and in 1822 the interior underwent a significant remodelling. The colonnade running down the Russell Street side of the building was added in 1831. Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of Cataract of the Ganges had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by hydraulic apparatus that reportedly could discharge 39 tons of water. There were those concerned that the theatre was failing in its role as one of the very few permitted to show legitimate drama. Management of the theatre after it reopened in 1813 fell to Samuel James Arnold, overseen by an amateur board of directors and a subcommittee focusing on the theatre as a centre for national culture. (Lord Byron was briefly on this subcommittee, from June 1815 until leaving England in April 1816.) Actor Edmund Kean was the on-stage highlight; like Macklin before him, he made his reputation as Shylock, premiering in the role in 1814. Kean remained until 1820 through praise and notorious disputes with local playwrights such as Charles Bucke. Elliston leased the theatre from 1819 until he went bankrupt in 1826. An American, Stephen Price of New York City's Park Theatre, followed from 1826 to 1830. Through most of the remainder of the 19th century, Drury Lane passed quickly from one proprietor to another. A colonnade was added to the Russell Street frontage, in 1831, by architect Samuel Beazley. In 1833, Alfred Bunn gained control of both Drury Lane and Covent Garden, managing the former from 1833 to 1839, and again from 1843 to 1850. Following the lead of the Lyceum Theatre, London, Bunn championed English opera, rather than the Italian operas that had played earlier at the theatre. These included Fair Rosamond and Farinelli by John Barnett; a series of twelve operas by Michael Balfe including The Maid of Artois and The Bohemian Girl; Maritana and others by William Vincent Wallace and several by Julius Benedict. In 1837, actor-manager Samuel Phelps (1804–1878) joined the company at Drury Lane, appearing with William Charles Macready, the gifted actor-manager in several Shakespeare plays. He also created the role of Captain Channel in Douglas Jerrold's melodrama, The Prisoner of War (1842), and of Lord Tresham in Robert Browning's A Blot in the 'Scutcheon (1843). Macready was