page_title: Herbert Beerbohm Tree
section_title: Shakespeare
hierarchical_section_title: Herbert Beerbohm Tree / Shakespeare
caption_attribution_description: Illustration of a review in The Moving Picture World
context_page_description: Sir Herbert Beerbohm Tree was an English actor and theatre manager.
  Tree began performing in the 1870s. By 1887, he was managing the Haymarket Theatre, winning praise for adventurous programming and lavish productions, and starring in many of its productions. In 1899, he helped fund the rebuilding, and became manager, of His Majesty's Theatre. Again, he promoted a mix of Shakespeare and classic plays with new works and adaptations of popular novels, giving them spectacular productions in this large house, and often playing leading roles. His wife, actress Helen Maud Holt, often played opposite him and assisted him with management of the theatres.
  Although Tree was regarded as a versatile and skilled actor, particularly in character roles, by his later years, his technique was seen as mannered and old fashioned. He founded the Royal Academy of Dramatic Art in 1904 and was knighted, for his contributions to theatre, in 1909. His famous family includes his siblings, explorer Julius Beerbohm, author Constance Beerbohm and half-brother caricaturist Max Beerbohm.
context_section_description: Under Tree, however, Her (later His) Majesty's Theatre was most famous for its work with Shakespeare, building an international reputation as the premier British playhouse for his works during the Edwardian era, which had for so long belonged to Henry Irving at the Lyceum Theatre during the Victorian period.  Tree worked untiringly to make Shakespeare popular with the theatregoing public.  He mounted sixteen Shakespeare productions, many of which earned enough success to justify revivals during subsequent seasons.  He also established an annual Shakespeare festival from 1905 to 1913 that showcased a total over two hundred performances by his company and other acting troupes. Tree overturned the popular wisdom at the time that Shakespeare productions would lose money, creating stagings that appealed widely to patrons.  In fact, the theatre's first Shakespearian play, Julius Caesar, was its first commercial success in 1898, running for 165 consecutive performances and selling 242,000 tickets.  The next two years saw two more hits, King John and A Midsummer Night's Dream.  Tree's longest-running revival, Henry VIII, ran for a sensational 254 consecutive performances from 1 September 1910 to 8 April 1911.  Many of the others were similar hits.
  Tree staged the Shakespeare plays, in particular, to appeal to the broad public taste for realistic scenery and scenic effects and lavish spectacle, mirroring the Edwardian fashion for luxury and extravagance.  For example, in The Winter's Tale (1906), there was a woodland glade with a shepherd's cottage and babbling brook; in The Tempest (1904), a replica of a sixteenth-century vessel was tossed in a storm; in The Merchant of Venice (1908), he recreated an authentic Renaissance ghetto.  Tree expounded his views on staging in 1897:
   Everything that tends to aid illusion, to stimulate the imagination of an audience, is legitimate on the stage. Everything that detracts from illusion is illegitimate. We hear a great deal of cant talked by those who insist that the ideal stage setting should be a green baize, whose decoration should consist of placards inscribed, "This is a street," "This is a house," "This is heaven." In all this there seems to me something of affectation. If Shakespeare's poetry could be better or more reverently illustrated by such means, I would say: "Take away those baubles of scenery, of costume, and of archaeological accessories!"
  Tree sometimes interpolated scenes of famous historical events into the plays to provide even more spectacle, such as King John's granting of Magna Carta or Anne Boleyn's coronation in Westminster Abbey.
  Tree also pursued four Shakespeare film projects during his career at Her Majesty's. Of great historical interest is the filming, in 1899, of three brief segments from his production of King John, in which he starred and directed.  This is the first film record of a Shakespeare play. Charles Urban filmed the opening shipwreck from the 1904 revival of The Tempest at the theatre in 1905; Tree, whose role in the production was Caliban, did not appear in this scene. Tree played Cardinal Wolsey in a 1911 studio film by William Barker of a five-scene version of Henry VIII, based on the theatre's 1910 production. Tree was paid the unprecedented sum of £1000 lest the film prove unsatisfactory, or damage ticket sales of the theatre presentation.  Filming took place at studios in Ealing, west London and took only one day, thanks to careful preparation beforehand. The film was presented to the public on 27 February 1911 in various theatres in London and in the provinces, and was a huge success. The Moving Picture World wrote, "The picture is without doubt the greatest that has even been attempted in this country, and I am almost tempted to say in any other ... the acting passes anything ever seen in moving pictures before.... The effect on the moving picture industry here will be enormous."  In California in 1916, Tree played the title role in a film of Macbeth, by D. W. Griffith (considered a lost film).
caption: Macbeth (1916)
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