King George V and Queen Mary
English monarchs have long had a close association with the theatre. The first monarch known to have regularly visited public theatres was Queen Elizabeth I, whose reign coincided with a renaissance in English drama which was almost certainly deeply related with her patronage. Since then, subsequent rulers have had a lesser or greater association with the theatre, with King Edward IV and his successor George V being particularly avid patrons of the dramatic arts.
Reproduced below are a collection of period article reporting on Royal visits to the theatre.
(Everywoman's Encyclopaedia, Volume7, London S.N. circa 1911)
WHEN THEIR MAJESTIES GO TO THE PLAY by Rudolph De Cordova
The Royal Patronage of the Stage - The Responsibility of a Royal Visit - An Ill-timed Compliment - The Royal Box - Its Position and Fittings - Honouring an Actor - The Consideration of a King Why the Police are on Duty
Periodically, while they are in town, a paragraph is published to the effect that "Their Majesties honoured the ------- theatre with their presence last night to see such and such a play."
It has not, of course, often happened during the present reign, for Court mourning kept their Majesties more or less in retirement during the first year after King Edward's death, and three months of the winter season were occupied with their Indian tour. There is no doubt, however, that the paragraph will appear frequently in the future, for King George and Queen Mary are fond of the theatre - a fact which was attested by their presence at the gala performance at His Majesty's in commemoration of the Coronation.
The First Gentleman In The Land
Although the sovereignty that doth hedge a king - to alter slightly Shakespeare's words - is such that the quality of kingship can never be put away, it is rather in his capacity as a private gentleman that the King visits the theatre. Only on the rare occasions of state performances does he discard the simple evening dress of the English gentleman in favour of one of the many uniforms he wears. For such rare occasions all necessary arrangements are made by the Lord Chamberlain, and some of the officials of that functionary's department have to be present to receive the King. As a general thing, however, the arrangements are made by Mr. George Ashton, the head of the firm of Ashton and Mitchell's Libraries, who performed the same duties during King Edward's reign, as well as for many years while his Majesty was Prince of Wales. Indeed, from first to last, Mr. Ashton has accompanied Royalty to the theatre for over thirty years.
So strictly is the King's visit regarded as private that no official notice is taken of his presence, although the manager of the theatre is, whenever possible, present to attend him to his box. If, however, he is playing, his business representative, the acting manager, officiates in his stead.
A Well-intentioned Blunder
During the whole of the time Mr. Ashton has been accompanying the Royal family to the theatre he recalls only one occasion on which any notice was ever taken of the presence of the Royal visitor. It happened when King Edward was Prince of Wales. No one will need reminding that after the Prince Consort's death Queen Victoria never went to the theatre, though in the later years of her life the theatre sometimes went to her, and she had certain plays performed at Balmoral and at Windsor. During that long time King Edward maintained the Royal interest in the theatre, which has always been very great.
On the night in question he went to see a play which was being acted by an American company, under the direction of an American manager. At the end of the first act "God Bless the Prince of Wales" was played by the orchestra. The manager, no doubt, intended it as a compliment, but the Prince did not look at it in the same light, for it drew attention to him, and caused him to be stared at very much.
When the Court is in residence in London a programme of what is going on at all the theatres is sent every week to Buckingham Palace for the King's inspection. If the King desires to go to the theatre he sends for Mr. Ashton, and either asks him to recommend a play, or announces his intention of going to see a certain piece. Mr. Ashton then telephones to the theatre to reserve the Royal box. Many people are under the impression that when the King goes to the theatre he does so without paying. No belief could be more erroneous. The King pays for his box in just the same way as does anyone else.
The Royal Box
If the play is a great success and the seats are in great demand it may happen that the Royal box has already been sold for the particular evening the King has selected. When that happens the purchaser of the box is communicated with by the manager, and, as a matter of courtesy, he consents to occupy another box, or to exchange his seats for another night. It need hardly be said that it has never happened that anyone who has bought the Royal box, or one of the two boxes which are thrown into one when the King or the King and Queen go to the play, has ever refused to yield his right to his place to accommodate the King.
When two boxes are used in this way it is always easy for those who occupy either on other nights to know that they are in a portion of the Royal box, for the partition between the two can be readily distinguished as being merely of a temporary character, so that it may be removed easily.
While the Royal box is commonly at the right-hand side of most theatres, looking towards the stage, it is sometimes placed on the opposite side of the house. The only factor which governs the side of the house on which the Royal box is placed is that it can be reached from the private entrance which the King and the other members of the Royal Family always use. It is obvious that the King cannot go through the front of the theatre in the ordinary way, seeing that he might have to wait while other members of the audience who had arrived before him were going to their places, and that, of course, would never do. If, on the other hand, the public had to wait at one side until the King had been shown to his box, it would undoubtedly cause unnecessary inconvenience and delay, besides attracting an amount of attention which the Sovereign is always anxious to avoid.
A Fortune-bringing Visit
Although the King's visit to the theatre is planned several days in advance, no one, except those intimately connected with it, are aware of the fact. The first intimation the public ever receives of the intended visit is when the awning is being erected over the Royal entrance. As this entrance is generally in a side street it does not attract as much notice as would otherwise be the case, and few members of the audience know in advance of the pleasure they will have in seeing the Sovereign, in addition to the play.
Could anyone in the audience get a preliminary peep into the Royal box he would, however, always know in advance when the King and Queen are going to be present. On such occasions there is placed on a chair or table in the reception-room adjoining the box a bouquet for the Queen, and two or three programmes, specially printed on satin for his and her Majesty.
The theatre is the only place at which the Queen is not presented with the bouquet which is always offered to her wherever she goes. Her Majesty invariably takes away her bouquet with her, but it is the usual thing for the programmes to be left behind. They are sought for eagerly as souvenirs of the event, for the Royal visit means a great deal to the manager of a theatre. Indeed, many a time in King Edward's reign his presence has changed a financial failure into a very fair success, for where the King goes the public invariably wants to go. Besides, when the King wants to visit a play, those in the Royal circle feel it more or less incumbent upon them to go too, and the news that Society - with a capital S - is going to a certain play invariably causes a rush for seats, with the most gratifying results to the fortunate manager.
The Royal Ante-Room
Attached to the Royal box of most of the theatres is an ante-room or withdrawing-room. It is, as a rule, reserved for the use of Royalty, and is kept closed on all other occasions, for the purchase of the Royal box does not, of necessity, carry with it the right to its use.
This ante-room is a little sitting-room, handsomely furnished, for the reception of its distinguished visitors. When in use it is plentifully decorated with flowers, while on a table there are generally some light refreshments, which are sent down from the Palace. At the Opera, at Drury Lane, and at one or two of the other theatres which have a good deal of space at their disposal, there is, in addition to the withdrawing-room, a smoking-room, so that the King may, if he chooses, smoke a cigarette between the acts. Often, too, the last editions of the evening papers are placed in the room, so that his Majesty may see the news if he does not care to talk.
Although, as a rule, the withdrawing-room is kept closed, there are one or two theatres, such as the Duke of York's, where it is always ready for use. Even the vases are filled with fresh flowers every day. When he is in London, Mr. Charles Frohman, the lessee and manager, often drops in at the Duke of York's in the evening, and he uses the withdrawing-room for the reception of any friends he may desire to see.
Whenever one reads that the King has sent for one of the actors between the acts it is in this withdrawing-room he has the honour of receiving the Royal congratulations. Naturally, it is the ambition of every actor to be singled out for this mark of favour, for, to quote the famous line:
"Approbation from Sir Hubert Stanley is praise indeed."
King Edward's approval was always highly esteemed by the most eminent members of the theatrical profession, for his late Majesty had not only a keen critical sense of acting, but had seen all the best acting which the capitals of Europe could show during the course of his life. Were it possible to collect the Green Room gossip which clusters about his visits to the play a most interesting volume could be written of his late Majesty's association with the actors, with whom he was particularly popular, and for whose convenience he never failed to show the utmost consideration.
Honouring An Actor
Whenever the King decides to summon an actor to his private box he always makes a point of never letting it interfere with the enjoyment of the public. On such occasions Mr. Ashton has to find out how long is the interval before the next rise of the curtain, if it does not happen to be mentioned on the programme, as is now so frequently done. In the time ordinarily allotted for the change of scene the Sovereign finishes his conversation, so that the play runs on smoothly and the final curtain falls at the usual time. In this way those of the audience who have trains to catch are put to no inconvenience.
A similar consideration always marks the Sovereign's punctual attendance at the theatre. If, however, anything should happen unexpectedly to prevent his being in his box before the curtain rises, a message is always telephoned that there is to be no waiting, and the Royal party enters as quietly and unostentatiously as if they were the most obscure, instead of the most exalted, people in the land.
When the King has decided on visiting a theatre nothing short of illness will cause his absence.
The Special Police
An additional fact to those mentioned calls attention to the King's visit to the play. This is that a certain number of special policemen are on duty outside the Royal entrance. The foreigner who is accustomed to seeing kings invariably protected by a bodyguard of soldiers and policemen will naturally imagine that they are needed for the protection of the King. Our own people, however, whose devotion to the Sovereign is unquestioned, know better than this. The police are on duty to protect the public. When the King goes to the play, two at least of the Royal carriages are generally used - one for his Majesty and the Queen, or for his Majesty and the gentlemen who attend him, and the other for the suite.
When the first carriage, containing those in attendance, arrives at the Royal entrance, the crowd, which always is attracted by the awning, naturally rushes up as closely as possible to the vehicles in order to see the Royal party in the second carriage to the best advantage. If the police were not there the chances are greatly in favour of an accident, which, however slight, would be certain to interfere materially with the pleasure of the Sovereign, for the welfare of his people is King George's first consideration.
(The Westminster Budget [UK weekly] - 7th July, 1893)
THE STATE PERFORMANCE AT THE OPERA HOUSE
Although Tuesday night's performance was not appointed to commence until 8.30, an hour before that time saw the entrances to the Opera House beset by visitors. Under the great portico in Bow-street was drawn up a detachment of the Coldstream Guards. In the vestibule, which was adorned with tropical plants and an endless array of blossoms, there hurried hither and thither sundry high officials of state clad in resplendent uniforms.
THE ROYALTIES
First upon the scene came the Duke of Cambridge, heralded by a sharp word of command and the clash of arms presented. Shortly afterwards the salutations due to Royalty were again called for by the coming of the Duke and Duchess of Edinburgh. There followed quickly Princess Louise and the Marquis of Lome, Prince and Princess Henry of Battenberg, and then the Duke and Duchess of Connaught. At half-past eight a burst of cheering made itself heard in the vestibule, and immediately afterwards there entered the Duke and Duchess of Teck, with their daughter, the Princess. Sir Augustus, in tendering respectful greetings to the Princess, begged her acceptance of a beautiful pair of gold opera-glasses, set with brilliants and pearls. Meantime the stream of arrivals had reached its end with the coming of the Prince and Princess of Wales, who were accompanied by the King and Queen of Denmark, the Czarewitch, the Duke of York, and the Princesses Victoria and Maud of Wales. There were also present Prince and Princess Christian, the Grand Duke and Grand Duchess of Mecklenburg-Strelitz, the Grand Duke of Hesse, Prince Waldemar of Denmark, Prince and Princess Edward of Saxe-Coburg, Prince Louis of Battenberg, and Prices Francis, Adolphus, and Alexander of Teck.
ROSES EVERYWHERE
Within the Opera House roses were festooned over every box from tier to tier. The architecture was traced with bunches and columns of roses. They were flung in profusion on every ledge and every seat and chair. The scent of this flower of flowers filled every nook and corner of the house. Into the arm of every other stall was tucked a posy bouquet of pink, white, and crimson roses, bound round with crimson and white satin ribbon, so that every lady present had a bouquet of flowers in her hand, a white and gold satin libretto to consult, and in front of her a white satin programme lettered in gold, and illustrated with portraits of the principal members of the Royal Family.
The Royal Box
THE ROYAL BOX
Three or four of the ordinary Covent Garden centre tier boxes were thrown into one, and were embraced as it were with a gorgeous festooned drapery of white satin fringed with gold, and this was the Royal Box. This white satin draped picture was framed with pink, red, and white roses. The interior of the box, walls and ceiling alike, was decorated with white satin capitonne and caught up into knots with orange blossom. The pillars and supports were also covered with the marriage flower. Directly the Royal procession was signalled at the door up went the electric lights, and the box was literally and truly a bower of roses. Chamberlains and deputy-chamberlains, and ushers and attendants, with their wands of office, marshalled the Royal guests to their seats amidst universal cheering. The bridal pair took the very centre of the box, and the Prince of Wales modestly contented himself with a seat in the extreme corner. The Royal party was laudably punctual, and without a shadow of delay the curtain rose on the first act of Gounod's "Romeo et Juliette," played on this occasion as a comedy of love, and shorn of its sombre and tragic denouement.
THREE THOUSAND PEOPLE PRESENT
The black velvet levee dress was very generally worn, but it was not compulsory. Everyone entitled to a military or diplomatic uniform of any class put it on, and the stars and decorations worn by men even rivalled the superb diamonds that sparkled on women's breasts. It was calculated that there were not less than 3,000 people present. The house might have been sold twice if not three times over. Crowds in Long-acre and the environs of Bow Street had begun to assemble to see the dresses and the diamonds soon after sunset. The Royal Box was supplied with forty full-sized copies of the score of "Romeo et Juliette," tastefully bound in covers of white satin and gold, and containing specially-designed end papers, the title and cast being printed in gold. One thousand smaller-sized copies in satin and gold, and 1,500 in enamel and gold, were also provided for other members of the audience.
SOME OF THE DRESSES
Princess May wore a pale blue brocade dress, the hem trimmed with a rouleau of plush pink and pale blue satin and the bodice with chiffon pinned with pearl and diamond ornaments. The Princess also wore a double row of pearls round her neck. The Duchess of Fife was dressed in white satin, brocaded with a design in daisies, the bodice finished with a frill of lace which fell over the arms, forming sleevelets, and the skirt finished with a rouleau of the brocade. Her Royal Highness wore a high-pointed tiara of diamonds, and a beautiful three-string necklet of single-stone diamonds. The Princess of Wales was attired in silver-grey satin, the front embroidered in glittering silver, and the bodice finished with grey chiffon and lace. Her Royal Highness wore a diamond tiara, or rather crown, since it went all the way round, in a design resembling fleur-de-lys in heraldry. The Princess of Wales had a beautiful diamond collar and several strings of pearls, besides diamond and pearl ornaments in her dress bodice. Princesses Victoria and Maud of Wales were dressed alike in white silk, their dresses simply made and trimmed with lace. The Marchioness of Londonderry, who wore a white satin dress with chiffon sleeves, had on a high round tiara, a magnificent diamond cross on a chain of large single-stone diamonds, while the front of her dress bodice was arranged with chains of diamonds attached to one large diamond star in the centre of the berthe. Lady Brooke was in white satin with sleeves of pale pink chiffon, and, besides a diamond tiara and necklet and a berthe liberally studded with similar gems, had a slender band of diamonds round her waist. Mrs. Mackay was in white, and wore beautiful diamonds and turquoises. Georgina Countess of Dudley was attired in palest sky-blue satin, and wore a diamond tiara and necklet, as well as a wonderful riviere of magnificent turquoises and diamonds. Mrs. MacEwan's dress was of deep-hued velvet, with superb old point lace, laid on the front with velvet applique and embroidered with jet on it. Mrs. MacEvvan wore a collar of diamonds. Diamond tiaras were the rule rather than the exception in the boxes, and a prominent figure on the grand tier was the Rajah of Johore, who occupied with his suite a box near Lady de Grey's. In the latter Signor Mascagni attracted considerable notice.