Theatre Costume thumbnail 1
Theatre Costume thumbnail 2
+10
images
Not currently on display at the V&A

Theatre Costume

1892 (made)
Artist/Maker

Henry Irving (1838-1905) wore this costume in the title role of Act II of King Lear by William Shakespeare (1564-1616). Lear is one of the most important parts to play for any tragic actor of high standing. Irving had first discussed doing so in 1883 and eventually produced the play in 1892. Accounts of his performance vary, but many who saw the opening night felt he had badly misjudged the vocal interpretation, his voice being weak and often inaudible. Although he made adjustments to correct this, the dramatic criticism of the press was based on the first performance. Despite this, King Lear ran for 76 performances, an unprecedented achievement at the time for a play which was not popular with audiences on account of its gloomy and depressing themes.

Irving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London. He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis’s melodrama The Bells. He took on the responsibilities of ‘actor-manager’ in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations. His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.

Irving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra. Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play. Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada. The development of the railway system made his the first generation able to achieve this level of touring productions.


Object details

Categories
Object type
Parts
This object consists of 6 parts.
(Some alternative part names are also shown below)
  • Gown
  • Theatre Costume
  • Tunic
  • Theatre Costume
  • Mantle
  • Theatre Costume
  • Cap
  • Theatre Costume
  • Boot
  • Theatre Costume
  • Boot
  • Theatre Costume
Materials and techniques
Wool, cotton, metal, paste costume jewels.
Brief description
Theatrical ensemble, hunting-dress, consisting of gown, tunic, mantle, phrygian cap and shoes, worn by Henry Irving as King Lear, 1892, Act II.
Physical description
Theatrical ensemble, hunting-dress, consisting of gown, tunic, mantle, phrygian cap and shoes, worn by Henry Irving as King Lear, 1892, Act II.
Dimensions
  • S.2741 5 2010 length: 32cm
  • S.2741 5 2010 width: 9cm
  • S.2741 5 2010 height: 15.7cm
  • S.2741 5 2010 weight: 0.35kg
  • S.2741 6 2010 length: 32cm
  • S.2741 6 2010 width: 9cm
  • S.2741 6 2010 height: 15.5cm
  • S.2741 6 2010 weight: 0.35kg
  • S.2741 5 2010, s.2741 6 2010 with other objects and the box weight: 5.1kg
  • S.2741 4 2010 length: 32.5cm
  • S.2741 4 2010 width: 18cm (Note: )
  • Part 4 with its box (other objects included) weight: 2.5kg
  • S.2741 3 2010 length: 360cm
  • S.2741 3 2010 width: 138cm
  • S.2741 3 2010 and s.2742 3 2010 together with the box weight: 12.6kg
Credit line
Given by the Royal Shakespeare Company
Summary
Henry Irving (1838-1905) wore this costume in the title role of Act II of King Lear by William Shakespeare (1564-1616). Lear is one of the most important parts to play for any tragic actor of high standing. Irving had first discussed doing so in 1883 and eventually produced the play in 1892. Accounts of his performance vary, but many who saw the opening night felt he had badly misjudged the vocal interpretation, his voice being weak and often inaudible. Although he made adjustments to correct this, the dramatic criticism of the press was based on the first performance. Despite this, King Lear ran for 76 performances, an unprecedented achievement at the time for a play which was not popular with audiences on account of its gloomy and depressing themes.

Irving became a professional actor in 1856, and learned his trade in regional theatres until 1866, when he came to London. He joined the Lyceum Theatre company under the management of H. L. Bateman in 1871, winning great acclaim that year for his psychologically developed characterisation of the guilt-ridden inn-keeper Mathias in Leopold Lewis’s melodrama The Bells. He took on the responsibilities of ‘actor-manager’ in 1878 when he assumed the management of the Lyceum, and remained there until 1902, enjoying star status with his leading lady Ellen Terry (1847-1928). Irving produced a diverse range of old and new plays at the Lyceum, including Shakespeare, historical drama, and literary adaptations. His tireless work to elevate the status of the theatrical profession was rewarded in 1895 when he became the first actor ever to receive a knighthood for services to the Theatre.

Irving specialised in spectacularly staged productions with large casts of performers. He commissioned designers and composers to create appropriate scenery, costume and incidental music, played by a full orchestra. Although electric lighting was available from the 1880s, Irving preferred the softer effects of gas, with lime light to focus attention at key points in the play. Irving toured complete productions outside London, taking the full company, scenery and costumes throughout the United Kingdom and across the United States and Canada. The development of the railway system made his the first generation able to achieve this level of touring productions.
Bibliographic reference
Holmes, Martin. Stage Costumes and Accessories in the London Museum. London : HMSO, 1968 no.143
Other number
56.4/28a to f - Museum of London number
Collection
Accession number
S.2741:1 to 6-2010

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.

Suggest feedback

Record createdNovember 4, 2010
Record URL
Download as: JSON