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It was in 1878 that Henry Irving made an historic decision to take over the Lyceum theatre in London. After a youth spent toiling in the provinces, he'd finally established his reputation and his career was now firmly in the ascendant. Inviting popular actress Ellen Terry to join him as his leading lady, the two swiftly established what became known as an unofficial national theatre; a celebrated partnership, though Terry's habit of descending by banister from her dressing room caused the dignified Irving some amazement. Before its adoption by Irving the Lyceum had enjoyed a colourful history, functioning as concert and exhibition hall among other uses. Irving himself had played at the theatre for 7 years before taking over the lease; he'd been engaged by impresario H bateman in 1871.
Ellen knew Irving only slightly at this time; gone was the tremulous youth she'd met and in his place a man who'd finally found himself. Irving had a grand conception for his new venture at the Lyceum. He wanted to create a national theatre, a place that would occupy a position of cultural importance in the capital and firmly legitimise theatre as an art form. With Elen guaranteed to bring her own devoted following, Irving now needed a business manager to assist him with this project.He chose a certain young Dubliner, one Abraham 'Bram' Stoker, now best remembered for writing Dracula.As a civil servant and unpaid drama critic Stoker had written warmly of Irving's ability in the early days and when Irving offered him a position as manager he readily accepted, staying loyally by Irving until the latter's death in 1905.
For their inaugural production Irving chose to revive Hamlet. On the first night, overcome wth trepidation Ellen slipped away before the final curtain and drove restlessly up and down the Embankment in a hansom cab. Later on Irving came to her house to reassure her of the play's positive reception and her own acclaimed performance.The critics echoed this:' Miss Terry is without rival.' Their next collaboration was The Merchant of Venice which proved a landmark production. Irving resolved to play Shylock not as the traditional grotesque common at the time but as a man of dignity, proud and contemptuous but not evil inccarnate.Ellen revised her Portia in harmony with this, making her more robust and the play was a sensation, running for 7 months.
Intent on raising the theatre's profile Irving tried to make it a focal point of London's cultural life. H Booth, a contemporary writer, noted that 'it soon became almost a religion to attend the Lyceum.' This applied to every strata of society and Irving's appeal was crystallised by the Lyceum roar which greeted his appearances, giving the theatre a mass appeal later associated with the cinema. The success of the theatre enabled Irving to take the company abroad and in 1883 the Lyceum company visited America, touring there 6 more times in ensuing years. They were the first European company to visit on such a lavish scale overseas. Ellen had been apprehensive about America but basked in the acclaim that greeted them:' We were pioneers and we were new... to be new is everything in America.' She found the USA very hospitable and was appreciative of the country's egalitarian atmosphere. These were good years for both Irving and Terry. They held court at the Lyceum like newly crowned royalty, often hosting star-studded dinners in the refurbished Beefsteak Room; a dining area that, at the turn of the century, had been an exclusive club numbering playwright Richard Brinsley Sheridan amongst its members.
Shakespeare was Irving's forte and he presented many acclaimed productions during his time at the Lyceum, particular successes being Macbeth and Much Ado About Nothing, although he had a rare failure as Othello. In addition to the Bard Irving aimed for an eclectic repertoire incorporating revamped Victorian hits and some contemporary plays, a significant example being Tennyson's The Cup. Neither he nor Ellen had much artistic sympathy wth the new breed of realistic drama heralded by the likes of Ibsen.
The prosperous fortunes of the Lyceum slowly came to an end, prompted both by Irving's fall in 1896 which kept him invalided for some while and by a fire at the warehouse that destroyed virtually all their scenery. Thus fate forced' The Guvnor' to relinquish control in 1899 and a syndicate took over. In 1902 he and Ellen took their final, heart-wrenching bows after 24 years in the Merchant of Venice, a play that had particular resonance for them both. In that period of time the public perception of their profession had evolved from an outcast group of vagabonds and stroling players t an acknowledged arm of Empire, a situation reflected in the knighthood conferred upon Irving in 1895, the first such honour bestowed on an actor.
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