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Introduction

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George Alexander and the Work of the Actor-Manager

Part of the book series: Palgrave Studies in Theatre and Performance History ((PSTPH))

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Abstract

Sutherland establishes the key aims of this study: to examine the working practices and long-term influence of actor-manager George Alexander. Using the career of this theatre industry professional as a case study, this book will assess the influence of the actor-manager figure in shaping the West End, both theatres and repertoire. The history of the actor-manager role in professional theatre is charted, and Sutherland explains why this role declined in the first decades of the twentieth century. The final section within the introductory chapter is devoted to methodology, identifying how archival resources and anecdote are both integral to examining the career of one theatre industry professional.

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Notes

  1. 1.

    This definition of the geographical location and boundaries of the West End has been formulated from descriptions of the area in a number of sources: Bratton (2011), Colby (1966), Davis and Emeljanow (2001) and Rappaport (2000).

  2. 2.

    Aldwych, Strand, opened 23 December 1905, capacity 1100; Apollo, Shaftesbury Avenue, opened 21 February 1901, capacity 893; Daly’s, Leicester Square, opened 27 June 1893, capacity 554; Duke of York’s, St. Martin’s Lane, opened 19 September 1892, capacity 900; Gaiety, Aldwych, opened 26 October 1903, capacity 1267; Globe, Shaftesbury Avenue, opened 27 December 1906, capacity 970; Her Majesty’s, Haymarket, opened 28 April 1897, capacity 1319; Little, Adelphi, opened 11 October 1910, capacity 309; New, St. Martin’s Lane, opened 12 March 1903, capacity (c.) 938; Palace, Cambridge Circus, opened 31 January 1891, capacity 1697; Prince’s, Shaftesbury Avenue, opened 26 December 1911, capacity 1726; Queen’s, Shaftesbury Avenue, opened 8 October 1908, capacity 1160; Strand, Aldwych, opened 22 May 1905, capacity 1193; Wyndham’s, Charing Cross Road, opened 16 November 1899, capacity 1200. Statistics are taken from Howard (1970).

  3. 3.

    Olivier (1957).

  4. 4.

    Carlson (2003, 2).

  5. 5.

    For recent work on David Garrick and altering industry practice, see Ritchie (2019).

  6. 6.

    Founding statement of the Garrick Club, quoted at https://www.garrickclub.co.uk/about/.

  7. 7.

    Anon. (1927), The Times.

  8. 8.

    Bratton (2011, 19).

  9. 9.

    Davis (1991, 4), Baker (1978).

  10. 10.

    Davis (2000), Cochrane (2011).

  11. 11.

    Davis (2000, 166–167).

  12. 12.

    Treasury Book (1892–1895).

  13. 13.

    Mason (1935).

  14. 14.

    Mason (1935, 7).

  15. 15.

    Macqueen-Pope (1958), Duncan (1964).

  16. 16.

    Kaplan (1996, 1).

  17. 17.

    Brown (1928, 11).

  18. 18.

    Davis and Emeljanow (2001, 99).

  19. 19.

    Bratton (2003, 102).

  20. 20.

    Bloch (1954).

  21. 21.

    Fineman (1989, 57).

  22. 22.

    Macqueen-Pope (1958, 168).

  23. 23.

    Kennedy (1996, 144).

  24. 24.

    Ibid. 147.

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  1. University of Nottingham, Nottingham, UK

    Lucie Sutherland

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  1. Lucie Sutherland
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Correspondence to Lucie Sutherland .

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Sutherland, L. (2020). Introduction. In: George Alexander and the Work of the Actor-Manager. Palgrave Studies in Theatre and Performance History. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-40935-7_1

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