Victorian Theater and The Limelight

In the Victorian period, the expression in the limelight meant the most desirable acting area on the stage, front and center. Today, the expression simply means someone is getting public recognition and acclaim.

The limelight effect was discovered by Goldsmith Gurney in the 1820s based on his work with an oxy-hydrogen blowpipe. Scottish inventor, Thomas Drummond (1797-1840), built a working model of the calcium light in 1826 for use in the surveying profession.

The calcium light was created by super heating a cylinder of quicklime (calcium oxide) with an oxy-hydrogen flame that gives off a bright light with a greenish tint.

Eleven years later, the term limelight was coined to describe a form of stage illumination first used in 1837 for a public performance at the Covent Garden Theatre in London. 

By the 1860s, this new technology of stage lighting was in wide use in theaters and dance halls around the world. It was a great improvement over the previous method of stage lighting, candle powered footlights placed along the stage apron. 

Limelight lanterns could also be placed along the front of the lower balcony for general stage illumination providing more natural light than footlights alone. 

A lighthouse-like lens (Fresnel lens) was developed that could direct and focus concentrated light on the stage to spotlight a solo performance. Actors and performers must have felt they were living in the heyday of the theater.

The term green room has been used since the Victoria period to describe the waiting area performers use before going on stage. Theater lore has it that actors would sit in a room lit by limelight to allow their eyes to adjust to the harsh stage lighting, preventing squinting during their stage entrances.

Although the electric light replaced limelight in theaters by the end of the nineteenth century, the term limelight still exists in show business, as does the term green room.

Today, the green room is used by celebrities before they appear on talk shows, but it is not usually painted green. The room still performs a similar function as in the Victorian age--to prepare a performer to go on stage.

The "Cure" for Hysterical Women Behind Asylum Walls

Life Magazine advertisement from August 22, 1912.

The concept of the "weaker sex" in the 1800s made women more susceptible to charges of mental illness or emotional breakdown. Before the mid-1800s, women who suffered from depression or mental illness were believed to have an incurable disease of the soul. Many of these women were sent to institutions popularly known as the mad house, the insane asylum, or the nut house. Some were undoubtedly sent to local parish priests for exorcisms.

Because of existing gender stereotypes and a patriarchal society, women who disagreed with their husbands or families could be committed without formal legal proceedings or medical exigency. Institutional records indicate that women were labeled mentally ill and committed at a much higher rate than their male counterparts.

Biddy Hughes was Michigan's Eloise Asylum's first official mental patient. She was committed by her family in 1841 when she was in her mid-thirties. She was kept behind locked doors until her death fifty-eight years later.

Being a woman in the nineteenth century would make any woman hysterical--a collective term then used to describe all manner of women's mental health issues--ranging from menstruation-related issues, pregnancy-related issues, post-partum depression, chronic fatigue, and anxiety. The word hysteria derives from the Ancient Greek word for womb--thus womb disease.

Asylums were essentially warehouses for non compliant women. Once committed, these unfortunate women were subjected to a daily life of neglect and abuse. These indignities only drove troubled women deeper into mental illness regardless of why they were there. Insane asylums were not places for treatment or cure of the mentally ill.

Women had no voice to protest nor did they have any advocacy beyond the asylum gates. They lacked the solidarity to stand up for themselves or each other. Once admitted, it was next to impossible to be discharged. Bad treatment by attendants and terrible living conditions led to many asylum suicides from constant harassment, violence, loneliness, and despair.

In the Victorian age, the perfect wife did not demand time or rights for herself. She was supposed to be subservient to the needs of her family. Her husband in particular. Women with strong personalities and active minds could never conform to that role without sacrificing the core of their beings. Unsatisfied and vindictive husbands could have their wives committed for stepping outside the boundaries of her role as a wife.

Married women were sent to asylums for nymphomania, promiscuity, bearing an illegitimate child, or being the victim of rape. Women who practiced sex outside of marriage were accused of moral imbecility and could be committed for the public good. Many husbands used commitment as a convenient alternative to divorce.

By the mid-nineteenth century, doctors began regarding mental illness as a medical problem. With little formal training, they tested their quack theories on mentally ill patients. Perhaps the most egregious example of a gratuitous treatment was devised by male doctors who created a condition they called Hysterical Paroxysm.

Doctors would give female patients "pelvic massages" to release the women's pent-up libido and frustrations. It wasn't long before women were being treated for frustration and anxiety as outpatients in doctors' offices. After the electric vibrator was invented towards the end of the century, women could effect this treatment in the privacy of their own homes.

Doctors of this era believed women who tried to improve their station in life by asserting their independence, getting an education, or living outside the family unit without a husband were considered suspect. Women who were outspoken, volatile, or expressed discontent were labeled mad if they refused to fit the stereotypical mold of the passive housewife. Many women were driven to mental illness by the rigid strictures polite society imposed upon them.

Mental health researchers in the Victorian age devised three archetypes of the mad woman:

1. The Ophelia (named after the heroine in Hamlet). These women were pliant and pleasant--code words for easy to control.
2. The Crazy Jane. These patients represented psychotic women who were clearly disturbed and needed to be watched.
3. The Lucia (named after Renaissance poisoner Lucretia Borgia). These patients were prone to violence and considered dangerous.

Imposing these labels on women was a way for men to garner further control over women and possess them more thoroughly. Doctors of the day warned against any activity that might change a woman's domestic status. Suffragettes and women's rights advocates were particularly troublesome for the status quo and challenged the system.

Meanwhile, Edith Lanchester was committed in 1895 by her brother for refusing to marry. She was diagnosed as insane by reason of "over-education" while her brother took full possession and ownership of their jointly inherited estate.

"When We Called the Insane Asylum Eloise" link:
https://fornology.blogspot.com/2018/05/when-we-called-insane-asylum-eloise.html

More Theater Lore

London's oldest active theater site, Theater Royal Drury Lane, opened in 1663 in the early years of the English Reformation. Four theaters have occupied this site over the years. 

The first theater burned down in 1672. It was rebuilt by Christopher Wren and reopened on March 26, 1674. One-hundred and seventeen years later, Irish playwright, Richard Brinsley Sheridan had the building demolished and opened a larger theater in 1794. That building burned down only fifteen years later in 1809. The current building was rebuilt and reopened in 1812. Presently, it is owned by Andrew Lloyd Webber.

Theater Royal Drury Lane was really the first modern proscenium arch theater which provided a visual frame for the audience with permanent wings to the left and right of the stage to hide and shift scenery on and off the stage.

Learning about theater lore from a backstage tour is a fascinating excursion into the past. On the Royal Drury Lane Theatre tour at Covent Garden in London, the tour includes guides who dress in period costumes as they trade off their docent duties for quick costume changes. 

At one moment, a Victorian cleaning woman comes singing "I could have danced all night" down a staircase with a feather duster, then an eighteenth-century, English nobleman in costume suddenly appears and continues the tour. Next, a woman from the gaslight period comes out in a red dress and tells about how the theater was in her day. The tour is quite entertaining.

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Learning the origins of words from these tours is an article of faith, but because it is lore, I have a willing suspension of disbelief. For instance, I learned that the term "crew" as applied to the backstage crew derives from a little known fact.

In the early nineteenth-century, the new theater owners rebuilt and redesigned the theater once again. They hired out of work sailors who were between sea tours to work backstage; they became known as "the crew." These sailors devised the system of pulleys and battens which raise and lower scenery from the loft above. This innovation created new staging opportunities for playwrights and directors.

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On the Shakespeare's Globe Theater tour, I learned the origin of the term "box office." 

At the various entrances to the original Medieval theaters in the sixteenth-century, patrons would place their pennies in a ceramic box as they entered the theater. These boxes were collected at the box office. The theater owners would "break the bank" there for security reasons.

Today, box offices are where patrons purchase tickets for events, but the term has an additional context also. It has come to be associated with the amount of money a movie or play takes in.

"Good box office" means the production is making money; "box office poison" means the producers are losing money. Weekly and yearly figures are important to the entertainment industry and are reported widely around the world.