Sir Herbert Beerbohm Tree: A Theatrical Giant

In the annals of British theatre, few figures loom as large or cast as long a shadow as Sir Herbert Beerbohm Tree. Born Herbert Draper Beerbohm in Kensington, London, on December 17, 1852, he rose from humble beginnings to become one of the most influential and celebrated actor-managers of the late Victorian and Edwardian eras. His career was marked by a distinctive blend of artistic ambition, entrepreneurial flair, and a deep commitment to popularising the dramatic arts. Tree was not merely an actor; he was a visionary who transformed theatrical production, nurtured new talent, and left an indelible mark on the institutions that continue to shape the performing arts today.

Early Life and the Seeds of Ambition

The son of Julius Ewald Edward Beerbohm, a prosperous cereal merchant of Lithuanian origin, and Constantia Draper, an Englishwoman, Herbert was one of four children. His siblings included the notable author and explorer Julius Beerbohm, and the celebrated caricaturist and parodist Max Beerbohm, his younger half-brother. Young Herbert received a robust education, attending schools in England and Germany, including the Salzmann Schnepfenthal School, where his father had also been educated. It was during these formative years that the foundations of his theatrical aspirations were laid, even as he initially worked within his father's business. The story, perhaps apocryphal, that he added 'Tree' to his surname because it was easier for audiences to shout than 'Beerbohm' at curtain calls, playfully hints at the theatricality that would define his life. The surname itself, 'Beerbohm', is a north German dialect word for 'tree', adding a layer of linguistic charm to his chosen moniker.

The Actor's Craft: Versatility and Character

Tree's professional acting career began in earnest in 1878, with an early role as Grimaldi in Dion Boucicault's 'The Life of an Actress' at the Globe Theatre. For the subsequent six years, he honed his craft primarily on tour in the British provinces, excelling in a variety of character roles. His London debut occurred later that year at the Olympic Theatre. His first significant London success came in 1884 as the Rev. Robert Spalding in Charles Hawtrey's adaptation of 'The Private Secretary'. Tree's ability to embellish the comic aspects of the role significantly contributed to the play's popularity. His subsequent portrayal of Paolo Marcari in 'Called Back' showcased his remarkable versatility, demonstrating a stark contrast between the dashing Italian spy and the timid parson he had recently played. This versatility was a hallmark of his acting, allowing him to inhabit a wide array of characters with distinctive flair. He was particularly praised for his vivid portrayals of eccentric and idiosyncratic characters, including Fagin, Falstaff, and Svengali, meticulously preparing his make-up, gestures, and physical presence to fully embody these roles. His expressive eyes were noted for their ability to convey a spectrum of emotions, from Hamlet's reflective languor to Shylock's baleful hatred.

The Managerial Acumen: Revitalising Theatres

Tree's ambition extended beyond acting; he possessed a keen managerial instinct that would redefine theatrical management. In 1887, at the relatively young age of thirty-four, he took over the management of the Comedy Theatre in London's West End. His initial production, 'The Red Lamp', a Russian revolutionary play, proved a success, with Tree himself taking a leading role. However, it was his subsequent appointment as manager of the prestigious Haymarket Theatre that truly cemented his reputation. He revitalised the theatre, which had seen its reputation wane in recent years, staging some thirty plays over the next decade. While popular farces and melodramas formed the backbone of his repertoire, Tree also championed new drama, staging works by influential playwrights such as Maurice Maeterlinck ('The Intruder') and Henrik Ibsen ('An Enemy of the People'), as well as Oscar Wilde ('A Woman of No Importance'). He actively supported emerging playwrights through special "Monday night" performances of their new works. His tenure at the Haymarket also saw acclaimed Shakespearean productions, including 'Hamlet' and 'Henry IV, Part 1', establishing him as a leading Shakespearean actor in his own right. Despite critical acclaim, not all were impressed; W. S. Gilbert famously quipped that Tree's Hamlet was "not in the least vulgar" but "I never saw anything so funny in my life."

His Majesty's Theatre: A Grand Vision

With the considerable profits earned at the Haymarket, Tree embarked on his most ambitious project: financing the rebuilding and management of Her Majesty's Theatre. Opened in 1897, during Queen Victoria's Diamond Jubilee, the theatre was a magnificent structure in the Louis XV style. Tree not only managed the theatre but also resided there for two decades until his death, even having a banqueting hall and living room installed in the grand central dome. The theatre historian W. J. MacQueen-Pope described the experience of attending His Majesty's during Tree's tenure as a thrill, noting the luxurious atmosphere, complete with footmen in powdered wigs and liveries, where "Everything was in tone, nothing cheap, nothing vulgar."

Over the next twenty years, Her Majesty's Theatre hosted approximately sixty productions under Tree's direction. His programming remained diverse, featuring new plays by prominent British writers and, notably, dramatizations of popular 19th-century novels. These productions were renowned for their elaborate and spectacular scenery and special effects, setting a new standard for theatrical presentation. Unlike some of his contemporaries, Tree understood the value of collaboration, engaging top actors, designers, and composers to bring his visions to life. His productions featured stellar casts, including Constance Collier, Ellen Terry, and Lewis Waller, among many others. He also mounted contemporary verse dramas and adaptations of classic foreign plays, demonstrating a broad and inclusive approach to theatrical repertoire. A significant highlight was his 1914 production of George Bernard Shaw's 'Pygmalion', where he played Henry Higgins opposite Mrs. Patrick Campbell's Eliza Doolittle. The dynamic between these two theatrical titans was famously challenging, with John Gielgud remarking on the "impossible" rehearsals, involving Shaw attempting to mediate between the eccentric leads.

Shakespearean Revivals and Cinematic Explorations

Her Majesty's Theatre, under Tree, became particularly renowned for its Shakespearean productions, establishing itself as the premier British playhouse for Shakespeare during the Edwardian era. Tree was dedicated to making Shakespeare accessible and enjoyable for the wider public, staging sixteen Shakespearean productions, many of which were successful enough to warrant revivals. From 1905 to 1913, he organised an annual Shakespeare festival, showcasing over two hundred performances. He challenged the prevailing notion that Shakespeare plays were financially unviable, creating stagings that appealed broadly. His 1898 production of 'Julius Caesar' was a commercial triumph, running for 165 performances and selling 242,000 tickets. 'King John' and 'A Midsummer Night's Dream' also proved highly popular. His revival of 'Henry VIII' in 1910-1911 achieved a sensational 254 consecutive performances.

Tree's Shakespearean productions were characterised by a lavish approach to scenery and spectacle, reflecting the Edwardian era's penchant for luxury. He believed in using all theatrical elements to aid illusion and stimulate the audience's imagination, famously stating, "Everything that tends to aid illusion... is legitimate on the stage." This philosophy led to visually stunning productions, such as 'The Winter's Tale' featuring a woodland glade with a brook, or 'The Tempest' with a replica 16th-century vessel battling a storm. He even interpolated historical scenes, like King John granting Magna Carta, to enhance the spectacle.

Beyond the stage, Tree was a pioneer in exploring the nascent medium of film. He was involved in four Shakespeare film projects. Notably, in 1899, he filmed brief segments from his production of 'King John', marking the first film record of a Shakespeare play. In 1916, he played the title role in D. W. Griffith's film adaptation of 'Macbeth' in California, although this is now considered a lost film. His 1911 film of 'Henry VIII', based on his stage production, was a significant success, earning him an unprecedented £1,000 and garnering praise for its quality and acting, with 'The Moving Picture World' proclaiming it "the greatest that has even been attempted in this country."

Reputation, Legacy, and Family

Sir Herbert Beerbohm Tree's reputation as an actor was that of a supremely versatile performer, particularly adept at character roles. While he himself disliked the term "character actor," believing all acting should be character acting, his skill in creating nuanced and memorable individuals was undeniable. His performances were often lauded for their insight and masterly strokes of interpretation, though some critics noted that his technique could be mannered and old-fashioned in his later years. His voice was also sometimes described as thin, posing challenges for projection. Despite these criticisms, his productions remained popular and profitable, demonstrating his enduring connection with the public.

Tree's personal life was as eventful as his professional one. He married the actress Helen Maud Holt in 1882, and she was a significant partner in both his theatrical ventures and social life. They had three daughters: Viola, Felicity, and Iris, all of whom pursued artistic careers. Tree also fathered several illegitimate children, including the acclaimed film director Carol Reed. His grandchildren included the renowned actor Oliver Reed. Beyond his immediate family, Tree's impact on theatrical education was profound. In 1904, he founded the Royal Academy of Dramatic Art (RADA), an institution that has since become one of the world's leading drama schools. He also served as president of the Theatrical Managers' Association and was actively involved with various benevolent organisations for actors. His significant contributions to the theatre were recognised with a knighthood in 1909.

Sir Herbert Beerbohm Tree passed away on July 2, 1917, at the age of 64, from pulmonary blood clots. His final professional engagement had been a visit to Los Angeles in 1915-1916. His death marked the end of an era, but his legacy continued through the many actors he mentored, the theatres he shaped, and the enduring institution of RADA. He remains a towering figure in the history of British theatre, a testament to the power of vision, dedication, and a profound love for the art of the stage.

Key Productions and Notable Roles

Frequently Asked Questions

1. Was Sir Herbert Beerbohm Tree alive during World War I?

Yes, Sir Herbert Beerbohm Tree was alive during World War I and contributed to the war effort by delivering patriotic addresses. He passed away in 1917.

2. What significant institution did Sir Herbert Beerbohm Tree found?

Sir Herbert Beerbohm Tree founded the Royal Academy of Dramatic Art (RADA) in 1904, a prestigious drama school that continues to train actors today.

3. What was his relationship to Oliver Reed?

Sir Herbert Beerbohm Tree was the grandfather of actor Oliver Reed, through Tree's illegitimate son, Peter Reed.

4. Why did he add 'Tree' to his name?

While the exact reason is debated, a popular anecdote suggests it was a playful decision to make his name easier for audiences to call out. The surname 'Beerbohm' itself has roots in the German word for 'tree'.

5. What was his reputation as an actor?

He was widely regarded as a highly versatile actor, particularly skilled in character roles. He was praised for his meticulous preparation, distinctive portrayals, and ability to inhabit a wide range of personalities, though some critics found his later technique to be somewhat mannered.

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