our theatrical friends took leave of us. Mrs. Robertson had her farewell benefit, having resigned the management to her nephew, Mr. [William Shaftoe] Robertson. She appeared in the character of Lady Eleanor Irwin, in Elizabeth Inchbald's comedy Everyone has his Fault after which she delivered a very neat and appropriate address. There was a full house, but we are sorry to say the season has been productive of very few even tolerable houses."[44]

On 6 November 1843 the Wisbech theatre was again put up for auction "in an excellent condition".[45] On 13 January 1845 Richardson's Rock Band gave morning and evening concerts with their rock harmonica.[46] Star appearances at Wisbech and the rest of the Lincoln theatre circuit in spring 1845, which allowed the theatres to charge a premium price, were Charles Kean and his wife Kate Terry; her roles included Miss Halley in The Stranger and a role in The Honey Moon.[47] The situation for suburban theatres was becoming more difficult financially, and the theatre companies sought subsciptions to keep going: "Mr. Robertson has announced his intention of opening the theatre at Wisbech during the month of May, provided the inhabitants will at once engage 30 season tickets, at £1 each the subscription to extend over one year, for which Mr R guarantees twenty separate performances; the arrangement will include the engagement of all "stars" introduced in the course of the year, the tickets not to be transferred, except to the family of the party taking the same. The above excellent arrangement, we are happy to say, will be successful, as a great many applications have already been made for season tickets."[48]

The 1846 season opened with Mrs Tiernan and Miss Tiernan of Drury Lane and Covent Garden, and Misses Fanny and Julia Wallack.[49] On 3 July 1846 Robertson's theatrical company performed a play Mind how you Wed! written by Dr Whitsed, a local GP and later mayor.[50] The season finished with another benefit for Mrs. Robertson featuring The Beggar on Horseback and the Robber's Wife; a full house was reported.[51] In May 1847 Mr Davenport, manager of several Norfolk theatres, took a season at the Wisbech theatre.[52] The following year, William Robertson had a portable theatre erected in Pickard's Lane in Wisbech. Whereas the lease of the Georgian theatre would be £400, the temporary theatre cost him not more than £50.[53][54]

Mr Jacobs, "The Great Original Wizard of Wizards", advertised that he was performing on 22 February 1850 at the theatre, following his performances at Norwich, North Waltham and Aylsham.[55] The same year, the building ceased being used as a regular theatrical venue and was then used as a concert room for a number of years.[1] One lessee after that was Mr Saunders, a tent and marquee maker.[56] In 1897, the School of Science and Art leased the theatre property; at that time, the theatre building still contained the stage and gallery. The school occupied the former infant school building.[56]

20th century

A poster in the Wisbech & Fenland Museum printed by Poyser's records records that the building was put up for auction as "The Old Theatre", to be sold by Johnson & Easter on 7 July 1921 at the White Lion hotel. At this time it had a pedestrian entrance from Crescent Passage. The stable, coach house and yard were occupied by Dr C. H.Gunson.

In 1978, the theatre building was 'rediscovered' by several drama enthusiasts looking for a space to rehearse their productions, and they renovated it as the Angles Theatre.[1] On 25 November 1978 a civic opening was attended by the Mayor of Wisbech and chairman of Fenland District Council and presided over by Anton Rogers. Richard Leacroft, architect and theatre historian gave a lecture on the development of regional theatre. Another speaker was Gregor MacGregor of the Georgian Theatre Royal in Richmond, North Yorkshire. Four days later the Angles Theatre Company staged She Stoops to Conquer. [57] This was an appropriate choice, as it was one of the most regularly staged plays in the theatre's heyday. This may be in part because its author, Oliver Goldsmith, stayed with the Lumpkin family at Park House, Leverington, and lampooned his friend Nicholas Lumpkin (1748–1825); he may even have written part of the play whilst at Park House. After spending much of his wealth Lumpkin moved to Wisbech where he died in 1825.[58][59]

On 23 September 1979 the musical Songbook was performed at the theatre after relocating from the Gielgud Theatre for the single performance. This event was arranged by cast member and president of the Angles Theatre Anton Rodgers.[60] The Wisbech Players's first production at the theatre was Pygmalion in 1979; they then used other venues until their production of The Unexpected Guest in 1988.[61]

The architecture of the building was documented in 1980 by Richard Leacroft, who used the timbers and doorways to deduce the original design of the building.[62][63] He noted that the size, shape and layout of the auditorium was similar to that of the Georgian Theatre Royal in Richmond, North Yorkshire, but the current design does not reflect the original form.[64] The Stage of 1 August 1991 reported on a fire at the theatre.[65]

21st century

In 2018 the Angles Theatre celebrated the 40th Anniversary of its reopening with an extensive programme of events including a production of She Stoops to Conquer.[66] The 2019 pantomime production was Cinderella – the Fairy Godmother of pantomimes by Tom Whalley.[67]

The theatre is fund raising for refurbishment of the existing seating.[1]

gollark: This is obviously a better one.
gollark: According to the "veil of ignorance" philosophical octahedron, people should not have different life outcomes just because they ended up randomly being born to different people.
gollark: Well, the traditional "parent-based raising" method leads to significant inequality of opportunity.
gollark: For purposes only, of course, as they can be trusted to do this.
gollark: Personally, I support forced genetic engineering and state raising of children.

References
  1. "Angles theatre history". www.anglestheatre.co.uk. Retrieved 27 November 2019.
  2. Historic England. "Angles Theatre (1125904)". National Heritage List for England. Retrieved 12 March 2020.
  3. Pemberton, T. Edgar (1900). The Kendals: A Biography. London: Pearson. p. 20. OCLC 684413482.
  4. "Theatre Performance Advertisement". www.wellcomelibrary.org. Retrieved 17 January 2020.
  5. Liesenfeld, Vincent J. (1984). The Licensing Act of 1737. University of Wisconsin Press. ISBN 978-0-299-09810-0.
  6. DNB (cf. Notes and Queries, 2nd ser. iv. 269)
  7. FJ Gardiner (1898). History of Wisbech and neighbourhood during the last fifty years -1848-1898. Gardiner & co.
  8. William Watson (1827). The Theatre. H&J Leach. Retrieved 9 January 2020.
  9. "Wisbech Races for 1777". Norfolk Chronicle. 3 May 1777. p. 3.
  10. William Watson (1827). A History of Wisbech.
  11. "Wisbech". Ipswich Journal. 15 May 1779.
  12. "Mr. Whitley". Stamford Mercury. 6 May 1779. p. 4.
  13. Neil R Wright (2016). Treading the Boards. Society for Lincolnshire History & Archaeology.
  14. "1788-1790" (PDF). www.overthefootlights.co.uk. Retrieved 4 July 2020.
  15. "Wisbech Theatre". Stamford Mercury. 13 May 1791. Retrieved 27 November 2019.
  16. "Theatre". Stamford Mercury. 24 February 1792. p. 3.
  17. Wisbech Rate Book, 1792
  18. "Stamford Mercury". www.britishnewspaperarchive.co.uk. Retrieved 28 November 2019.
  19. "Wisbech Theatre". Bury and Norwich Post. 24 April 1793. p. 3.
  20. "Stamford Mercury". www.britishnewspaperarchive.co.uk. Retrieved 27 November 2019.
  21. "On Sunday was married". Stamford Mercury. 13 September 1793. p. 3.
  22. "Theatre, Wisbech". Stamford Mercury. 14 March 1806. p. 3.
  23. "Wisbech Theatre". Stamford Mercury. 10 June 1808. Retrieved 27 November 2019.
  24. Neil R Wright (2016). Treading the Boards. pp. 134–135.
  25. The handbill for The Carib Chief (1820) is in Wisbech & Fenland Museum's collection, and others are in town and regional archives and this theatre's collection.
  26. "Cambridge Chronicle". www.britishnewspaperarchive.co.uk. Retrieved 11 November 2019.
  27. "Cambridge Chronicle". www.britishnewspaperarchive.co.uk. Retrieved 18 November 2019.
  28. "Cambridge Chronicle". www.britishnewspaperarchive.co.uk. Retrieved 29 November 2019.
  29. "THEATRE, WISBECH". Stamford Mercury. 4 May 1827. p. 3.
  30. "Stamford Mercury". www.britishnewspaperarchive.co.uk. Retrieved 27 November 2019.
  31. "Theatre, Wisbech". Stamford Mercury. 1 April 1831.
  32. T W Robertson (1889). The Principal Dramatic Works of Thomas William Robertson. S. Low.
  33. "NEW THEATRE". Cambridge Chronicle. 19 February 1836. p. 3.
  34. Monger, Garry (2020). "Players, Performers and Showmen". The Fens. March: 18.
  35. "Octavia Hill", The Wisbech Society and Preservation Trust. Retrieved 6 July 2020
  36. "To be sold by auction". Stamford Mercury. 26 June 1840. p. 2.
  37. Francis Pryor (2019). The Fens. Head of Zeus Ltd. p. 355.
  38. "Cambridge Chronicle". www.britishnewspaperarchive.co.uk. Retrieved 27 November 2019.
  39. "Theatre". Lincolnshire Chronicle. 28 June 1839. p. 3.
  40. "Mrs.Robertson". Cambridge General Advertiser. 10 March 1841. p. 2.
  41. "Wisbech Mart". Stamford Mercury. 4 March 1842. p. 3.
  42. "THEATRE, WISBECH". Stamford Mercury. 11 November 1842. p. 3.
  43. "Cambridge Chronicle and Journal". www.britishnewspaperarchive.co.uk. Retrieved 29 November 2019.
  44. "Wisbech". The Cambridge Chronicle and Journal. 1 April 1843. p. 3.
  45. "Theatre". Cambridge Chronicle and Journal. 28 October 1843. p. 4.
  46. "Richardson's Rock Band Concerts". Lincolnshire Chronicle. 3 January 1845. p. 1.
  47. "The Theatre". Lincolnshire Chronicle. 2 May 1845. p. 3.
  48. "Theatre". Lincolnshire Chronicle. 10 April 1846. p. 3.
  49. "Wisbech". Stamford Mercury. 5 June 1846. p. 3.
  50. FJ Gardiner (1898). History of Wisbech. Gardiner & Co. p. 287.
  51. "Theatre". Lincolnshire Chronicle. 10 July 1846. p. 5.
  52. "Theatre". Stamford Mercury. 28 May 2019.
  53. "Theatre". Lynn Advertiser. 12 August 1848. p. 3.
  54. "Temporary Theatre". Lynn Advertiser. 19 August 1848. p. 3.
  55. "MR.JACOBS". Norfolk News. 16 February 1850. p. 2.
  56. FJ Gardiner (1898). History of Wisbech. Gardiner & Co.
  57. Naylor, AD (1986). ""Not Angels but Angles": An account of the establishment of the Angles Theatre". The Wisbech Society 47th Annual Report 1986. 47: 18–22.
  58. "Rare Treat". Wisbech Standard. 24 November 2008.
  59. "Died". Stamford Mercury. 2 December 1825.
  60. "The Stage". www.britishnewspaperarchive.co.uk. Retrieved 27 November 2019.
  61. "The Wisbech Players". www.wisbechplayers.org.uk. Retrieved 7 December 2019.
  62. Theatre and Playhouse, by Richard and Helen Leacroft, 1984: page 98 contains a cut-away diagram of the theatre as it may have been c. 1795.
  63. Richard Leacroft Collection, V&A Theatre Archives
  64. "Theatres Trust". www.theatrestrust.org.uk. Retrieved 27 November 2019.
  65. "The Stage". www.britishnewspaperarchive.co.uk. Retrieved 27 November 2019.
  66. Monger, Garry (2018). "Angles Theatre". October: 18. Cite journal requires |journal= (help)
  67. "Angles ticket bookings". www.anglestheatre.co.uk. Retrieved 28 November 2019.

Further reading
  • William Watson (1827). An Historical Account of the Ancient Town and Port of Wisbech. H. & J. Leach.
  • anonymous (1833). The History of Wisbech. William Watts.
  • Thomas Craddock & Neil Walker (1849). The History of Wisbech and the Fens. Richard Walker.
  • Frederic John Gardiner (1898). History of Wisbech and Neighborhood, During the Last Fifty Years - 1848-1898. Gardiner & Co. Retrieved 3 October 2019 – via archive.org.
  • Dame Madge Kendal (1933). Dame Madge Kendal. John Murray.
  • "Wisbech Theatre". The Wisbech Society 11th Annual Report. 11: 10–13. 1950.
  • Richard Leacroft (1973). The Development of the English Playhouse. Methuen.
  • Richard and Helen Leacroft (1984). Theatre and Playhouse: An illustrated survey of theatre building from Ancient Greece to the present day. Methuen.
  • Mansfield, Nick (1985). "James Hill and the Owenites". The Wisbech Society 46th Annual Report. 46: 10–14.
  • "Wisbech Theatre". The Wisbech Society 52nd Annual Report. 52: 15. 1991.
  • Clayton, Peter (1994). "The Wisbech Theatre - Part One". The Wisbech Society 55th Annual Report. 55: 11–16.
  • Clayton, Peter (1995). "The Wisbech Theatre - Part Two". The Wisbech Society 56th Annual Report. 56: 23–26.
  • Rex Mountain (2009). A Wisbechian returns to his roots. Rex Mountain.
  • Neil R Wright (2016). Treading the Boards. Society for Lincolnshire History & Archaeology.
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