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• W768128051 abstract "Jacky Bratton. The Making of West End Stage: Marriage, Management and Mapping of Gender in London, 1830-1870. Cambridge: Cambridge UP, 2011. Pp. viii + 222. $99.00. 55.00 [pounds sterling]. Jacky Bratton's revisionary account of development of West End is significant contribution not only study of Victorian theater, but also period's broader social and cultural history. Drawing on extensive research into Victorian theatrical culture, Bratton's monograph make[s] an open-eyed and appreciative foray into [the] of still-maligned theater of middle decades of nineteenth century (1). Her engaging and evocative book therefore tells strikingly different existing narratives of Victorian theater history. It does so by arguing mid-century performance culture, with its reliance on fantasy, burlesque, and extravaganza, should be regarded as seminal moment of vigour, experimentation, and innovation rather than a pale equivalent of dominant realist novel (170). The Making of West End Stage reveals, centrally, this was strongly female-influenced moment of change when women managers like Madame Vestris, Ellen Kean, MaryAnn Keeley and Marie Wilton shaped character of West End drama. At several points Bratton emphasizes fact she is rewriting story of nineteenth-century theater. This is not an empty claim. The Making of West End Stage is not, like many academic books, merely series of loosely- connected case studies; it is satisfying and tightly-argued study is worth reading all way through. Bratton's narrative begins speculatively with an attempt map Victorian West End in spatial terms. Taking her cue from jaunty, nose-tapping, rather self-satisfied knowingness of urban sketch genre popular with mid-Victorian journalists, she imagines herself into shoes of two walkers on routes through the new entertainment centre of their city (23). She then deploys detailed analysis of one issue of Era, principal Victorian organ for theater business, as means of understanding West End at textual level. Her final stage-setting contextual chapter turns attention cultural of London Bohemia inhabited by dramatists and actors of West End theater scene. Bratton argues convincingly that, in accounts of Bohemia in fiction and memoir, defenders of this apparently homosocial world purposefully excluded women to bolster essential masculinity of themselves as writers even though female actors and managers were actively involved in theatrical culture of day (106). The rest of book then proceeds its main business: detailed study of production and reception histories of large numbers of married theatrical management teams responsible for birth of new form of entertainment at theaters like Adelphi and Lyceum. As this short summary suggests, Dickens is not main attraction in The Making of West End Stage. He is nonetheless an important supporting player, with relatively small but significant role in Bratton's argument. He appears initially in her discussion in chapter 3 of problematic social of dramatic authors, who were more often than not also categorized as Bohemians. As Bratton explains, that esteemed hero, man of letters, of whom Dickens was one of most noted examples, could not be writer for stage (92). The reason was penning plays was not only ill-paid but also too inextricably and visibly involved with women outside domestic sphere (96). Given his great love for West End and working involvement with actors and actresses Dickens had, therefore, to present himself with great care for boundaries of class and status (93). …" @default.
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• W768128051 title "Jacky Bratton,The Making of the West End Stage: Marriage, Management and the Mapping of Gender in London, 1830-1870 Cambridge:Cambridge University Press ,2011 9780521519014" @default.
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