The returns for the house on the occasion were:—
| £. | s. | d. | |
| Six Box Tickets | 1 | 4 | 0 |
| Fifteen Pit ditto | 1 | 10 | 0 |
| Two Gallery ditto | 2 | 0 | |
| Taken at doors | 7 | 8 | 0 |
| Total | £10 | 4 | 0 |
The “Brighton New Guide,” 1800, published by Fisher, Old Steine, says: “The scenes are painted by Mr. Carver, of Covent-Garden Theatre, and they do honour to the abilities of that ingenious artist; and if the abilities of the actors are not sufficiently powerful to excite the enthusiasm of applause, they are not so contemptible as to create disgust. Candour must acknowledge, that the theatrical business at Brighthelmston is conducted with great regularity, and that if perfection is not reached, mediocrity is surpassed.”
In 1672, a tax on plays was proposed; but the court party objected to it. They said the players were the King’s servants, and administered to his pleasures. Sir John Coventry pleasantly asked, “Whether the King’s pleasures lay among the male or the female actors?” Charles, who, besides his other mistresses, entertained two actresses, Mrs. Davis and Nell Gwynne, was hurt by this sarcasm, and took an unworthy revenge. Some of his guards attacked Coventry, and slit his nose. The Commons expressed their indignation, by passing what is called the Coventry Act, by which maiming and deforming were made capital crimes, and those persons who had assaulted Coventry were rendered incapable of receiving the King’s pardon.
In July, 1805, when the Prince of Wales bestowed his patronage upon the Duke Street Theatre, and first attached to it the gracious adjective, “Royal,” great improvements were effected in the house, those in his Royal Highness’s box particularly so: blue panels, with sparkling gold stars, on a dark ground, and ornamented with festoons of roses, superbly distinguished it; a crimson curtain of velvet depending from the ceiling also heightened the effect, and gave an indescribable appearance of grandeur to the whole. The box was also carpeted throughout, and handsome painted chairs with cushions in lieu of fixed seats, made part of its furniture.
On the 13th of August, 1805, a piece was produced in honour of the birthday of the Prince of Wales, and was called The Twelfth of August. The plot of the piece was: “Sofa Hazleby,” the daughter of an opulent farmer, a resident of Brighton, who has numerous suitors, has promised to become the bride of him who can give the best solution to a question which she will submit to their consideration on the Green, on the Twelfth of August; and the reason she assigns for choosing that day for a decision so momentous to her, is because it gave birth to England’s Heir,—a Prince whose suavity of manners, benevolence of heart, and mental endowments have rendered him the pride of his country and the admiration of Europe. “That auspicious morn,” she continues, “could but appear to me as most grateful and best adapted to my purpose, in which every honest countenance I might gaze at should be brightened with exulting smiles.”—The preceding part of the drama being over, in which her eccentric suitors afforded much mirth to the audience, the final scene presents a supposed view of the South Downs, and the entrance of Brighton, the latter brilliantly illuminated, the initials P. W., the feathers, and a blazing star, being appropriately conspicuous.
In 1799, Mr. Alexander Archer was manager of the Duke Street Theatre. Upon stripping the paper from the walls of 34, Bond Street, on the 20th of May, in the present year, to effect some alterations, a relic in the character of a “play bill,” was brought to light. It is thus worded: “Engagement of Mr. Quick. Doors open at half-past six. Begin precisely at 7 o’clock. Mr. Quick’s fifth night. Theatre Brighthelmston. On Tuesday, July 13th, 1802, will be performed the admired comedy of She Stoops to Conquer; the part of ‘Tony Lumpkin,’ by Mr. Quick. After which will be added St. Patrick’s-Day, or the Scheming Lieutenant. Lee, Printer, Brighton.” The house had just been vacated by the descendants of Johnson, who for many years was the bill-sticker of the town. The first stone of the present Theatre was laid on the 24th of September, 1806, by Mr. Brunton, senr.; and the building was opened on Saturday, the 6th of June, 1807, with the tragedy of Hamlet, when Mr. and Mrs. Charles Kemble represented the Prince and Ophelia.
The Brighton Ambulator—a publication almost extinct,—thus speaks of the present theatre as it was when opened by the first lessee, Mr. Trotter:—
the theatre.
This place of public amusement is situated in the New Road, leading into North Street. It is a very handsome structure, having a colonnade, which runs along its whole front, supported by neat stone pillars. The entrance into the Boxes is in the centre; and that to the Pit is on the right, and the Gallery on the left of the building.
The interior has two tier of boxes. The Prince Regent’s box is on the left of the stage, divided from the other boxes by an iron lattice work, gilded, which gives it a pleasing and private appearance. The pit and gallery are well constructed for the audience, particularly the latter, which has a prominent view of the stage.
The house is illuminated by nine cut-glass chandeliers, and a range of patent lamps at the foot of the stage. The stage is exceedingly convenient, and has a length proportioned to the structure. The whole is fitted up with a tasteful elegance, and we must acknowledge, that it reflects honour on the discriminate judgment of Mr. Trotter, the manager.
This account of the theatre describes it as it was more than half a century since; as of late years it has been, externally and internally, greatly modernized: although the chief lighting attraction in its transition from oil and wax to gas, a noble and well supplied chandelier, which was lowered and raised at pleasure over the centre of the pit, has long since been removed, the light from it detracting from the scenic effect, and the great heat which it disseminated militating against the comfort of the audience, especially the “gods.”