Theatres and places of Public Amusement.

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Theatres and Places of Public Amusement.**

In the reign of Elizabeth, plays were represented in the ball-room of the castle, by the nobility and gentry, but no regular licensed theatre was opened until the reign of Charles 1. In 1635, Lord Stafford being Lord Lieutenant, John Ogilby (the translator of Homer) erected a theatre in Werburgh-street, for which the famous Shirley wrote some plays. This theatre was closed during the rebellion, and never re-opened; but Ogilby procured a renewal of his patent, and opened another in Orange-street, now Smock-alley, 1662.

During the performance of *Bartholomew Fair, *Dec. 26th, 1671, the upper gallery fell down into the pit, by which three persons were killed, and numbers severely wounded. This accident deterred the public from the encouragement of theatrical amuse-meats for some time; nor was the theatre re-opened, until 1691, after the battle of the Boyne.

In 1733, a Theatre was opened in Rainsford-street, in the Earl of Meath’s Liberty, by Mr. Husband; this did not enjoy public favour more than three years. Smock-alley theatre had been for a long time, in a tottering condition, which induced Mr. Elsington to design a new structure, the first stone of which was laid in Aungier-street, on the 8th of May 1733. At this time there were three Theatres open in’ Dublin, viz. Rainsford-street, Smock-alley, and Madam Violante’s company in George’s Lane.

In 1736, Smock-alley was rebuilt and opened under the management of Duval. In 1745, Aungier-street theatre was intrusted to the management of Mr. Sheridan; but, unfortunately, he outlived the public liking, and his edifice was demolished by the populace in 1754, during the representation of the tragedy of Mahomet; and it was supposed they were suddenly inflamed by an unfortunately appropriate passage in the play.

In 1756, Sheridan returned to Dublin, and was compelled, most cruelly, to make a public apology, for imputed offences. About this period a passion for theatrical amusements existed in Dublin, and Foote and Ryder were warmly received at Smock-alley theatre. In 1758, the New theatre in Crow-street was opened, and a violent opposition arose, in consequence, between the two Play-houses, which was carried on with various success for about five and twenty years, when Crow-street was chosen as the Theatre Royal, and Smock-alley abandoned. The theatre in Crow-street continued in public-favour for above 40 years, if we except, perhaps, one violent attack made by the public, which had nearly ended in its destruction: the cause of the dispute was the manager not reconciling a disagreement about terms, between the owner of the dog who performed in the “Dog of Montargis,” and himself, so as to bring the piece again before the public. After much injury done to the house, the public mind was calmed by the friendly interference of the Lord Mayor, J. C. Beresford.

The patent of the manager having expired, Mr. Harris, of Covent Garden, purchased a renewal from government; and not being able to procure Crow-street theatre from the proprietors, on reasonable terms, he built the present very beautiful place of amusement in Hawkins-street, called **

The New Theatre Royal** - which stands on the site of the Dublin Society’s house, let for some time to the Mendicity Association, and was opened Jan. 18th, 1821.

The form is that of a lyre, but the line of the back of the boxes being struck from a different centre from that of the front, gives the dress circle, when viewed from the stage, the appearance of a crescent.

The decorations of the first tier of boxes are selected and adapted from the temple of Bacchus; are divided into pannels by gilt mouldings, anti separated by gold pedestals, ornamented with burnished gold caducei: these pedestals form the basis of two rows of burnished gold columns, which are fluted, and apparently support the second circle of boxes, the slips, and the gallery.

On the first circle is placed a continuous ornament, adapted from the temple of Erectheus and Minerva Polias; and on the upper one a composition of the Greek chain, twined with the sham-rock mouldings, taken from the classic models of ancient Greece, run all round the three tiers. The ornaments of the proscenium are compositions from decorations found in Pompeii and Herculaneum, surmounted by draperies of velvet and gold, and by arches surrounded by the Greek fret and honeysuckle. The upper part of the proscenium is connected with the ceiling by coves, which leave no harsh hues to hurt the eye; and this part of the proscenium and ceiling forms the peculiar feature of the theatre, and the *first *instance of such an attempt.

By continuing the circle of the back of the boxes, along the proscenium, instead of cutting it short by the straight line of the stage, as in every other theatre, a completely circular ceiling is formed, by which means a great appearance of expanse is attained, without the inconvenience of distance; and the performer speaks actually in the body of the house, without the appearance of intruding upon the auditory. It is to the form of this ceiling and the absence of any distinct top proscenium, that we attribute the facility with which the slightest word uttered on the stage is heard in the remotest corner of the house.

The ceiling is coved into a shallow dome, divided into decorated compartments, and being supported by a circular row of antae (or pilasters), surmounted by an entablature ornamented with gold wreaths, gives to the theatre the appearance of a vast Greek temple. All the decorations are raised in burnished gold up on lilac pannels, relieved by fresco-coloured stiles; the tints are so blended as to present no decided distinction of colour to fatigue the eye, and all the lines are curves.

By the arrangement of the different artificers employed, which varied, during its progress, from four to seven hundred persons, this theatre (the new part of which covers a space of 100 feet by 168, whose walls are 78 feet high, and the span of the roof 78 feet without any support but the external walls), was raised and opened in 65 days, computing the day at 10 hours and a half. The whole work was executed and perfected under the immediate direction of Mr. Beazley, the architect, of whose activity and professional skill it affords a striking proof, and a splendid one, also, of the liberality and spirit of the patentee.

At the back of the box lobbies is a saloon for refreshments, 54 feet by 34, with a gallery at each end, supported by Ionic columns, communicating with the upper circle of boxes, by which means the visitors to that part of the theatre have access to the saloon without descending to or interfering with the dress circle. The ceiling is composed of a dome and ccupola, supported by four arches. The proportions of the Ionic order used in this saloon, are the same as those of Minerva Polias.

There is a small theatre in Fishamble-street, built originally for a Music Hall, where the celebrated Lord Mornington piesided at concerts given for charitable purposes but this is only used now as a private theatre. A very neat theatre was opened in Capel-street in 1745, by a company called “The City Comedians,” who proved very formidable rivals to Smock-alley. But this place of amusement is now seldom opened for any public purpose.

In the Royal Arcade, on College Green, there are several excellent rooms let out for public entertainments, in one of which is a small theatre, called the Theatre of Arts, which is chiefly intended for exhibitions of mechanism.

The only public promenade remaining in Dublin, is that held on summer evenings in the Rotunda Gardens [See Lying-in Hospital and Rutland-square].

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