Ira Aldridge

Ira Aldridge

Portrait of Aldridge by James Northcote
Born (1807-07-24)24 July 1807
New York City
Died 7 August 1867(1867-08-07) (aged 60)
Łódź, Congress Poland
Years active early 1820s–1862
Spouse(s) Margaret Gill, Amanda von Brandt

Ira Frederick Aldridge (July 24, 1807 – August 7, 1867) was an American and later British stage actor and playwright who made his career after 1824 largely on the London stage and in Europe, especially in Shakespearean roles. Born in New York City, Aldridge is the only actor of African-American descent among the 33 actors of the English stage honored with bronze plaques at the Shakespeare Memorial Theatre at Stratford-upon-Avon. He was especially popular in Prussia and Russia, where he received top honors from heads of state.

He was married twice, once to an Englishwoman, once to a Swedish woman, and had a family in England. Two of his daughters became professional opera singers.

Early life and career

Aldridge was born in New York City to Reverend Daniel and Luranah Aldridge on July 24, 1807. At age 13, Aldridge went to the African Free School in New York City, established by the New York Manumission Society for the children of free black people and slaves. They were given a classical education, with the study of English grammar, writing, mathematics, geography, and astronomy.[1] His classmates at the African free school included Charles L. Reason, George T. Downing, and Henry Highland Garnet.[2] His early exposure to theater included viewing plays from the high balcony of the Park Theatre, New York's leading theater of the time, and seeing productions of Shakespeare's plays at the African Grove Theatre.

Aldridge's first professional acting experience was in the early 1820s with the African Company, a group founded and managed by William Henry Brown and James Hewlett. In 1821, the group built the African Grove Theatre, the first resident African-American theatre in the United States.[3]

Aldridge made his acting debut as Rolla, a Peruvian character in Richard Brinsley Sheridan's Pizarro. He may have also played the male lead in Romeo and Juliet, as reported later in an 1860 memoir by his schoolfellow, Dr. James McCune Smith.[4]

Confronted with the persistent discrimination which black actors had to endure in the United States, Aldridge emigrated to Liverpool, England, in 1824 with actor James Wallack. During this time the Industrial Revolution had begun, bringing about radical economic change that helped expand the development of theatres.[4] The British Parliament had already outlawed the slave trade and was moving toward abolishing slavery in the British colonies, which increased the prospect of black actors being able to perform.[5]

Ira Aldridge as Mungo in The Padlock

Having limited onstage experience and lacking name recognition, Aldridge concocted a story of his African lineage, claiming to have descended from the Fulani princely line.[3] By 1831 he had taken the name of Keene, a homonym for the then popular British actor, Edmund Kean. Aldridge observed a common theatrical practice of assuming an identical or similar nomenclature to that of a celebrity in order to garner attention. In addition to being called F.W. Keene Aldridge, he would later be called African Roscius, after the famous Roman actor of the first century BCE.[5]

On October 10, 1825, Aldridge made his European debut at London's Royal Coburg Theatre, the first African-American actor to establish himself professionally in a foreign country. He played the lead role of Oroonoko in The Revolt of Surinam, or A Slave's Revenge; this play was an adaptation of Thomas Southerne's Oroonoko (itself adapted from Aphra Behn's original work).[4]

According to the scholar Shane White, English people had heard of the African Theatre because of British actor and comedian Charles Mathews, so Aldridge associated himself with that.[6] Bernth Lindfors says:

[W]hen Aldridge starts appearing on the stage at the Royalty Theatre, he's just called a gentleman of color. But when he moves over to the Royal Coburg, he's advertised in the first playbill as the American Tragedian from the African Theater New York City. The second playbill refers to him as 'The African Tragedian'. So everybody goes to the theater expecting to laugh because this is the man they think Mathews saw in New York City.[7]

An innovation Aldridge introduced early in his career was a direct address to the audience on the closing night of his engagement at a given theatre. Especially in the years leading up to the emancipation of all slaves in the British colonies in 1832, he would speak of the injustice of slavery and the passionate desire for freedom of those held in bondage.[3]

Critique

Aldridge as Aaron in Titus Andronicus

During Aldridge's seven-week engagement at the Royal Coburg, the young actor starred in five plays. He earned admiration from his audiences while most critics emphasized Aldridge's lack of stage training and experience. According to modern critics Errol Hill and James Vernon Hatch, early reviews were mixed. For The Times he was "baker-kneed and narrow-chested with lips so shaped that it is utterly impossible for him to pronounce English"; the Globe found his conception of Oroonoko to be very judicious and his enunciation distinct and sonorous; and The Drama described him as "tall and tolerably well proportioned with a weak voice that gabbles apace."[4]

Aldridge performed scenes from Othello that impressed reviewers. One critic wrote, "In Othello (Aldridge) delivers the most difficult passages with a degree of correctness that surprises the beholder."[8] He gradually progressed to larger roles; by 1825, he had top billing at London's Coburg Theatre as Oronoko in A Slave's Revenge, soon to be followed by the role of Gambia in The Slave, and the title role of Shakespeare's Othello. He also played major roles in plays such as The Castle Spectre and The Padlock. In search of new and suitable material, Aldridge also appeared occasionally as white European characters, for which he would be appropriately made up with greasepaint and wig. Examples of these are Captain Dirk Hatteraick and Bertram in Rev. R. C. Maturin's Bertram, the title role in Shakespeare's Richard III, and Shylock in The Merchant of Venice.

Touring and later years

Aldridge as Othello by William Mulready, Walters Art Museum

In 1831 Aldridge successfully played in Dublin; at several locations in southern Ireland, where he created a sensation in the small towns; as well as in Bath and Edinburgh, Scotland. The actor Edmund Kean praised his Othello; some took him to task for taking liberties with the text, while others attacked his race. Since he was an American black actor from the African Theatre, The Times called him the "African Roscius", after the famed actor of ancient Rome. Aldridge used this to his benefit and expanded African references in his biography that appeared in playbills.[7] In June 1844 he made appearances on stage in Exmouth (Devon, England).[9]

Aldridge first toured to continental Europe in 1852, with successes in Germany, where he was presented to the Duchess of Saxe-Coburg-Gotha, and performed for Frederick William IV of Prussia; he also performed in Budapest. An 1858 tour took him to Serbia and to Imperial Russia, where he became acquainted with Count Fyodor Tolstoy, Mikhail Shchepkin and the Ukrainian poet and artist Taras Shevchenko, who did his portrait in pastel.

Now of an appropriate age, about this time, he played the title role of King Lear (in England) for the first time. He purchased some property in England, toured Russia again (1862), and applied for British citizenship (1863).

Marriage and family

Portrait in pastel, by Taras Shevchenko, 1858

Soon after going to England, in 1824 Aldridge married Margaret Gill, an English woman. They were married for 40 years until her death in 1864.

Aldridge's first son, Ira Daniel, was born in May 1847. The identity of his mother is unknown, but it could not have been Margaret Aldridge, who was 49 years old and had been in ill health for years. She raised Ira Daniel as her own; they shared a loving relationship until her death. He emigrated to Australia in February 1867.

A year after Margaret's death, on April 20, 1865, Aldridge married his mistress, the self-styled Swedish countess Amanda von Brandt (1834-1915). They had four children: Irene Luranah, Ira Frederick and Amanda Aldridge, who all went on to musical careers, the two girls as opera singers. Their daughter Rachael Frederica was born shortly after Aldridge's death and died in infancy. Brandt died in 1915 and is buried at Highgate Woods, London.

Aldridge spent most of his final years with his family in Russia and continental Europe, interspersed with occasional visits to England. He planned to return to the post-Civil-War United States, but he died in August 1867 while visiting Łódź, Poland.

His remains were buried in the city's Evangelical Cemetery; 23 years passed before a proper tombstone was erected. His grave is tended by the Society of Polish Artists of Film and Theatre.

A half-length portrait of 1826 by James Northcote shows Aldridge dressed for the role of Othello, but in a relatively undramatic portrait pose, is on display at the Manchester Art Gallery (in the Manchester section). Aldridge performed in the city many times.[10] A blue plaque unveiled in 2007 commemorates Aldridge at 5 Hamlet Road in Upper Norwood, London.[11] The plaque describes him as the 'African Roscius'.[11]

Ira Aldridge Troupe

As Othello in Poland, 1860
Aldridge's tomb in Poland

Aldridge enjoyed enormous fame as a tragic actor during his lifetime, but after his death, he was soon forgotten [in Europe]. The news of Ira Aldridge's death in Poland and the record of his achievement as an actor reached the American black community slowly.[12] In African-American circles, Aldridge was a legendary figure. Many black actors viewed him as an inspirational model, so when his death was revealed, several amateur groups sought to honor his memory by adopting his name for their companies.[4]

Many troupes were being founded in various places around America. In the late nineteenth century Aldridge-titled troupes were established in Washington, DC, in Philadelphia, and in New Haven, their respective productions at the time being an adaptation of Kotzebue's Die Spanier in Peru by Sheridan as Pizarro in 1883, School by Thomas William Robertson in 1885, and George Melville Baker's Comrades in 1889.[4]

The most prominent troupe named for him was the Ira Aldridge Troupe in Philadelphia, founded in 1863, some 35 years after Aldridge left the US for good.[13] The Ira Aldridge Troupe was a minstrelsy group that caricatured Irish white men. The Ira Aldridge Troupe is unique in annals of minstrelsy; it was named for a Black actor who had left his homeland some 35 years before and achieved fame in Europe. Unlike most, later, Black minstrel companies, the Aldridge Troupe apparently did not do plantation material, although they were billed as a 'contraband troupe'—that is, fugitive slaves. Perhaps because of their substantially Black audience, the troupe felt no need to "put on the mask." Although much of the material the group performed was standard fare, several of the company's acts were downright subversive.[13]

The Ira Aldridge Troupe appearing during the American Civil War made it "unique in the annals of minstrelsy." The Clipper (New York City) thought it was important enough to review; and it performed beforre a mixed audience, at a time when often white and black audiences were separated. Third, it was a black troupe presenting a program designed to appeal to their black audience. The Ira Aldridge Troupe performances eschewed the southern genre of old "darkies" longing for the plantation. The exclusion of southern nostalgia may have been in deference to a majority-black audience. The New York Clipper reported them as "A more incorrigible set of cusses we never saw; they beat our Bowery gods all to pieces."[4]

The troupe also created performances and songs that referred to the continuing Civil War. A ballad, "When the Cruel War is Over", became well known; it was performed by three members of the troupe—Miss S. Burton, Miss R. Clark, and Mr. C. Nixon. The song sold over a million copies of sheet music and was one of the most popular sentimental songs of the Civil War.[13] The song describes a soldier's farewell to his lady, the wounds he receives in battle, and his dying request for a last caress. The song, highly popular with white minstrel groups, was an example of the change in white minstrelsy that had been occurring at this time.[13])

Another popular production was a farce called The Irishman and the Stranger, with a Mr. Brown playing a character called Pat O'Callahan and a Mr. Jones playing the Stranger. This farce displayed black actors in white face speaking in a "nigger accent". The Clipper reporter referred to the performance as a "truly laughable affair, the 'Irish nagur' mixing up a rich Irish brogue promiscuously with the sweet nigger accent".[13] Perhaps the Aldridge Troupe's audience got its biggest satisfaction, however, from the role reversal inherent in the piece: since the beginning of minstrelsy, minstrels of Irish heritage, such as Dan Bryant and Richard Hooley, had been caricaturing Black men—now it was the turn of Black men to caricature the Irish.[13]

The history of minstrelsy also shows the cross-cultural influences, with Whites adopting elements of Black culture. The Ira Aldridge Troupe tried to pirate that piracy, and, in collaboration with its audience, turn minstrelsy to its own ends.[13]

Aldridge family

Legacy and honors

The Black Doctor (1847)

The Black Doctor, originally written in French by Auguste Anicet-Bourgeois, was adapted by Aldridge for the English stage. The Black Doctor is a romantic play about Fabian, a bi-racial physician, and his patient Pauline, the daughter of a French aristocrat. The couple falls in love and marries in secret. Although the play depicts racial and family conflict, and ends with Fabian's death, Aldridge portrays his title character with dignity. Some plot points mirror Aldridge's own life, as he married a white Englishwoman.[18]

See also

References

  1. ↑ Nicholas M. Evans, "Ira Aldridge, Shakespeare and Minstrelsy", The American Transcendental Quarterly, 1 September 2002, carried at Goliath
  2. ↑ Simmons, William J., and Henry McNeal Turner. Men of Mark: Eminent, Progressive and Rising. GM Rewell & Company, 1887. p657
  3. 1 2 3 Nelson, E.S. (2004). In African American Dramatists: An A-to-Z Guide. Santa Barbara, CA: Greenwood
  4. 1 2 3 4 5 6 7 Hill, Errol G., and James Vernon Hatch. (2003). A History of African American Theatre. Cambridge University Press
  5. 1 2 Bernth Lindfors, "Aldridge in Europe: How Aldridge Controlled His Identity as the 'African Roscius'", Shakespeare in American Life, Folger Shakespeare Theatre, accessed 15 Oct 2010
  6. ↑ Shane White, Shakespeare in American Life, accessed 14 Oct 2010
  7. 1 2 Bernth Lindfors, "Aldridge in Europe: How Aldridge Controlled His Identity as the 'African Roscius'", Shakespeare in American Life, Folger Shakespeare Theatre, accessed 15 Oct 2010
  8. ↑ Herbert Marshall, Ira Aldridge: The African Tragedian,
  9. ↑ "Exmouth. This pleasant watering place has during the last two days been enlivened by the performances of the 'African Roscius'. Numerous assemblies have on each night testified their approbation of his impersonation of Othello and Revenge." in Trewman's Exeter Flying Post, 26 June 1844 (issue no. 4103).
  10. ↑ Manchester Art Gallery
  11. 1 2 "Aldridge, Ira (1807–1867)". English Heritage. Retrieved 2012-08-17.
  12. ↑ Lindfors, Bernth. Ira Aldridge, the African Roscius. Rochester, NY: University of Rochester Press, 2007
  13. 1 2 3 4 5 6 7 Shalom, Jack. "The Ira Aldridge Troupe: Early Black Minstrelsy in Philadelphia." African-American Review 28.4 (1994): 653–658
  14. ↑ Douglas O. Barnett, "Ira Aldridge", Black Past, accessed 15 October 2010
  15. ↑ Roberts, Brian (2012). "A London Legacy of Ira Aldridge: Henry Francis Downing and the Paratheatrical Poetics of Plot and Cast(e)". Modern Drama. 55 (3): 386–406. doi:10.3138/md.55.3.386.
  16. ↑ Chambers, Colin (2011). Black and Asian Theatre in Britain: A History. London: Routledge. p. 63.
  17. ↑ Newmark, Paige. "Othello: New Critical Essays. Edited by Philip C. Kolin. London and New York: Routledge, 2002
  18. ↑ Hatch, James V. and Ted Shine, eds. Black Theatre U.S.A.. The Free Press, 1996 [1974], p. 4.

Further reading

External links

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