present work will not allow of anything more than a few brief notes, and those entirely of local bearing, but a history of the Birmingham stage would not be uninteresting reading.
A wooden building in Moor Street, formerly a circus, was licensed March, 19, 1861; closed in 1863, and cleared off the ground in 1865.
Theatrical performances were licensed in Bingley Hall in 1854.
The Prince of Wales Theatre, previously Broad Street Music Hall, was opened in 1862. It was reconstructed in 1876, and has accommodation for an audience of 3,200.
The Holte Theatre was opened May 12, 1879, the license to the Lower Grounds Co. being granted November 29, 1878.
The last new Theatre, the Grand, in Corporation Street, must rank as one of the handsomest edifices in the town. It faces what was once the Old Square, and has a frontage of 120ft., the height to the cornice of the roof being 52ft., the whole being capped with a dome, supporting a winged figure of Auroro, which, drawn in a car by prancing horses, is 15ft. high. The interior is laid out in the most improved modern style, ornately decorated throughout, and provides accommodation for over 3,000 persons. The cost is put at £30,000, of which £17,000 went to the builders alone, and the theatre is the property of Mr. A. Melville. The opening day was Nov. 14th, 1883. The "Interlude of Deritend Wake, with the representation of a Bullbaiting" was part of the performance announced at the King street Theatre. May 31, 1783.
Mrs. Sarah Siddons, whose debut in London the previous season had been anything but successful, came to Birmingham for the summer season of 1776. Henderson, one of her colleagues here, notwithstanding the Drury Lane veto, declared that she was "an actress who never had an equal nor would ever have a superior"—an opinion quickly verified.
One of Kean's benefits was a total failure. In the last scene of the play "A New Way to Pay Old Debts," wherein allusion is made to the marriage of a lady, "Take her," said Kean, "and the Birmingham audience into the bargain."
Garrick was visiting Lord Lytton at Hagley on one occasion when news was brought that a company of players were going to perform at Birmingham. His lordship suggested that Garrick should write an address to the audience for the players. "Suppose, then," said he, "I begin thus:
"Ye sons of iron, copper, brass and steel,
Who have not heads to think, nor hearts to feel."
"Oh," cried his lordship, "if you begin like that, they will hiss the players off the stage, and pull the house down." "My lord," replied Garrick, "what is the use of an address if it does not come home to the business and bosoms of the audience?"
A "Birmingham Garrick," was the name given to an actor named Henderson (1762), whose friends did not think him quite so great a tragedian as he fancied himself.
Kemble made his last appearance on the Birmingham stage July 9, 1788.
Robinson Crusoe, or Harlequin Friday, was the pantomime in 1790.
Madame Catalini first appeared at Royal in 1807.
Incledon, the famous tenor, sang here first time in same year.
William Charles Macready made his debût on the stage of the Royal as Romeo. June 7, 1810. He took his farewell benefit Aug. 13, 1871.
Alfred Bunn had the Theatre in 1823, during which year there appeared here Mr. and Mrs. C. Kemble, W. C. Macready, Joey Grimaldi, Miss Ellen Tree (afterwards Mrs. Charles Kean), W. Farren, Braham, Elliston, Dowton, Rignold and Power.
Barry Sullivan was born here in 1824.
In 1824 the whole town was up in arms taking part in the "Battle of
