The Enchanted Isle
The Enchanted Isle is an adaptation of The Tempest first performed in 1848
by Robert William Brough. Their adaptation was first performed in Liverpool and
then at the Adelphi. The Enchanted Isle is an example of Shakespearean political
burlesque in the 19th century. Shakespearean Burlesque rose to popularity in the
1830’s for a few reasons. The most popular being comedic adaptations in response
to the patent theaters.
“Patent Theaters” is a term derived from licenses that were given to theaters
to perform “spoken drama” after the English Restoration of Charles II. Theaters that
did not have these permits could only perform comedy, pantomime, and
melodrama. Charles II issued patents to Thomas Killigrew and William Davenant.
This created a monopoly of “serious drama” run by two theater companies.
After some internal disputes the two companies merged, now creating only
one theater with a license to perform “serious drama.” In 1695, William III company
became the only other to receive a patent and created the Theater Roal, Covent
Garden. Over the course of the 18th century other patents were issued, but only to
generate other Theater Royal’s in other locations. The “Theaters Act” overturned the
monopolies in 1843, however content could still be censored via Robert Walpole’s
Theatrical Licensing Act of 1737. This system continued until 1968.
Shakespeare was also not interpreted the same as we do today. Also, the
same information about Shakespeare was not as widely known in the 19th century
as we know it today. A Review of The Tempest at the Theater Royal in 1869 made
statements such as:
Although it is pretty certain that The Tempest was not even an
early production of the poet, but probably one of his latest
works, but French and English critics have recently contended
that The Tempest is Shakespeare’s last work, (The Birmingham
Daily Post).
In 1869 The Tempest was just being accepted as Shakespeare’s last work. It is also
worth noting the tone of skepticism in the writer, saying The Tempest was “probably
on of his latest works.”
According to Arthur E. DuBois “no great acting drama was written during the
19th century…” “…His popularity prevented the writing of great acting drama.”
Whether the audiences’ or the monopoly are the reason for this is of much dispute,
however DuBois believes the monopolies are what prevented many risks to be
taken.
The difference between The Enchanted Isle and many other Shakespearean
Burlesque plays is it’s focus on politics of the time. This was not uncommon for
Shakespeare Burlesque plays, but is a little more off beat, especially because it was a
genre attempting to get around the laws of the time – it was pushing the envelope
more than that of a comedic interpretation of Shakespeare for example. The cast list
description of Alonzo, for example, is described as “ one of the numerous instances
now-a-days of a monarch all aboard and quite at sea,” (139, Marshall). Other
examples from the cast list and stage directions include:
The name of his (Alonzo’s) wrecked steamboat, the Naples
Direct, directly refers to the civil turmoil engulfing the regime
of Ferdinand II, King of Naples, at that time; Tranculo and
Stephano become the ‘foreign propagandist’ Easa di
Baccastoppa and Smuttifacio; while, ‘in consequence of the
disturbed state of the times’ Ariel and the faires have been
sworn in as ‘special constables,’ (139, Marshall).
Another difference between The Enchanted Isle and others of it’s type –
burlesque – is that the play made its way into one of the monopolized theater
companies, Theater Royal, Adelphi. A reviewer stated, “Thanks to the brave brothers
Brough, who have battled through the formidable and hazardous undertaking of
burlesquing Shakspere’s Tempest, and who have succeeded in a peculiarly happy
manner!” (The Satirist). There are some distinct differences between The Enchanted
Isle and The Tempest, but the general story is the same.
The Broughs brothers taken the interpretation of the The Tempest being that
of world discovery and cultural-clashing and highlight it. The biggest difference
other than singing (which is just the nature of burlesque) is Caliban. Caliban
becomes a revolutionary and an anarchist. These desires are defeintly suggested in
The Tempest, but not much comes from it, whereas, in The Enchanted Isle Caliban
(Mr. Munyard in The Enchanted Isle). Caliban, or Mr. Munyard, “plants the blood-red
Republican flag, and in company with two associates brings in a bundle of wood to
form barricades, (The Satirist).”
The Enchanted Isle highlights the failures of Caliban’s revolt. In The Tempest
Caliban’s plans do fail, but they are seen as more of a threat. There is argument over
how much of a threat Caliban is or not, but that is not important at this moment. The
Brough’s brothers use these failures as comedy in their adaptation. The wood Mr.
Munyard gets to build a barricade is a tiny bundle of firewood, for example. Mr.
Munyard is highlighted as futile and stupid.
19th century British drama on stage is Shakespeare performances’ and
adaptations. Shakespeare related entertainment was really at that was accepted on
the stage. If there was more “experimental” drama at that time is used as an opener
or closing act for a Shakespearian performance. The Enchanted Isle is a burlesque
play that broke into the mainstream theater scene of that time which was
monopolized and very hard to do. The play and performance was accepted
positively by goers and critiques and has become quintessential in the discussion of
19th century adaptations of The Tempest as well as burlesque performance in
general.
Works Cited
Brough, Robert and William. The Enchanted Isle. N.p., 1848. Print.
DuBois, Arthur E. "Shakespeare And 19Th-Century Drama." Elh 1.2 (1934): 163-196.
MLA International Bibliography. Web. 9 Dec. 2013.
Marshall, Gail, ed. Shakespeare in the Nineteenth Century. Cambridge: Cambridge UP,
2012. Print.
"Shakespeare's 'Tempest' at the Theater Royal." Birmingham Daily Post [Birmingham]
22 Feb. 1869: n. pag. Print.
The Satirist [London] 25 Nov. 1848. Print.