Garrison Players

One of the names given to the amateur theatre group that had been formed in the Cape Town Garrison. Before 1819 they were also known as the Officers of the Garrison, Garrison Amateur Company or the English Theatricals, and after 1819 tended to be referred to as the Gentlemen Amateurs, Garrison Amateur Company or simply the Amateur Company, the (), and for a while Captain Hall's Company (1850-1855).

See also Garrison Theatre

From 1823 onwards they made a point of differentiating themselves from the local civilian amateurs, who now called themselves the English Theatricals. The two groups apparently competed heavily with one another for audiences, also for use of the African Theatre. The Garrison Players also used a theatre in the barracks, known as the Barracks Theatre or the Garrison Theatre.

The Garrison Players existed in one form or another from the very first occupation of the Cape by the British (1799) to 18** and no doubt exerted a strong influence on the form and nature of theatre and the performing arts in the Cape for more than a century, ultimately helping to shape the growth of an indigenous form of western performance in the country.

Performers

Numerous officers were members of the company, in its various manifestations, over the years. Some of the names prominently mentioned are:

Captain Frazer, Captain Collins, Lieutenant Charles Napier, Mr Hamilton, Mr Strawbenzee, Captain Hall, Captain Fisher, Corporal Bishop, Lieutenant Pasley,

The company apparently also used local amateurs on occasion, including a number of (often unnamed) ladies in later years. Names that occur (and could be members of the Garrison or amateurs) include J.L. Fitzpatrick, Mr Pitt, Mr Salter, Mr Kirton, Mr Henslowe and Mr Belleville. Mr W.G. Groom is mentioned as a technician in some cases.

Among the ladies mentioned are Mrs Oswin and Mrs Arlington,

In 1818 they formed a working relationship with Mr Cooke and his company of performers from the Theatre Royal, Liverpool, to put on a range of performances in the African Theatre under the name the Gentleman Amateurs. (See the Gentleman Amateurs)

Performances over the years

Among their productions over the long period were:

In 1807: She Stoops to Conquer and Teasle (20th of June); She Stoops to Conquer and Love à la Mode (29th of August);

In 1808:She Stoops to Conquer and The Apprentice (8th October).

In 1811: Lovers' Vows and Raising the Wind (27 July,); The Rivals and The Mock Doctor, or The Dumb Lady Cur'd (17 August); The Honey Moon and High Life Below Stairs (31 August); The Honey Moon and The Review, or The Wags of Windsor (21 September).

In 1812: The Review, or The Wags of Windsor and John Bull, or An Englishman's Fireside (18 January); Speed the Plough and The Irishman in London (6 July); and A Cure for the Heart Ache and The Jew and the Doctor (12 July).

In 1818: She Stoops to Conquer, or The Mistakes of a Nightand The Poor Soldier (with the help of Mr Cooke and his company of ladies, 16 May); Bombastes Furioso

In 1823: She Stoops to Conquerand The Mayor of Garratt (10 May); Bombastes Furioso and The Rivals (28 June); Bombastes Furioso and She Stoops to Conquer (16 July).

In 1824: Life (Reynolds) and The Irish Tutor (Glengall), performed in the African Theatre (4 September).

In 1825: Exchange no Robbery or The Diamond Ring and The Midnight Hour (8 October); The Review (5 November);

In 1826: The Heir at Law and Love, Law and Physic (16 August );

In 1850: Richelieu, or The Conspiracy and The Original (24 April); Richelieu, or The Conspiracy and My New Wife and My Old Umbrella (8 May); The Lancers , A Lover by Proxy! or My Daughter Sir! and "a repeat of" My Young Wife and My Old Umbrella (29 May); The Rose of Arragon and The Practical Man (31 July); The Rose of Arragon and Shocking Events (9 August); A New Way to Pay Old Debts and The Sentinel (11 September); A New Way to Pay Old Debts and Box and Cox (17 September); Delicate Ground! , The Sentinel , A Lover by Proxy, and Box and Cox (26 September).

In 1851: No performances by a Garrison company are recorded for this year by Bosman [1]], apparently because regiment was tied up with the Border Wars of 1850-1853. However, he suggests that some members may have played for W.F.H. Parker's company in this period.

In 1852: Othello and Charles II (24 March); Don Caesar de Bazan, or Love and Honour and The Thumping Legacy (13 April); Don Caesar de Bazan, or Love and Honour and The Thumping Legacy (21 April).

In 1853: The Illustrious Stranger, Bombastes Furioso and Did You Ever Send Your Wife to Camberwell? (14 September); Power and Principle , Circumstantial Evidence and Box and Cox (31 October and 7 November).

In 1854: St Cupid, A Bloomer's Costume and Perfection (2 May); The Rent Day , The Spitalfields Weaver and The Queen's Horse ( 5 June); The Two Bonnycastles and The Honeymoon (18 August and 4 September); Honesty is the Best Policy , The Spitalfields Weaver and Middle Temple (18 September).

In 1855: For much of this year, it appears that the company members helped out with professional productions in Cape Town by visiting companies and performers (e.g. G.V. Brooke and James Lycett). Only late in the year we hear of a production by the 73rd Regiment itself.

Grace Huntley, or The Follies of Youth, Comfortable Lodgings, or Paris in 1750 and a new "Grand Ballet" (28 September)