The French Spy

The French Spy is the shortened title found for performances of a number of military dramas in the 19th century, often part of an equestrian act, military extravaganza, or circus performance.

The original text

The title of the works occur in a variety of combinations in various sources over the years, often without an author being listed.

For example, Allardyce Nicoll (1930) lists both The Arab of the Desert, or The French Spy, (which he refers to as a melodrama and gives the performance date of 2/1/1831) and The French Spy (now referred to as a "spectacle" and performed at the Queen's Theatre on 4/4/1831). According to The Tatler of Wednesday, 27 April, 1831[1], the work was by a "Mr Haines" and billed as a "Grand Melo-dramatic Military Spectacle").

Daphne Brooks () also refers to a work called The French Spy, which she ascribes to a "J.T. Haynes" while the Samuel French published edition of a text called The French Spy, or The Siege of Constantina ("A military drama, in three acts. Partly from the French") gives the author's name as John Thomas Haines (1799?-1843)[]. The play referred to seems to have been a transformation play in part, with the leading lady playing three male roles as part of the action.

F.C.L. Bosman (1980: p. 203) citing William Groom (1899-1900), mentions a performance of a work entitled The French Spy, or The Wild Arab of the Desert (a "great historical military drama") by an author called "Aubert". It seems most likely that this was a performaqnce of the the 1861 Haynes version, which in the mid 19th century had become a stock play for actresses specializing in roles involving male impersonation and transformation acts.

Perhaps the "Aubert" referred to by Bosman in this case was either the author of the original French work, or simply the name of the actress playing the transformation role?

Translations and adaptations

Performance history in South Africa

1866: Performed as The French Spy, or The Wild Arab of the Desert, a "great historical military drama" (said to be by "Aubert"), in Cape Town by the Le Roy and Duret Company on 9 and 11 April, with Madame Duret portraying three characters, as well as six in the accompanying play, The Actress Of All Work, or My Country Cousin (Oxberry).

1867: Performed as The French Spy the Theatre Royal in Cape Town by the "Le Roy's Original Company" on 8 April, with Betsy Baker (Morton)

1867: Performed as The French Spy the Theatre Royal in Cape Town by the "Le Roy's Original Company" on 10 April, with Ireland as It Is (Amherst?)

Sources

Facsimile version of the 1861 version of The French Spy, or The Siege of Constantina, Google E-book[2]

Facsimile version of The Tatler of Wednesday, 27 April, 1831, in Tatler: A Daily Paper of Literature, Fine Arts, Music, and the Stage, Volume 2. Published by J. Onwhyn: p.480 [3]

Facsimile version of the "Handslist of plays produced between 1800 and 1850" from Allardyce Nicoll. A History of Early Nineteenth Century Drama (Vol II 1800-1850): Internet Archive[4]

Facsimile version of the "Handslist of plays produced between 1800 and 1850" from Allardyce Nicoll. A History of Early Nineteenth Century Drama (Vol II 1800-1850): Internet Archive[5]

Daphne Brooks. 2006. Bodies in Dissent: Spectacular Performances of Race and Freedom, 1850-1910. Duke University Press: pp. 183-194[6]

F.C.L. Bosman. 1980. Drama en Toneel in Suid-Afrika, Deel II, 1856-1916. Pretoria: J.L. van Schaik: pp. 203-9, 221-2, 294.

Go to ESAT Bibliography