Lord Chamberlain

The Lord Chamberlain of the Household is the most senior officer of the Royal Household of the United Kingdom, supervising the departments which support and provide advice to the Sovereign of the United Kingdom while also acting as the main channel of communication between the Sovereign and the House of Lords. The office organises all ceremonial activity such as garden parties, state visits, royal weddings, and the State Opening of Parliament. They also oversee the Royal Mews and royal travel, as well as the ceremony around the awarding of honours.

From 1737 to 1968, the Lord Chamberlain had the power to decide which plays would be granted a licence for performance; this meant that he had the capacity to censor theatre at his pleasure.

The Lord Chamberlain is always sworn of the Privy Council, is usually a peer and before 1782 the post was of Cabinet rank. The position was a political one until 1924. The office dates from the Middle Ages when the King's Chamberlain often acted as the King's spokesman in Council and Parliament.

The current Lord Chamberlain is Richard Benyon, Baron Benyon, who has been in office since 4 November 2024.

Historic role

During the early modern period, the Lord Chamberlain was one of the three principal officers of the Royal Household, the others being the Lord Steward and the Master of the Horse. The Lord Chamberlain was responsible for the "chamber" or the household "above stairs": that is, the series of rooms used by the Sovereign to receive increasingly select visitors, terminating in the royal bedchamber (although the bedchamber itself came to operate semi-autonomously under the Groom of the Stool/Stole). His department not only furnished the servants and other personnel (such as physicians and bodyguards, the Yeomen of the Guard and Gentlemen Pensioners) in intimate attendance on the Sovereign but also arranged and staffed ceremonies and entertainments for the court. He also had (secular) authority over the Chapel Royal. Under the terms of the Civil List and Secret Service Money Act 1782 ( 22 Geo. 3. c. 82), the Lord Chamberlain took on direct responsibility for items kept and maintained by the Great Wardrobe and the Jewel House (whereby these formerly semi-independent sub-departments were abolished).

As other responsibilities of government were devolved to ministers, the ordering of the Royal Household was largely left to the personal taste of the Sovereign. To ensure that the chamber reflected the royal tastes, the Lord Chamberlain received commands directly from the sovereign to be transmitted to the heads of subordinate departments.

In 1594, the Lord Chamberlain, Henry Carey, 1st Baron Hunsdon, founded the Lord Chamberlain's Men, for which William Shakespeare was a part (and later a shareholder in the company) and for whom he wrote most of his plays during his career. Carey served under Elizabeth I at the time and was in charge of all court entertainment, a duty traditionally given to the Master of the Revels, a deputy of the Lord Chamberlain. Later, in 1603, James I, elevated the Chamberlain's Men to royal patronage and changed the name to the King's Men.

Theatre censorship

The Licensing Act 1737

In 1737, Sir Robert Walpole officially introduced statutory censorship with the Licensing Act 1737 by appointing the Lord Chamberlain to act as the theatrical censor. The Licensing Act 1737 gave the Lord Chamberlain the statutory authority to veto the performance of any new plays: he could prevent any new play, or any modification to an existing play, from being performed for any reason, and theatre owners could be prosecuted for staging a play (or part of a play) that had not received prior approval.

Historically, the Lord Chamberlain had been exercising a commanding authority on London's theatre companies under the royal prerogative for many decades already. But by the 1730s the theatre was not controlled by royal patronage anymore. Instead it had become more of a commercial business. Therefore, the fact the Lord Chamberlain still retained censorship authority for the next 200 years gave him uniquely repressive authority during a period where Britain was experiencing "growing political enfranchisement and liberalization".

Even further confusion rested in the fact that Members of Parliament could not present changes to the censorship laws because although the Lord Chamberlain exercised his authority under statute law, he was still an official whose authority was derived from the royal prerogative.

Theatres Act 1843

By the 1830s, it started to become clear that the theatre licensing system in England needed an upgrade. Playwrights, instead of representatives of minor theatres, actually initiated the final push for reform as they felt that their livelihoods were being negatively affected by the monopoly the larger theatres had on the industry, backed by the laws in the Licensing Act 1737.

A select committee was formed in 1832 with the purpose of examining the laws that affected dramatic literature. Their main complaints were the lack of copyright protection for their work and more importantly that only two patent theatres in London could legitimately perform new plays. After more pressure from playwrights and theatre managers, the findings of the committee were finally presented to Parliament.

It was the proposals of this committee that Parliament implemented in the Theatres Act 1843. The act still confirmed the absolute powers of censorship enjoyed by the Lord Chamberlain but still slightly restricted his powers so that he could only prohibit the performance of plays where he was of the opinion that "it is fitting for the preservation of good manners, decorum or of the public peace so to do". The Act, however, did abolish the monopoly that the patent houses had in London, providing a minor win for playwrights and theatre managers wishing to produce new work.

Theatres Act 1968

In 1909, a Joint Select Committee on Stage Plays (Censorship) was established and recommended that the Lord Chamberlain should continue to act as censor but that it could be lawful to perform plays without a licence from the Lord Chamberlain. However, King Edward VII refused to accept these recommendations. The outbreak of both World Wars put an end to any parliamentary initiatives to change the laws regarding theatre censorship for many years. In 1948, the first British Theatre Conference recommended the termination of theatre censorship with the plan to pursue parliamentary action to ratify this.

In the 1960s the debate to abolish theatre censorship rose again as a new generation of young playwrights came on the scene. They gained popularity with their new plays in local establishments, but since many were refused a licence by the Lord Chamberlain, they could not transfer to the West End. In the case of John Osborne's play '' A Patriot for Me'', the Lord Chamberlain at the time, Cameron Cobbold, 1st Baron Cobbold, was irritated that the play was so widely publicized even though he had banned it and therefore pursued legal action. In the end, the play was allowed to continue as it was. At this point, several widely regarded authors had all been censored by the Lord Chamberlain at one time or another, including playwrights Henrik Ibsen and George Bernard Shaw. Sometimes censorship was self-serving. A comedy written for the Edinburgh Festival Fringe in the early 1960s had, as its plot, a jocular scheme to steal the crown jewels. The Lord Chamberlain issued a one-line letter requiring the excision of that plot element. As Michael Palin, one of its authors and performers notes, that meant banning the entire production. Another joint select committee was founded to further debate on the issue and present a solution. This time the argument largely centered around this issue on the portrayal of living and recently dead individuals, particularly in reference to the monarchy as well as politicians.

After much debate, the Theatres Act 1968

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