Robert Gorelangton

A brown-noser’s history of the Old Vic and National Theatre

<span style="color: #222222;">A review of The Old Vic: The Story of a Great Theatre from Kean to Olivier to Spacey, by Terry Coleman, and Closely Observed Theatre: From the National to the Old Vic, by Jonathan Croall. Where's the critical thinking?</span>

issue 15 November 2014

The moment Waterloo Bridge was planned across the Thames, a new theatre to serve the transpontine coach trade was inevitable. The Old Vic opened in 1818. Originally called the Royal Coburg, it could seat a whopping 3,800. Kean was the first great actor to perform there. In 1831 he played Richard III, King Lear and Othello in one week. After giving his Moor, he came on, still blacked up and doubtless drunk, and let the heckling swine have it: ‘I have never acted to such a set of ignorant, unmitigated brutes as I see before me.’ Theatre back then sounds such fun.

The amazing thing about the Old Vic is that it never burned down like all other theatres of its vintage; instead, its story is one of constant financial disaster. Its history features two penny-pinching, remarkable women, neither of whom liked theatre very much. Emma Cons was a well-connected do-gooder but she was passionate about temperance, not theatre.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in