By Richard W. Schoch (auth.)
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Schoch, Queen Victoria and the Theatre of her Age © Richard W. Schoch 2004 En Amateur 17 energies were directed to the more congenial purpose of putting on plays. 2 The eldest of Victoria and Albert’s nine children first took the stage in the early 1850s when their parents encouraged them to act in French and German plays as part of their instruction in foreign languages. Prince Albert oversaw the juvenile theatricals, which were performed at Windsor to coincide with Twelfth Night and the royal wedding anniversary on 10 February.
O Parents! happy in a home so blest With subject’s homage, and with children’s love, May Earth, still shower upon you all its best, And more than best be yours, in Heav’n above. Other tableaux were held in the vastness of St George’s Hall, where the Windsor court theatricals had relocated in 1855. A few years later the Princess Royal had become the Princess Frederick of Prussia and the Prince of Wales had begun royal duties, thus leaving only the younger children to compose tableaux. In ‘The Princes in the Tower’, Princes Arthur and Leopold appeared as the young Edward V and his brother Richard, Duke of York, before their murder at the hands of their tyrannous uncle, Richard of Gloucester.
Apart from being a loyal and appreciative spectator, she was also a dominant presence behind the scenes. 40 Victoria was intimately involved in all production details, frequently to the annoyance and frustration of senior courtiers, who remembered that Her Majesty was also required to rule an empire. Sir Henry Ponsonby, compelled to perform in Little Toddlekins, received a royal reprimand for not knowing his lines. Here is a firsthand assessment of just how much a backstage busybody the Queen was, insisting that she must choose the play, attend all rehearsals, cut or totally alter the script to suit her taste, tell the actors and actresses how they were to act with demonstrations by herself, supervise their costumes and the making of the scenery.