Scott’s Writing for the Edinburgh Stage

Gillian Hughes’ talk focused on Walter Scott’s engagement with the Edinburgh theatre, tracing his lifelong love of theatre, early ambitions as a playwright, and significant influence on Scottish drama. While Scott never became a major playwright, his impact on the Edinburgh stage was immense, both through his direct contributions and the popular adaptations of his novels.



Key Themes of the Lecture:

1. Scott’s Early Love for Theatre

• First theatre experience at age six – watching As You Like It in Bath.
• Later described the theatre as “the enchanted palace of his childhood”.
• He and his wife, Charlotte Charpentier, were avid theatre-goers throughout their marriage.

2. Scott’s Attempt at Playwriting

• Influenced by German Romantic literature, Scott translated several German plays, including:
• Goethe’s Goetz von Berlichingen (1799).
• Other lesser-known works such as Fust von Stromberg and Otto von Wittelsbach.
• His only original attempt at playwriting, The House of Aspen, was a loose adaptation of a German play.
• Rejected by Drury Lane in 1800, marking the end of Scott’s serious ambitions as a playwright.
• Later published in 1830 and staged in London and Edinburgh, but only as a tribute to his literary fame, not its theatrical merit.

3. Scott’s Influence on the Edinburgh Theatre Royal

• Edinburgh’s Theatre Royal (located in Shakespeare Square) was the main venue for theatre in Scotland.
• In 1809, Scott helped secure the theatre’s future by supporting Henry Siddons (nephew of actress Sarah Siddons) in acquiring the patent for the theatre.
• Scott was a shareholder and trustee, actively promoting Scottish drama.

4. Scott’s Promotion of Scottish Playwrights

• Championed Scottish dramatists, notably Joanna Baillie, whom he considered Britain’s best playwright since Shakespeare.
• Secured a successful production of her play The Family Legend (1810), which he actively promoted.
• Wrote prologues and epilogues for various plays, including:
• The Family Legend.
• Helga, or The Rival Minstrels (1812) – a failure, laughed off stage.

5. Scott’s Relationship with Famous Actors

• Close friends with John Philip Kemble, the era’s most famous tragic actor.
• Wrote Kemble’s farewell speech when he retired from acting in 1817.
• Supported actress Sarah Smith (later Mrs. Bartley), composing a poetic address for her Edinburgh debut.

6. The Rise of the “Waverley Dramas”

• Scott’s novels were adapted into hugely popular stage productions.
• The first major success was Rob Roy (1819), which:
• Saved the Edinburgh Theatre Royal from bankruptcy.
• Ran for 41 consecutive nights.
• Featured Charles Mackay as Bailie Nicol Jarvie, whose performance Scott enthusiastically praised.
• Other Scott-based plays included:
• The Heart of Midlothian (1820).
• The Bride of Lammermoor (1822).
• Saint Ronan’s Well (1824) – with Mackay playing Meg Dods in drag.

7. Scott’s Lasting Impact on Scottish Theatre

• Scott helped make theatre respectable for the Scottish middle class, who had traditionally viewed it with suspicion.
• The Waverley dramas created a distinct “Scottish national theatre”, even if it was Unionist in tone.
• The 1822 visit of King George IV saw Rob Roy performed as the “National Opera of Scotland”.
• Scott’s final years saw his interest in theatre decline, but his influence endured through his dramatised novels.

Interesting Points from the Lecture

1. Scott Almost Became a Playwright
2. His early ambition was derailed when Drury Lane rejected The House of Aspen.
3. Had it succeeded, Scott might have been known as a playwright rather than a novelist.
4. Scott’s Influence on Theatre Management
5. Without Scott’s intervention, the Edinburgh Theatre Royal might not have survived.
6. He handpicked managers and shaped its repertoire, ensuring a focus on Scottish stories.
7. Rob Roy’s Unexpected Success
8. Scott had no involvement in the play’s adaptation, yet it became the theatre’s biggest hit.
9. The financial success of Rob Roy saved the theatre from financial ruin.
10. Scott’s Theatrical Poems
11. Wrote numerous prologues, epilogues, and poetic addresses for actors and plays.
12. Many were unpublished but will appear in a new edition of Scott’s Shorter Poems.
13. Scott and Gender on Stage
14. Charles Mackay played Meg Dods (a woman) in Saint Ronan’s Well.
15. Scott praised his subtle and respectful performance, avoiding the pantomime dame stereotype.
16. Scott as a Public Figure in Theatre
17. Whenever Scott attended the Theatre Royal, he was applauded by the audience.
18. James Hogg’s novel The Three Perils of Woman describes a scene where the audience watches Scott more than the actors!

Conclusion

Gillian Hughes’ lecture revealed Scott’s immense influence on Scottish theatre, even though he never became a successful playwright himself. His efforts to promote Scottish drama, secure the Edinburgh Theatre Royal’s survival, and create a theatrical tradition based on his novels ensured that his impact on Scottish theatre far exceeded that of most playwrights of his era.