Theatrical ensemble of two cloaks, tunic, under-doublet and boots worn by Henry Irving as Macbeth, Acts I & II, 1888, at the Lyceum, under his own management. Designed by Charles Cattermole.
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| - Theatrical ensemble of two cloaks, tunic, under-doublet and boots worn by Henry Irving as Macbeth, Acts I & II, 1888, at the Lyceum, under his own management. Designed by Charles Cattermole. (en)
- Henry Irving (1838-1905) wore this costume in the title role of <i>Macbeth</i> by William Shakespeare (1564-1616). Irving had first performed the role of Macbeth when the Lyceum was still being managed by Mrs. Bateman in September of 1875. When he returned to the play in December of 1888 Irving again took the title role, but on this occasion Ellen Terry (1847-1928) played the part of Lady Macbeth. The play became one of the most successful productions in their repertoire, running for over 150 performances and was frequently revived on their tours of America.
Though few critics admired Irving's portrayal of Macbeth as a moral coward, all praised the power of his spectacular production. The play featured a lavish series of painted backdrops which conjured up a Celtic/Anglo Saxon vision of Scotland. It also included a musical score by Sir Arthur Sullivan (1842-1900).
Charles Cattermole designed the costumes, apart from those worn by Ellen Terry, which were designed by Alice Comyns Carr. The vivid blood red cloak that became part of the costume Irving wore for the murder scene, was amongst those originally designed to be worn by Terry as Lady Macbeth. After observing the visual impact of this splash of colour at the first dress rehearsal however, Irving adopted this cloak for himself and Terry's costume designer hurriedly created a more subdued heather coloured cloak for the leading lady.
Irving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London. He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis's melodrama <i>The Bells</i>. He took on the responsibilities of 'actor-manager' in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations. His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.
Irving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra. Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play. Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada. The development of the railway system made his the first generation able to achieve this level of touring productions. (en)
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| - Theatrical ensemble of two cloaks, tunic, under-doublet and boots worn by Henry Irving as Macbeth, Acts I & II, 1888, at the Lyceum, under his own management. Designed by Charles Cattermole. (en)
- Henry Irving (1838-1905) wore this costume in the title role of <i>Macbeth</i> by William Shakespeare (1564-1616). Irving had first performed the role of Macbeth when the Lyceum was still being managed by Mrs. Bateman in September of 1875. When he returned to the play in December of 1888 Irving again took the title role, but on this occasion Ellen Terry (1847-1928) played the part of Lady Macbeth. The play became one of the most successful productions in their repertoire, running for over 150 performances and was frequently revived on their tours of America.
Though few critics admired Irving's portrayal of Macbeth as a moral coward, all praised the power of his spectacular production. The play featured a lavish series of painted backdrops which conjured up a Celtic/Anglo Saxon vision of Scotland. It also included a musical score by Sir Arthur Sullivan (1842-1900).
Charles Cattermole designed the costumes, apart from those worn by Ellen Terry, which were designed by Alice Comyns Carr. The vivid blood red cloak that became part of the costume Irving wore for the murder scene, was amongst those originally designed to be worn by Terry as Lady Macbeth. After observing the visual impact of this splash of colour at the first dress rehearsal however, Irving adopted this cloak for himself and Terry's costume designer hurriedly created a more subdued heather coloured cloak for the leading lady.
Irving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London. He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis's melodrama <i>The Bells</i>. He took on the responsibilities of 'actor-manager' in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations. His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.
Irving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra. Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play. Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada. The development of the railway system made his the first generation able to achieve this level of touring productions. (en)
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