From 1800 to 1900

During the first half of the 19th century, when Mr. Punch disappeared from the fairs, Punch and Judy shows flourished on the streets, some featuring Toby played by a real dog. One-man booth shows were much cheaper to operate than large fairground shows and, after dark, the Punch men turned their hands to shadow or ‘galanty’ shows.

Marionette theatres opened in London from time to time, and although there was nothing like the influx of foreign companies of the late 18th century, a French marionette troupe was very well received at the Argyll Rooms in Regent Street in 1828. One reviewer noted with astonishment that, in their play 'Arlequin par Magie', the wooden Harlequin lit two candles and drank a bottle of wine.

By the 1850s, Punch and Judy shows were less popular, but their fortunes revived towards the end of the century because of the increasing leisure that people were enjoying once Bank Holidays were introduced. Punch and Judy found audiences at parties and social events as well as on the streets and at the seaside, either on the beach or the newly fashionable seaside piers.

Painting detail showing Punch and Judy, England, about 1810. Museum no. S.823-1991

In 1852 Signor Brigaldi's Italian marionettes were a great success when they appeared at an exhibition hall in London - which was renamed The Royal Marionette Theatre. They played in Manchester and Liverpool before returning to London and establishing themselves in a specially-built marionette theatre in Cremorne Gardens.

By the 1860s, however, the days of the permanent marionette show were past and travelling marionette shows became popular instead, performed by family troupes including the Tiller-Clowes and Barnard family troupes.

This oil painting shows a Punch and Judy show taking place on the street in the early 19th century. Although a child is being encouraged to look at the show, Punch and Judy was not intended as children's entertainment then. There is a jester figure performing outside the booth, and he would have played some instrument to alert people that the show was about to take place.

At this date Punch's wife may still have been called Joan. Her name seems to have changed at about the time that Punch himself changed from marionette (or string puppet) to glove puppet.

The last recorded use of the name Joan and the first of Judy appears in 1818, and although she was still the same person, her character changed. In the 18th century she was a shrewish woman who struck the first blow when Mr Punch asked her for a kiss, but she later became the victim of Mr Punch's aggression without provocation.

Poster for De Randall's Marionettes, late 19th century. Museum no. S.4077-1995

This poster depicts many of the marionettes which featured in De-Randel's show including a drunken stilt-walking clown, a policeman, Pantaloon, a skeleton and a minstrel. These were popular figures in all the Victorian and Edwardian marionette troupes, such as those owned by Richard Barnard and the Tiller family.

De-Randel bought his marionettes from James Holden, part of a family of well-known marionettists. James Holden's grandfather, John Holden senior, began a show in the mid 19th century.

The marionettes must have been sold to De-Randel with lots of copies of this expensive poster, and because he didn't want to waste it he blocked out the references to the original show in gold and overprinted in black. Under the words 'Refined' and 'Clever' are photographs of Thomas Holden and his brother James Holden who went into partnership together in 1877. The name Thomas Holden can be seen under the word 'Marionettes' and on the pole on which the white-faced clown is balancing.

Punch & Judy on the beach at Llandudno, R. Barnes, 1887. Museum no. S.29-2008

Punch and Judy found a ready audience in Victorian seaside resorts which became immensely popular after the introduction of the railways and later excursion trains. Llandudno, in North Wales, the largest resort in Wales, boasted splendid hotels in the 19th century, newly-built to cater for prosperous visitors.

This image from 1886 may depict Professor Herbert Codman's Punch and Judy booth, with the sweep of North Parade and Llandudno Bay behind. The Codman family continued as Punch and Judy showmen, in Liverpool in the winter, and Llandudno and Colwyn Bay in the summer, for over a century.

This drawing, reproduced in The Graphic, is as good as a photograph in its attention to detail. We see the bathing machines on the beach and the mixed audience reaction to the show. Some people are fascinated by it whilst others, who have seen it all before, are finding more amusement in their own conversation, or are even dozing.

Punch and Judy shows continued to be a feature of 20th-century seaside entertainment, except during wartime when many coastal towns were prohibited areas.

Дата добавления: 2015-08-03