Image ID: 08048

Photograph copy of a Southwell Theatre Poster, promoting performances of 'The Tempest' and 'Boots at the George'

Courtesy of The Dean and Chapter of Southwell Minster

Queen Street ?
Southwell
Nottinghamshire
England

The Tempest first appeared in print as the first play in the 1623 Folio of William Shakespeare. Throughout the play's history, the play has been variously regarded as a highlight of Shakespeare's dramatic output, as a representation of the essence of human life, and as containing Shakespeare's most autobiographical character, in the form of Prospero the magician-ruler. The first known performances of the play were at the court of James I, in 1611 and 1613; and the presence of the Jacobean-era masque further cements the play into this time frame. However, the first performances of the play may not have been at court at all; and, there is some remaining evidence that the play received some revision and perhaps some London performances between 1611 and 1613. The betrothal masque which appears in Act IV might have been added for the 1613 performance, since the play was staged as part of a celebration of the wedding of Elizabeth, the daughter of James I. The masque could have been added in order to make the play more occasion-appropriate, as some critics have theorized. Although a few of Shakespeare's plays were relatively well-known before 1650, The Tempest was not among these, as seen by the few allusions to it that have survived or been discovered. Actually, a Restoration retread of The Tempest, done by Davenant and Dryden, was actually more popular than Shakespeare's original for a time, despite its reduction of the original material to a near parody. A character named Hippolito was added, who was basically a male parallel to Miranda; and Miranda and Caliban were given sisters, Dorinda and Sycorax respectively. The work was a lighthearted comedy, unlike Shakespeare's text; and, until the nineteenth century, the characters Hippolito and Dorinda were often incorporated into Shakespeare's own version. The Davenant and Dryden version was even more successful when made into an opera in the late 17th century, and overshadowed Shakespeare's version for another hundred years or so. In 1838, the original version was finally performed, minus the added characters and musical spectacle. After the 17th century and until the 1930's, Ariel was also portrayed as a female character, despite evidence to the contrary within the text. Caliban was also changed, and beginning with Victorian productions, he became less diabolical, and more tragic and human in character. Wrapped up with Caliban was a great deal of anti-slavery sentiment, and then the part was marked with Darwinistic thought starting in the late part of the century. The production advertised on the theatre sheet seen here was performed on July 23rd 1845, and followed by the ludicrously juxtaposed 'Boot at the George', which the sheet proclaims as 'A truly laughable farce'. A box could be hired for 3 shillings, seats in the pit were 2 shillings and seats up in the gallery were 1 shilling (which would all have been rather expensive in 1845).

Date: 23/07/1845

Organisation Reference: NCCE001854

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