Mme Vestris (1797-1856) Actress, Regisseur

Madame Vestris revolutionized staging methods in England in the Nineteenth Century through the introduction of shorter programs (evening entertainments were concluded by eleven), and by an increased emphasis on realistic staging methods, most notably with the introduction of the box set. Through her influence, attendance at the theatre became not just socially acceptable, but fashionable.

Lucia Elizabeth Bartolozzi, a contralto of considerable grace and charm, was only sixteen when she married the famous dancing master Armand Vestris. The marriage lasted only a few years; they separated in 1820. She had to rely on her own skills for her livelihood. Fortunately, she was a gifted singer, and though she could have made her mark in grand opera, she preferred lighter fare. She scored her first major hit in Moncrieff's burlesque of Mozart's Don Giovannii called Giovanni in London (above right). Her career took her to Paris for several years, and when she returned to London, she was able to play at both Covent Garden and Drury Lane on her own terms.

In a bold move for a woman, she took over the Olympic Theatre in 1830, opening with J. R. Planché's Olympic Revels, a series of burlesques and farces designed to exploit Mme. Vestris' special gifts. During her management there, she introduced "real" as opposed to fake props, doors, rugs, furniture, etc. and took special care with costuming. She chose her casts with great care, and oversaw every aspect of production "with an iron hand." By 1841, she had successfully used a box set complete with a ceiling unit.

In 1838, she married Charles Mathews the younger, (the happy couple is on the left) who had joined the company in 1835 and together, they became the main purveyors of light comedy. Some were trifles resembling the "At Home" performances of Charles Mathews the elder. When they left the Olympic, they toured the United States before returning in 1839 to manage Covent Garden. Her "beautifully mounted" A Midsummer Night's Dream, with settings by John Grieve, ran for 59 performances, but in spite of her meticulous attention to detail and often daring programming, the yawning maw of Covent Garden yielded few successes. In 1841, Mr. and Mrs. Mathews (as they were now officially called) produced Dion Boucicault and John Brougham's London Assurance with great success for all concerned. This durable little play was revived by Donald Sinden during the 1970's and toured the states with considerable success.

TheMathews gave up Covent Garden in 1842 and shortly after, took over the Lyceum, where they returned to the successful light comedies employing William Roxby Beverley as designer. It was here that Laura Keene learned so much of her craft. These were stylish little plays presented with careful observation of contemporary manners. Going to Mme. Vestris' plays was a social event that could be counted on to provide entertainment of taste and fashionable style.