actor-manager system

Method of theatrical production prevalent in 19th-century England and the U.S. In this system, an actor formed a theatre company, chose the plays he wanted to produce, played the leading roles in them, and managed the company's business arrangements.

The first actor-managers emerged in the 17th century, and in the 18th century actor-managers such as Colley Cibber and David Garrick gained prominence. The system produced high performance standards, typified by 19th-century figures such as William Macready, Henry Irving, and Herbert Tree. It waned as actor-managers were replaced first by stage managers and later by directors.

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▪ theatrical production

      method of theatrical production dominant in England and the U.S. in the 19th century, consisting of a permanent company formed by a leading actor (acting) who chose his or her own plays, took a leading role in them, and handled business and financial arrangements.

      The advantages of this system became apparent in the 18th century when successful actor-managers such as Colley Cibber (Cibber, Colley) and David Garrick (Garrick, David) achieved performance standards superior to those achieved by theatre owners who hired occasional casts for individual plays. In the 19th century great actor-managers such as William Charles Macready (Macready, William Charles), Sir Henry Irving (Irving, Sir Henry), Madame Vestris (Vestris, Madame), Sir Herbert Beerbohm Tree (Tree, Sir Herbert Beerbohm), and Laura Keene (Keene, Laura) maintained high standards. The repertoire usually involved a combination of Shakespeare (Shakespeare, William), popular melodramas, and new dramas or comedies. The era of the actor-manager was geared to star performances, and often the actor's most famous performance was in an inferior literary work, such as Irving's role in the horror play The Bells. Several factors contributed to the decline of the actor-manager system: more corporate ownership of theatres, a trend toward ensemble-style acting, obsolescence of the stock system of play rotation in favour of long runs, and the cost of investing in new plays, which led to new combinations of artistic personnel for each new venture.

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