Elliston, Robert William

1774

1831

The son of a watchmaker, Robert William Elliston was born on 7 April 1774 in Orange Street, Bloomsbury. The boy’s uncle, the master of Sidney College, Oxford, placed young William in St Paul’s School at the age of nine, and it was supposed that the boy was destined for the clergy. But Robert showed an early interest in the stage and was acting in school plays at Mme Cotterille’s academy in the Strand by 1790. He made his real debut on 21 April 1791 at Bath under Dimond, playing Tressel in “Richard III”. The press was encouraging, and a few more performances in Bristol led to an engagement with Tate Wilkinson, manager of the York circuit. Elliston acted Eumenes in “Merope” at Leeds on 30 May 1792, causing Wilkinson to write that the lad was happily devoid of rant but needed more ‘energy and variety.’ The actor stayed on the York circuit for three seasons and learned over 40 roles but showed no great progress. He came to London and was introduced to and encouraged by John Philip Kemble, but Elliston evidently saw as his best opportunity a return engagement at Bath, where he remained until 1804. He became a favourite with Bath audiences, did better than his fellows at benefits, and acted some 40 roles, many of them important, such as Macheath in “The Beggar’s Opera”, Horatio in “The Fair Penitent”, Meadows in “The Deaf Lover”, Oroonoko and King Lear. He also acted at Bristol from 1793 to 1796 and found himself a wife: Elizabeth Randell (or Rundall, Rundell), a dancing teacher. During those years Elliston arranged to make appearances at the Haymarket in London: on 25 June 1796 he played Octavian in “The Mountaineers” (G0192) and Vapour in “My Grandmother” to approving reviews that especially praised his talent in comedy. Then he was Sheva in “The Jew”, Sir Edward Mortimer in “The Iron Chest” and Romeo, making himself much sought after by both main London theatres. In the autumn of 1796 he dickered with Sheridan at Drury Lane for £1000 to cover his forfeits if he disentangled himself from his contract at Bath. He also negotiated with Harris at Covent Garden, who was willing to have Elliston act 12 evenings during 1796-97 at Covent Garden while still keeping his full-season contract at Bath with Dimond. Elliston accepted the latter arrangement and became known as ‘The Fortnight Actor.’ This became a pattern for the rest of his career: he regularly involved himself in multiple engagements in and out of London and, in addition, began to build a complicated career in theatre management. Like Bottom the weaver he liked being up to his neck in everything. The real bottom line, however, may have been money, which Elliston proved very adept at getting and spending. While still performing all over the country, including London but with Bath and Bristol as his home base, Elliston in the late 1790s and early 1800s became increasingly involved in management. He may have begun about 1797 at Wells and Shepton Mallet. During the early years of the new century he tried fruitlessly to get patents to open new theatres in London and in Oxford. Then, in 1809, Elliston leased the Royal Circus on the south bank of the Thames and, after refurbishing it, produced melodramas and pantomimes. Also in 1809 he bought and renovated the theatre at Croydon and took over the Manchester Theatre. He petitioned the House of Commons for a proper licence and then a patent for the Royal Circus so he could produce regular plays and not just musical pieces, but all his efforts came to naught. He altered the Royal Circus and changed its name to the Surrey Theatre, presenting musical versions of such plays as “The Beaux’ Stratagem”. Next, along with acting engagements here and there, he tried to work out a joint scheme with the management of the new Drury Lane but failed; so he settled for an acting contract which had him open the new house on 10 October 1812 playing Hamlet. While he continued acting there through 1814-15 he busied himself in his off-duty time running t