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Local History Notes
Edmund Kean at Richmond
Edmund Kean was well past his prime when
he came to live at Richmond as manager of
the Theatre Royal, but his associations with
that theatre had begun 17 years earlier when
he was still at the height of his powers.
Although he achieved overnight fame at Drury
Lane in 1814, Kean's success was not one of
an inexperienced upstart, for he had served a
long hard apprenticeship as a player in the
provinces. Whilst still an infant he had been
virtually adopted by Charlotte Tidswell, a
minor member of the Drury Lane company. A
strange, enigmatic figure, she is referred to by
Kean in his letters as simply 'Miss Tidswell',
but by his wife as his 'aunt'. Whether or not
there was any blood link, it is clear that there was a very close and enduring relationship
between Kean and Miss Tidswell. She was one of the few people who knew how much
truth and how much hearsay lay behind the now generally accepted story of his origins: that
he was the son of Edmund Kean, a popular speaker at the debating clubs who died insane
at the age of 23, and of Anne Carey, a third-rate actress who performed at provincial
theatres and at London fairs.
The earliest surviving playbill on which Kean's name appears is dated 8th June 1796 and
advertises a performance of The Merry Wives of Windsor in which 'Master Kean' is to
play Robin. At Sheerness on Easter Monday 1804, as 'Carey' (a name he used
intermittently throughout his early years) he appeared with Jerrold's company in George
Barnwell. For the next 9 years he laboured on in obscurity. In 1805 he played at an
amusement hall in Camden Town, then later with Michael Atkins's company in Belfast. In
1806 he played minor parts at the Haymarket, later joining the Kent company run by the
eccentric Miss Baker. From 1808 to 1813 he was successively a member of various
companies on the West Country circuit, including those of Beverley, Watson, Cherry and
Hughes. It was while he was with Henry Lee's company in Dorchester that, on the night of
15th November 1813, while playing Octavian in The Mountaineers and Kojah in The
Savages he was seen by Arnold, the Drury Lane manager. This occasion led to his
engagement at Drury Lane, a theatre that at the time was lacking in players capable of
sustaining a tragic role.
On 26th January 1814, Kean made his sensational debut at Drury Lane as Shylock in The
Merchant of Venice, giving his astonished audience a fresh view of the character by his
unconventional 'naturalistic' style of acting and makeup. Hazlitt, a staunch champion of
Kean throughout his career, wrote of this memorable interpretation:-
From Richmond Libraries’ Local Studies Collection
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Local History Notes
"In giving effect to the conflict of passions arising out of the contrast of situation, in varied
vehemence of declamation, in keenness of sarcasm, in the rapidity of his transitions from
one tone and feeling to another, in propriety and novelty of action, presenting a series of
striking pictures, and giving perpetually fresh shocks of delight and surprise - it would be
difficult to single out a competitor."
After a season in Dublin, Kean returned to England for his second triumphant season. The
people of Richmond and its neighbourhood had doubtless heard of the young actor's
success at Drury Lane and on 14th October they had the opportunity of seeing the
phenomenon in action at their local theatre, thanks to its enterprising manager, William
Roxby Beverley.
Kean's next appearance at Richmond, in October 1817, was made whilst the theatre was
under the management of Charles Klanert - an illustrious period which lasted from June
1817 to November 1829. Klanert was prepared to pay high salaries to attract actors of the
calibre of Eliza O'Neill, Maria Foote and John Liston. Besides his performances in 1817,
Kean played at Richmond in 1818 and 1820. Some 8 years (including 2 American tours)
elapsed before he was next engaged by Klanert. By this time the rigours of his career and
his chronic addition to alcohol had rendered him incapable of memorising a new part, a sad
fact painfully demonstrated by his disastrous 1827 performance in Grattan's tragedy Ben
Nazir. The parts that he played at Richmond in 1828, however, were ones which had been
in his repertoire for some time - Shylock, and Mortimer in The Iron Chest.
June and July 1830 saw Kean's 'farewell season' in London, consisting of performance of
Richard III, The Merchant of Venice, Othello, A New Way To Pay Old Debts and King
Lear - all at the Haymarket and climaxed at the nearby King's Theatre by a programme
made up of excerpts from some of the plays in which he was best known. This season in
London was followed by a 'farewell tour' of the provinces.
For along time Kean had cherished a hope of managing his own theatre. Early in 1831, the
King's Theatre in Richmond (as the Theatre Royal was then called) was available for rent
and Kean saw the opportunity of realising his ambition in an area which was particularly
salubrious. He wrote to the housekeeper of the theatre:"Having heard that the Theatre Royal, Richmond is in the market I should gladly offer
myself as candidate…"
A week or so later, having received a favourable reply, he had his secretary, John Lee,
write to the manager Penley:"Mr Kean, having heard that the Richmond Theatre is on the market, has desired I would
write to say…he will take it off your hands."
His application was accepted and he took up residence in the adjoining house. He formed a
company and his first season began on 18th July 1831. Although during his two seasons'
management he made a profit of over £400, the house was frequently little more than a
quarter full. The most successful night was his benefit on 14th November 1832, when the
takings were £76 17s, still short of the £90 capacity.
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Local History Notes
In 1832 Kean continued a local tradition at Richmond by giving a prize wherry to be rowed
for by the watermen. On the evening of Friday 10th August, the prize boat was brought unto
the stage of the theatre and presented to the successful competitors, 'Rule Britannia' being
sung by the whole company.
Kean's life after moving to Richmond was scarcely that of the semi-retired gentleman-actor.
Besides his commitments as manager and performer at the Theatre Royal, he continued to
make appearances not only at the Haymarket, but further afield in Birmingham,
Manchester, Bristol, North Wales and Dublin. What leisure time he had at Richmond was
spent walking in the neighbourhood, relaxing in a boat on the river or at the 'Castle' in the
company of old friends and colleagues. A vivid impression of Kean at this period is given by
the actress Helen Faucit in her book On Some of Shakespeare's Female Characters
(1885). He was, she remembered "a small pale man with a fur cap, and wrapped in a fur cloak. He looked to me as if come
from the grave. A stray lock of very dark hair crossed his forehead, under which shone
eyes which looked dark, and yet as bright as lamps. So large were they, so piercing, so
absorbing, I could see no other feature."
Kean's last season at Drury Lane opened on 5th November 1832. He was now failing fast.
During a performance of Richard III at Richmond on 12th March1833 he was obliged to quit
the stage, finding himself physically incapable of continuing. In spite of this, a performance
of Othello at Richmond was announced for the 15th. Then on Monday 25th March came the
performance which was to be his last - Othello at Covent Garden. Kean was playing the
Moor, his son Charles Iago and Ellen Tree (later Mrs Charles Kean) Desdemona. The elder
Kean collapsed during the second act and was carried to the Wrekin Tavern in Broad Court
where he was put to bed. On the following Saturday he was taken back to Richmond and
on 2nd May he was visited by his wife, from whom he had become estranged, and his son.
On Wednesday 15th May he died, in the presence of John Lee and the surgeon Mr
Douchez.
Kean's funeral on Saturday 24th May was almost a state occasion. The shops in George
Street were closed and 20 townsmen were sworn in as special constables. At 3 o'clock the
funeral procession started from the Green and made its way to Richmond Parish Church,
where the body was to be interred. Among the pallbearers was MacCready and behind the
coffin walked Charles Kean, supported by Sheridan Knowles and John Lee. They were
followed by the chief mourners, Kean's physicans, members of the Drury Lane Fund
Committee, actors from every London theatre and, lastly, the inhabitants of Richmond.
Ann Carey, Kean's mother, died on 23rd May and was buried in the Richmond Parish
churchyard on 27th May1833.
In 1839 Charles Kean erected a memorial to his father on the outside of the church; later it
was moved inside, where it now remains as a fitting reminder of one of the most exciting
figures in theatrical history.
From Richmond Libraries’ Local Studies Collection
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Local History Notes
The Local History collection at the Richmond Central Reference Library contains many
playbills relating to Kean's performances at the Theatre Royal. A list of these bills is given
in Notes on Local History No. 45.
Further Reading
Fitzsimmons, Raymond Edmund Kean: fire from heaven. 1976
Hillebrand, Harold Newcomb Edmund Kean. 1933
Playfair, Giles Kean. 1939
More information on Edmund Kean and other historic figures associated with the London
Borough of Richmond upon Thames is available from the Local Studies Collection.
From Richmond Libraries’ Local Studies Collection
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