German Reed Entertainments

The entertainments were held at the intimate Royal Gallery of Illustration, Lower Regent Street, and later at St. George's Hall, Langham Place, in London.

They engaged talented newcomers, such as Frederic Clay, W. S. Gilbert and Arthur Law, as well as established writers such as F. C. Burnand, to create many of the entertainments.

Shakespeare and classic British plays were presented, but the London stage became dominated by risque farces, burlesques and bad adaptations of French operettas.

Jessie Bond wrote, The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers....[1]The German Reed Entertainments became the first respectable venue for dramatic amusement to which the public could safely bring their children, presenting gentle, intelligent, comic musical entertainment.

From 1860 to 1868, the German Reeds were assisted by John Orlando Parry, a pianist, mimic, parodist and humorous singer (one of George Grossmith's inspirations).

The German Reeds were able to attract fine young composers such as Molloy, Frederic Clay, Arthur Sullivan, Charles King Hall.

German Reed also mounted the first professional production of Arthur Sullivan and F. C. Burnand's Cox and Box and commissioned a second opera from the pair, The Contrabandista.

He also remained with the German Reeds until 1895[2] Other German Reed entertainments included Our Quiet Chateau (1868) by Reece with music by Virginia Gabriel; Inquire Within (1868, Parry's last entertainment); Beggar My Neighbour (1870) and Number 204, by Burnand; Near Relations (1871) by Arthur Sketchley;[6] King Christmas (1871, the first appearance by the German Reeds' son, Alfred); Charity Begins at Home (1872), with music by Alfred Cellier and words by B. C. Stephenson; My Aunt's Secret (1872); Very Catching (1872); Milord's Well (1873);[2] Dora's Dream, with music by Alfred Cellier and words by Arthur Cecil (1873); Once in a Century by Gilbert à Beckett; In Possession; Babel and Bijouand; Back from India by Henry Pottinger Stephens; Our New Doll’s House by W. Wye.

[2] Some of Law's pieces for the Gallery included Enchantment, A Night Surprise, A Happy Bungalow (1877), Cherry Tree Farm (1881)[10] and Nobody’s Fault (1882), both with music by Hamilton Clarke,[11] All at Sea (1881)[12] and The Head of the Poll (1882), composed by Eaton Faning, which received good reviews.