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Armand; or the Peer and the Peasant Originally “Armand; Child of the
People” Although almost completely obscure
today, this romantic melodrama was arguably a bigger hit for actress/playwright
Anna Cora Mowatt than her theatre history-making comedy “Fashion” (1845.)
Wisely cashing in on the craze for settings and characters made popular by Alexander
Dumas’ “Musketeer” novels still being published in serial form when the play
debuted, this drama focuses on the adventures of sweet, beautiful, peasant
maiden Blanche, who discovers she may be the illegitimate daughter of the
scheming Duke de Richelieu. Her
sweetheart, the noble Armand, must prove that he is clever, bold, and
courageous enough to defend her honor – Even if that means confronting the
lecherous King Louis XV himself! Characters Louis XV, King of France Original New York and London Casts
Production History “Armand” was written two years after Anna
Cora Mowatt’s debut as a playwright and actress. She wrote it at the request of Mr. Simpson,
owner of the Park Theater in New York, who, based on the popularity of “Fashion”
and her fame as a performer, had so much faith in the new play’s success that
the he wrote a Mowatt often complained about how dull
the role of “Gertrude” in “Fashion” was to enact. She wrote the role of
“Blanche” in “Armand” to suit her specific strengths as an actress. The title role she tailored for her new
acting partner, E.L. Davenport . The
critic for The Era would grumble that
although lovely to listen to, “Armand’s” dialogue was not at all
realistic. Characters in the play often
seemed to say things merely to prompt other characters to make wonderful
speeches. This was probably because the drama was hurriedly composed
with specific performers and stage effects in mind. Alexandre Dumas’ first two “Three Musketeer” books had been published
in 1844 and 1845. The last book, Le
Vicomte Bragelonne, which contains The
Man in the Iron Mask as a subplot was coming out in serial form as “Armand”
was being written and performed.
Plotlines about this particular period in French history were quite en vogue at this time “Armand” was popular with
theater-goers on both sides of the Atlantic. In addition to glowing reviews and
extended runs, another piece of evidence we have of this play’s success is that
actors and actresses other than Mowatt and Davenport used it for “benefit”
performances. On these nights,
performers made arrangements with management to receive part of the money from
ticket sales. Therefore, it was
imperative to choose a play that was guaranteed to draw as large a crowd as
possible. “Armand” was a popular choice in the U.S. through the 1860’s. Walter Watts, manager of the
Marylebone Theater, made his presentation of an expensive, engraved silver vase to Anna Cora Mowatt
at a performance of “Armand” held for her benefit. This show was part of the
play’s extended run. The original run
had gone a very respectable twenty-one nights.
The vase would later become one of the elements used to bolster
speculation about a relationship between the manager and the actress in the
wake of the scandal surrounding Watt’s death. “Armand” was the last play that Mowatt wrote. She did publish a collection of dialogues called “Charades” in The Clergyman’s Wife. However, the preface makes it clear that these are in the form of a game and not meant to be performed as a drama.
Critical R Mowatt wrote “Armand” after a year of working as an
actress. The financial and critical success
of the play demonstrate how much she learned in this time about crafting a play
that simultaneously showcased her strengths as a performer and appealed to the
tastes of a contemporary audience. The Albion, usually quite stingy with
praise, effused; Mrs. Mowatt sustained the heroine with more than her
wonted power, especially in the concluding acts; she looked lovely, and became
the gorgeous costume she wore in the last act, in a truly regal style.1 The following critique in the New York Herald of a performance at Park Theater in New York paints
a picture of the audience’s enthusiastic reaction: Mrs. Mowatt gave great interest to the character of
Blanche and played it with great effect.
There was much simplicity and occasional archness in her manner. She read many of the passages of the play
beautifully and her scene with her lover in the second act was a fine display
of impassioned tenderness. In her
closing scenes with the king she gave great force to her bursts of indignation. At the close of the piece Mrs. Mowatt was called
before the curtain, and appeared accompanied by Mr. Davenport; she was received
with cheers and other demonstrations of applause, and garlands and bouquets
were thrown in abundance at her feet.2 This review from the Boston Daily Times highlights how each act in which Blanche appears
brings out a different emotional coloring that Mowatt excelled in portraying: The character of Blanche is well drawn and most
admirably represented by Mrs. Mowatt.
Her innocent gaiety and playfulness in the second act, her sadness as
the woes of life deepen around her, her impetuous declarations of love in the
fourth act, and her vehement denunciations of the profligate monarch in the
last, are fine examples of histrionic power, and truthful and natural beyond a
cavil. Her personation of this character
has added another bright leaf to the coronal of her renown.3 After the London debut of “Armand” in 1849, the London Illustrated News concluded; Mrs. Mowatt, as the heroine, appeared to greater
advantage, we think, than in anything in which we have yet seen her. Nothing could exceed the graceful gentleness
and animation of her acting; and, in the last scene, her interview with the
King was especially effective, drawing down thunders of applause.4 About the overall power of the play to appeal to the
U.S. public, the New York Herald tells us: It should not be forgotten that Mrs. Mowatt is an
American; that her play now belongs to the literature of this country… There
are, indeed but few dramas presented to the public which are so
unexceptionable, and so peculiarly adapted to the tastes and sentiments of the
current age. The most exalted sentiments
are rehearsed in pleasing language.—Vice is reproved in terms, while they
offend not, are to the point. And even the highest moral sentiments are
inculcated in so attractive a form that even the sacred desk might
appropriately afford a theatre from whence to promulgate them. No parent but might with the utmost propriety
place his children in the way of receiving the lessons which are here taught,
and no patriot but might listen with satisfaction to the teachings of political
truths which are contained in the language of The Child of the People. No
address is made to the baser feelings. No glossing over of reprehensible acts;
no soft names given to shameless malconduct; but with the boldness of virtue is
virtue advocated; and with a whip of censure roundly applied is wanton
wickedness condemned. There is no fear
for the future reputation of “Armand.”
It has the stamp of genius, and the mark of true merit.5 Resources Online Copies of the play can be found at the Internet Archive and Hathi Trust A dramatic reading of the play is available at Librivox Further Reading on this Play Anna Cora Mowatt, Armand, and the Fast Man -- how Walter Watts may have calculated an appeal to young single men into his decision to stage "Armand" in London Anna Cora Mowatt, Armand, and the Museum Crowd -- the literary appeal of "Armand" and why that was an important selling point for the U.S. theatrical market in 1847 Anna Cora Mowatt, Armand, and Uncle Sam
-- a discussion of the appeal politics played in the original U.S.
production and the censorship the script received from the Lord
Chamberlain's office before it could be cleared for its debut on the
London stage. Anna Cora Mowatt, Armand, and the Silver Vase -- discussion of the connection between the silver vase presented to Mowatt at a benefit performance of "Armand" and the Watts Scandal Anna Cora Mowatt and a Pair of "Breeches" -- the role of Victor in "Armand" is discussed as one of the two breeches roles that Mowatt wrote during her career as a playwright Notes
1.
“New Works.” The
Albion. October 2, 1847.Page 480, col. 3. 2.
“Theatrical and Musical.” The New York Herald. Monday, October 2, 1847. Page 3, col. 3. 3.
“Local Intelligence.” Boston Daily Times. October 27, 1847, Page 2. 4.
“Marylebone.”
London Illustrated News.
January 20, 1849. 5.
“Theatrical and Musical.” New York Herald. Friday, Oct. 1, 1847. Page 3, col. 3.
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