Kate Santley

From Wikipedia, the free encyclopedia

Kate Santley (1837 - 1923) was an American-born English actress, singer, comedienne, and theatre manager. Her brother was the English baritone, Sir Charles Santley, famous in Wagner's Flying Dutchman among other roles.

[edit] Musical theatre career

Santley made a name in the 1860s in British music halls and Drury-lane pantomimes. Early in her career, she was popular for singing the song "The Bell goes a-ringing for Sarah." At the Oxford Music Hall, she had appeared with Mademoiselle Parepa, who later married Carl Rosa. Santley was slim and pretty and became much photographed for visiting cards, postcards and advertising. Early in her career, she played in F. C. Burnand's St. George and the Dragon.

In 1871-72, Santley appeared on Broadway, including in a revival of the hit 1866 musical, The Black Crook. In 1872 she appeared in the London production of The Black Crook at the Alhambra Theatre, where she also starred in Jacques Offenbach and Burnand's La Belle Helene (1873). Later that year, she sang Cunegonde in Le roi Carotte. In 1874, she played in H. J. Byron's Don Juan, then La Jolie Parfumeuse, followed by the title role in Whittington, by Offenbach. In 1876, she created the title character in (and produced) Princess Toto, a comic opera by W. S. Gilbert and Frederic Clay. In 1879, she played in La Marjolaine. In 1879, she starred in (and produced) Little Cinderella and in Tita in Thibet by Frank Desprez. In 1880, she played in the Drury Lane pantomime Mother Goose (and the Enchanted Beauty) with Arthur Roberts, the popular music hall comedian.

In 1886, Santley hired Sidney Jones as musical director for the tour of her musical Vetah.

[edit] Theatre management

In 1877, Santley became the manager of the Royalty Theatre, an association lasting some thirty years. Santley later seems to have acquired the head lease.[1] In 1876, Santley had managed Gilbert and Sullivan's revival of their Trial by Jury at the Opera Comique. Richard D'Oyly Carte joined forces with Santley in January 1877 at the Royalty to present Lischen and Fritzen, Offenbach’s Orpheus in the Underworld and Happy Hampstead by Carte (under the pseudonym Mark Lynne) and his secretary, Frank Desprez.

In 1877, the First Chief Officer of the London Fire Brigade strongly recommended to the Metropolitan Board of Works the immediate closure of the theatre. Santley, however, had it reconstructed to designs of architect Thomas Verity, whose plans, providing improved means of egress were approved in 1882.

Many of the productions at the Royalty were opera-bouffes adapted from the French. M. L. Mayer, formerly of the Gaiety Theatre, staged twice-yearly seasons of plays in French. The Coquelins and other luminaries of the Comédie Française appeared here in the 1880s, when the Royalty was 'the recognized home of the Parisian drama.' There was further reconstruction of the theatre in 1883, and Santley was praised for the theatre's renovations then and in the later 1905 renovation.[2] The opening of Shaftesbury Avenue and of new theatres in that neighbourhood, including the Lyric Theatre and the Apollo Theatre, drew audiences away from the little Royalty theatre in Dean Street, and in the 1890s the Royalty was not prospering. When the theatre finally had a great success, with Brandon Thomas’s play, Charley's Aunt, its popularity led to its transference after only a month to the larger Globe Theatre.[3]

In 1895-96 the Royalty's manager was Arthur Bourchier, and the theatre underwent another renovation. He produced, among other plays, The Chili Widow, an adaptation of his own that ran for over 300 nights. In 1899, the first production of the Incorporated Stage Society took place with the first performance of George Bernard Shaw's You Never Can Tell. In 1900-01 Mrs. Patrick Campbell hired the theatre and staged a succession of contemporary plays in which she starred, and in 1903-04 Hans Andresen and Max Behrend presented a successful season of German theatre. Also in 1904, the newly founded Irish National Theatre Society gave plays by W. B. Yeats and, in 1905, it presented an early performance of Synge's first play, The Shadow of the Glen. In addition, Philip Carr's Mermaid Society produced Elizabethan and Jacobean plays.[4]