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228:– undoubtedly the clearest, pleasantest, and most succinct lecturer of the day – has confined himself to the superintendence of young gentlemen's military education, the public has come to look upon the Gallery of Illustration as the special home of Mr and Mrs German Reed, and to regard them as the sole persons with any right to be there. When these pleasant entertainers are away on their provincial tour their room is sometimes let to a wandering amusement-provider with a panorama interspersed with comic songs, or some other exhibition, but he obtains but little attention, and the Gallery fades out of the list of amusements to be watched, until its legitimate and favourite occupants return.
19:
116:
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235:, a former concert singer and subsequently an entertainer known for his impressions of popular performers. The historian Jane W. Stedman writes that the Reeds' playbills "settled into a format, which continued even after Parry retired in 1869: a musical monologue to piano accompaniment by Parry ... preceded and/or followed by a musical piece, later two, often farcical, often a pocket operetta".
265:... but we were taken to the old Gallery of Illustrations, which was not considered a theatre, and very delightful it was. The auditorium was narrow and rather stuffy, the seats sloped in a steep rake down to the tiny stage. Gilbert, Burnand, and the à Becketts wrote the plays, which were not called plays but 'illustrations', so that the strictest could see them without offence.
184:
147:, which Nash arranged, with papal permission, to be copied by top Roman artists of the time. He allowed members of the public to view the gallery by appointment. After his death the pictures were sold. The house was bought by an auctioneer called Rainy, who made it his business premises and used the gallery to display his wares in the 1830s and 1840s.
175:
Grieve and Telbin followed this with "Diorama of Our Native Land" (1851), "Campaigns of the Duke of
Wellington" (1852), "Diorama of the Arctic Regions" (1853), and "The Seat of War" (1854). The prefix "Royal" was added to the title of the establishment by late 1852, but it is not clear on what authority, if any.
278:
Mrs German Reed personates successively a Scotch housekeeper, Mrs McCraggie; a flirting spinster, Miss
Rougemel, with a capital "song about Cheltenham"; and the loquacious busy body Mrs Meddle. Mr German Reed makes a series of rapid changes as an enthusiastic flute-player named Chirriper, with the
253:
In the 1850s and 1860s theatres were regarded by a substantial part of society as not respectable. The historian Andrew
Crowther writes, "Many who would gladly attend a concert, a lecture or an exhibition at a gallery would not think of setting foot in a theatre". The Reeds did not to refer to the
214:
called "her very clever impersonations" at the Royal
Gallery of Illustration. The Reeds continued to perform at the gallery for seventeen years, in what were first billed as "Miss P. Horton's Illustrative Gatherings" and then "Mr and Mrs German Reed's Entertainments". They quickly became public
174:
reported in
October that the show "continues to attract overflowing audiences to the Gallery of Illustration in Regent-street. Its extensive popularity, however, is no matter for wonder, as the subject treated is perhaps the finest that can be conceived for the purposes of scenic illustration".
165:
This diorama is accompanied by appropriate music, comprising popular melodies from the best
English, French, Spanish, Portuguese, Sicilian, Moorish, Egyptian, Arabian, and other sources. The entire journey is graphically described, as well as pictorially delineated, combining both amusement and
67:, and avoided the use of the words "theatre", "play" and other theatrical terms. Under the Reeds the gallery played an important part in the development of a new generation of authors, composers and performers. Among the writers whose works the Reeds staged were
279:
infirmity of deafness; a speech-making Deputy
Lieutenant, Orpheus Rougemel, who sets his oration to music; the accepted lover, Lieutenant Robert Barton, RN; and a fussy elderly solicitor, called William Prynne, who discovers in Miss Rougemel an old sweetheart.
258:, acts were "parts", and roles were "assumptions", avoiding conventional theatrical terms. Stedman comments that the accompaniment of piano, harmonium, and at times a harp "also emphasized the presumably untheatrical nature of the entertainment". The author
447:
The historical importance of the gallery is chiefly its role in the early careers and development of leading authors, composers and performers. Several future stars had their start in the Reeds' company, including
268:
The stage was tiny because the long, narrow gallery could not accommodate a larger one. This restricted the Reeds to a cast of at most five performers. Much doubling of parts and quick changes were called for.
411:
The Reeds' lease of the gallery expired at the end of July 1873, and the building ceased to be used as a performance space. The programme for the last night there, on 31 July, comprised
162:
display with expert commentary and music. The first show, "Diorama of the
Overland Route to India", opened in March 1850 and was a success with critics and public. A reviewer wrote:
40:
as part of his own house, to display his considerable collection of paintings. In 1850 the building was named the
Gallery of Illustration, and between then and 1855 it housed a
1432:
102:
The lease of the building expired in 1873, and it ceased to be used as a performance venue. The Reeds moved to another theatre, and the gallery became a banqueting hall.
1619:
526:
59:. Their entertainments developed from songs and comedy with piano accompaniment to programmes of short plays and operettas. In deference to respectable
626:
During the Reeds' tenure the gallery hosted occasional performances by others. In July 1857 it was made available to an amateur group that included
1579:
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139:. The gallery was part of Nash's own residence at 14 Regent Street, completed in 1824. It originally housed copies of paintings by
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736:(both written with his brother Robert and staged by the Reeds at St Martin's Hall before being revived at the gallery)
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Since Messrs Grieve and Telbin have given up painting panoramas of historical events or travelled interest, and since
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136:
465:
362:) was the Reeds' longest-running and most frequently revived production, narrowly outdistancing Burnand and
282:
428:
1585:
1535:
The D'Oyly Carte Opera
Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
1417:"Harrogate plays host to 40 performances at International Gilbert and Sullivan Festival from Wednesday"
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400:. Among the composers in addition to Reed, Parry, Macfarren, Sullivan, Gabriel and Clay were
334:
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124:
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recalled that in his Victorian childhood there was no question of being taken to a theatre,
210:, at the piano and "the pictorial aid of Messrs Grieve and Telbin", she started giving what
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432:
325:. After seven further productions of the same nature, with original music by Macfarren and
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Gallery of Illustration as a theatre, and they called their productions "illustrations" or
8:
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Information about Fanny Holland, who performed in scores of entertainments at the gallery
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and William Telbin took on the lease of the building. They opened it in March as the
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at the opposite end of Regent Street; the gallery became the banqueting hall of the
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doubts about the propriety of theatres, the Reeds called their productions
307:– simplified versions of operas for his usual small forces. The first was
793:
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From 1856 to 1873 the gallery was in the hands of the singer and actress
1391:, 1 March 1875, p. 6; Lubenow, p. 106; and "Our London Correspondence",
183:
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Liberal Intellectuals and Public Culture in Modern Britain, 1815–1914
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for his own entertainment, "The Wedding Breakfast at Mrs. Roseleaf's"
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135:, and other urban improvements undertaken to the commission of King
853:
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at The Forgotten Opera Company: Two dazzling flashes of operetta"
468:, and has continued to be revived regularly in the 21st century.
159:
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41:
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The Brough works, with music composed or arranged by Reed, were
644:, given in aid of a charity; one performance was attended by
1607:
Information and links about Gilbert's works for the Gallery
202:
began to perform at the venue. Her entertainments given at
372:. Other authors whose works were presented there included
1480:
Gilbert of Gilbert & Sullivan: His Life and Character
1074:, Oxford University Press, 2004. Retrieved 11 July 2020
99:
made their names at the gallery early in their careers.
1068:"Reed, (Thomas) German (1817–1888), musician and actor"
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Thomas German Reed dropped his first name in the 1840s.
1103:"Amateur Theatricals at the Gallery of Illustration",
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has been revived occasionally. Burnand and Sullivan's
303:
Reed experimented with what he called chamber opera –
1532:
701:, where all five characters appear onstage together.
36:
The gallery was built in the 1820s by the architect
638:for three performances of Collins's romantic drama
29:was a 19th-century performance venue located at 14
1187:"Cradled among the Reeds: Two Victorian Operettas"
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44:created and run by the theatrical scene-painters
22:The Gallery of Illustration (right half of block)
1650:
587:
464:was taken up by later managements including the
33:in London. It was in use between 1850 and 1873.
1518:Illustrations of the Public Buildings of London
413:Mildred's Well; or A Romance of the Middle Ages
340:At the gallery the Reeds staged nine pieces by
275:reported on a typical production in July 1868:
1586:Information about the Gallery of Illustration
1591:Description of an "Illustrative Gathering"
1131:
1129:
986:"Gallery of Illustration, Regent-Street",
960:The Lady's Newspaper & Pictorial Times
943:"Diorama of the Overland Route to India",
780:Burnand's works given at the gallery were:
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1072:Oxford Dictionary of National Biography
694:all feature 5 actors. See, for example
299:(1869), the gallery's most popular show
123:The gallery was built by the architect
1651:
1552:John Nash: Architect to King George IV
1533:Rollins, Cyril; R. John Witts (1962).
1516:Pugin, Augustus; John Britton (1838).
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150:In 1850 the theatrical scene-painters
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843:Gilbert's pieces for the gallery were
198:Early in 1856 the singer and actress
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1465:. Oxford: Oxford University Press.
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13:
1520:(second ed.). London: Weale.
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1378:Crowther, pp. 82–84, 87–88 and 95
1339:"Royal Gallery of Illustration",
1304:"Royal Gallery of Illustration",
1265:"The Amusements of Whitsuntide",
1038:"Royal Gallery of Illustration",
1025:"Royal Gallery of Illustration",
231:In 1860 the Reeds were joined by
27:The Royal Gallery of Illustration
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971:"The Great Exhibition of 1851",
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1580:Royal Gallery of Illustration
1554:. London: Allen & Unwin.
1501:. Woodbridge: Boydell Press.
1482:. Stroud: The History Press.
1419:, York Press, 1 August 2016.
888:
588:Notes, references and sources
1600:, description of Horton and
1497:Lubenow, William C. (2010).
1078:UK public library membership
928:"Sir W. Forbes's Pictures",
178:
110:
7:
1352:"Gallery of Illustration",
1326:"Gallery of Illustration",
1291:"Gallery of Illustration",
1278:"Gallery of Illustration",
1252:"Gallery of Illustration",
1239:"Gallery of Illustration",
1169:"Gallery of Illustration",
1135:"Gallery of Illustration",
1119:"Gallery of Illustration",
1012:"Gallery of Illustration",
999:"Gallery of Illustration",
958:"Gallery of Illustration",
829:(1872, music by Molloy) and
419:by Burnand and Molloy, and
10:
1675:
1537:. London: Michael Joseph.
1454:
606:Victoria and Albert Museum
604:They were acquired by the
471:
466:D'Oyly Carte Opera Company
105:
1659:Former theatres in London
1478:Crowther, Andrew (2011).
875:(1871, music by Reed) and
764:The Bard and his Birthday
442:
1597:Shakespeariana, Volume 3
1550:Summerson, John (1935).
1356:, 21 November 1872, p. 5
1195:, May 1988, pp. 234–235
1016:, 24 December 1853, p. 2
806:(1870, an adaptation of
592:
1421:(subscription required)
1406:Rollins and Witts, p. 2
1317:Rollins and Witts, p. 3
1223:"The London Theatres",
1197:(subscription required)
1094:, 26 January 1856, p. 5
1042:, 12 October 1852, p. 5
990:, 21 January 1851, p. 3
977:, 21 October 1850, p. 4
962:, 13 April 1850, p. 197
311:(1863), a retelling of
156:Gallery of Illustration
119:Nash's original gallery
1227:, 3 August 1873, p. 11
1139:, 19 March 1865, p. 10
919:Summerson, pp. 211–212
910:Summerson, pp. 212–213
882:(1872, music by Clay).
868:(1870, music by Reed),
850:(1869, music by Reed),
834:(1873, music by Reed).
532:1866 advertisement by
300:
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195:
120:
23:
1445:DC Metro Theater Arts
1415:Hutchinson, Charles.
1394:The Liverpool Mercury
1330:, 3 April 1870, p. 10
1243:, 28 April 1857, p. 4
1241:The Morning Chronicle
1173:, 26 July 1868, p. 12
1092:The Morning Chronicle
1003:, 27 April 1852, p. 5
974:The Morning Chronicle
949:, 26 March 1850, p. 5
427:. The Reeds moved to
415:by Burnand and Reed,
358:(1869, with music by
285:
241:
212:The Morning Chronicle
186:
171:The Morning Chronicle
118:
21:
1582:at Wikimedia Commons
1397:, 11 May 1883, p. 5
1343:, 7 March 1872, p. 3
1308:, 15 July 1868, p. 3
1282:, 15 May 1864, p. 12
1269:, 26 May 1861, p. 11
1256:, 21 June 1859, p. 5
1123:, 21 June 1859, p. 2
1029:, 25 July 1854, p. 6
734:The Enraged Musician
654:Leopold I of Belgium
433:Pall Mall Restaurant
215:favourites: in 1859
48:and William Telbin.
1631: /
1461:Anstey, F. (1936).
1107:, 6 July 1857, p. 5
934:, 1 June 1842, p. 6
804:Beggar My Neighbour
783:Our Yachting Cruise
759:The Rival Composers
744:My Unfinished Opera
513:Our Yachting Cruise
452:, Corney Grain and
437:Constitutional Club
329:and adaptations of
1635:51.5089°N 0.1339°W
1602:John Orlando Parry
1447:, 23 November 2019
1435:Brides and Mothers
1369:, 6 May 1873, p. 3
1090:"Miss P. Horton",
718:and music by Reed.
696:Nos. 14 and 15 of
580:German Reed (1871)
534:John Orlando Parry
301:
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24:
1578:Media related to
1508:978-1-84383-559-2
1489:978-0-7524-6385-8
1463:A Long Retrospect
1431:Pomeroy, Cybele.
1387:"The Pall Mall",
1365:"Royal Gallery",
1192:The Musical Times
1105:Morning Chronicle
1076:(subscription or
1066:Stedman, Jane W.
872:A Sensation Novel
812:Les deux aveugles
769:A Peculiar Family
739:A Month From Home
685:A Sensation Novel
572:A Sensation Novel
493:The Family Legend
244:A Peculiar Family
87:. The performers
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256:"entertainments"
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189:Priscilla Horton
65:"entertainments"
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1468:
1464:
1459:
1458:
1446:
1442:
1440:
1436:
1428:
1418:
1412:
1403:
1396:
1395:
1390:
1384:
1375:
1368:
1362:
1355:
1349:
1342:
1336:
1329:
1323:
1314:
1307:
1301:
1294:
1288:
1281:
1275:
1268:
1262:
1255:
1249:
1242:
1236:
1234:
1226:
1220:
1218:
1216:
1214:
1204:
1194:
1193:
1188:
1182:
1180:
1172:
1166:
1164:
1157:Anstey, p. 40
1154:
1145:
1138:
1132:
1130:
1122:
1116:
1114:
1106:
1100:
1093:
1087:
1079:
1073:
1069:
1063:
1061:
1059:
1057:
1055:
1053:
1051:
1049:
1041:
1035:
1028:
1022:
1015:
1009:
1002:
996:
989:
983:
976:
975:
968:
961:
955:
948:
947:
940:
933:
932:
925:
916:
907:
898:
894:
881:
880:
879:Happy Arcadia
874:
873:
867:
866:
860:
859:Frederic Clay
856:
855:
849:
848:
840:
833:
828:
827:Very Catching
823:
819:
814:
813:
809:
805:
800:
796:
795:
789:
784:
777:
770:
765:
760:
755:
750:
745:
740:
735:
731:
724:
717:
716:F. C. Burnand
713:
707:
700:
699:
693:
692:
691:Happy Arcadia
687:
686:
681:
680:
675:
674:
669:
668:
662:
655:
651:
650:Prince Albert
647:
643:
642:
637:
633:
629:
623:
614:
607:
601:
597:
577:
576:W. S. Gilbert
573:
567:
557:
552:
551:
544:
535:
528:
518:
517:F. C. Burnand
514:
508:
498:
494:
488:
469:
467:
463:
459:
455:
454:Fanny Holland
451:
440:
438:
434:
430:
426:
422:
418:
417:Very Catching
414:
409:
407:
403:
399:
395:
391:
387:
383:
382:James Planché
379:
378:Henry Chorley
375:
371:
370:
365:
361:
360:Frederic Clay
357:
356:
351:
350:W. S. Gilbert
347:
346:F. C. Burnand
343:
338:
336:
335:Michael Balfe
332:
328:
324:
321:and music by
320:
319:John Oxenford
316:
315:
310:
306:
298:
297:Frederic Clay
294:
293:W. S. Gilbert
290:
289:
284:
276:
274:
273:
263:
261:
257:
249:
245:
240:
236:
234:
227:
226:Mr Stocqueler
222:
220:
219:
213:
209:
205:
201:
194:
190:
185:
176:
173:
172:
163:
161:
158:, offering a
157:
153:
152:Thomas Grieve
148:
146:
142:
138:
134:
133:Regent's Park
130:
129:Regent Street
126:
117:
103:
100:
98:
97:Fanny Holland
94:
90:
86:
82:
81:Frederic Clay
78:
74:
73:F. C. Burnand
70:
69:W. S. Gilbert
66:
62:
61:mid-Victorian
58:
54:
49:
47:
46:Thomas Grieve
43:
39:
34:
32:
31:Regent Street
28:
20:
16:
1616:
1596:
1551:
1534:
1517:
1498:
1479:
1462:
1444:
1438:
1434:
1427:
1411:
1402:
1392:
1388:
1383:
1374:
1366:
1361:
1353:
1348:
1340:
1335:
1327:
1322:
1313:
1305:
1300:
1292:
1287:
1279:
1274:
1266:
1261:
1253:
1248:
1240:
1224:
1207:Grove, p. 91
1203:
1190:
1170:
1153:
1144:
1136:
1120:
1104:
1099:
1091:
1086:
1071:
1039:
1034:
1026:
1021:
1014:The Standard
1013:
1008:
1000:
995:
988:The Standard
987:
982:
972:
967:
959:
954:
944:
939:
929:
924:
915:
906:
897:
877:
870:
863:
852:
845:
839:
831:
826:
822:James Molloy
817:
810:
803:
792:
787:
782:
776:
768:
763:
758:
753:
748:
743:
738:
733:
729:
723:
711:
706:
697:
689:
683:
677:
671:
665:
661:
639:
622:
613:
600:
571:
554:Burnand and
548:
512:
492:
461:
457:
450:Arthur Cecil
446:
425:Corney Grain
420:
416:
412:
410:
406:James Molloy
386:Robert Reece
367:
353:
339:
312:
308:
304:
302:
286:
270:
267:
252:
243:
230:
216:
211:
197:
169:
168:
166:instruction.
155:
149:
122:
101:
93:Corney Grain
89:Arthur Cecil
50:
35:
26:
25:
15:
1638: /
1439:Cox and Box
808:Offenbach's
794:Cox and Box
766:(1864), and
730:Holly Lodge
550:Cox and Box
462:Cox and Box
394:Bolton Rowe
369:Cox and Box
344:, seven by
242:Poster for
208:German Reed
193:German Reed
187:The Reeds:
57:German Reed
1623:51°30′32″N
1560:1150082194
889:References
632:Mark Lemon
497:Tom Taylor
398:Tom Taylor
246:(1865) by
233:John Parry
221:observed:
1626:0°08′02″W
1543:504581419
1526:664399053
1471:917214233
1080:required)
946:The Times
331:Offenbach
309:Jessy Lea
260:F. Anstey
179:1856–1873
137:George IV
125:John Nash
111:1824–1855
38:John Nash
1653:Category
854:Ages Ago
847:No Cards
698:Ages Ago
673:No Cards
667:Ages Ago
458:Ages Ago
355:Ages Ago
352:, whose
288:Ages Ago
1455:Sources
1328:The Era
1280:The Era
1267:The Era
1225:The Era
1171:The Era
1137:The Era
785:(1866),
771:(1865).
761:(1861),
756:(1861),
746:(1857),
741:(1857),
472:Posters
272:The Era
160:diorama
145:Vatican
143:in the
141:Raphael
106:History
42:diorama
1558:
1541:
1524:
1505:
1486:
1469:
751:1859),
732:, and
559:(1869)
520:(1866)
500:(1862)
443:Legacy
593:Notes
333:and
1556:OCLC
1539:OCLC
1522:OCLC
1503:ISBN
1484:ISBN
1467:OCLC
1437:and
688:and
652:and
634:and
578:and
404:and
396:and
295:and
191:and
95:and
83:and
71:and
714:by
423:by
366:'s
291:by
1655::
1443:,
1232:^
1212:^
1189:,
1178:^
1162:^
1128:^
1112:^
1070:,
1047:^
861:),
824:),
801:),
682:,
676:,
670:,
648:,
630:,
439:.
408:.
392:,
388:,
384:,
380:,
376:,
131:,
91:,
79:,
1562:.
1545:.
1528:.
1511:.
1492:.
1473:.
1433:"
815:,
790:,
656:.
608:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
