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Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924027117898 
 
OUR ACTORS AND ACTRESSES. 
 
 THE DRAMATIC LIST 
 
 A 
 
 RECORD OF THE PERFORMANCES 
 
 OF 
 
 LIVING ACTORS AND ACTRESSES 
 
 OF THE 
 
 BRITISH STAGE, 
 
 EDITED BY 
 
 CHARLES E. PASCOE. 
 REViaUD AND ENLARGED EDITION. 
 
 Cornell University Library 
 
 PN 2597.P28 1880 
 
 Dramatic lists : 
 
 3 1924 027 117 898 
 
 London: 
 
 THE TEMPLE PUBLISHING COMPANY, 
 
 6, Bookseller's Row 
 
THE DRAMATIC LIST. 
 
 ^ADDIS.ON. CARLOTTA ( Mrs. Charles A. La Trobe), 
 younger daughter ol the late Edward Phillips Addison, comedian, 
 was born in Liverpool, July 1849. S he was educated bv her father 
 _for_the^^atic profession, and as a_chjM_ElaYed_in_K££y-imienile 
 partslirfKe"Liverpool"AmphitheatFe. Miss Carlotta Addison made 
 her dSui on the London stage Saturday, October 5, 1866, at the 
 •St. James's Theatre, under Miss Herbert's management, as Lady 
 F. Touchwood, in a revival of 'The Belle's Stratagem.' Subse- 
 quently having joined the company of the New Royalty Theatre, in 
 February 1868, Miss Addison played there the part of Jessie Bell 
 in a three-act drama by Halliday, entitled 'Daddy Grey.' This 
 was the first part of decided importance that this actress had 
 sustained in London, and indeed more responsible than any of 
 the others, inasmuch as Jessie happens to be the central figure of 
 every situation, and the object of universal sympathy throughout 
 the play. Miss Addison showed herself fully equal to the occa- 
 sion : good speaking, graceful action, pathos, almost tragic but 
 unexaggerated, were noticeable in her impersonation, while she 
 never passed the limits proper to a simple country girl of Jessie's 
 rank in life. 
 
 In 1868 Miss Carlotta Addison joined Mr. and Mrs. Bancroft's 
 company at the Prince of Wales's Theatre, and^nThat year, tn "a " 
 revival of T. W. Robertson's play ' Society,' sustained the part of 
 Maud Hetherington. At the same theatre, Saturday, January 16, 
 1869, first performance of T. W. Robertson's comedy entitled 
 ' School,' the part of Bella was sustained by Miss Carlotta Addison, 
 " who in showing the good qualities of the pupil-teacher revealed 
 some rare excellencies of the actress. There was not the slightest 
 exaggeration in the display of her emotion, and the exquisite love 
 scene in the third act, so full of purity and tenderness, owed much 
 of its effect to the discreetly subdued style in which it was acted 
 by Miss Addison and Mr. H. J. Montague." {Daily Telegraph, 
 January 25, 1869.) On Saturday, April 23 of the following year, 
 she sustained the part of Ruth Daybrooke in the same author's 
 comedy entitled ' M.P.,' then first performed at the Prince of 
 Wales's Theatre. After fulfilling an engagement at the Gaiety 
 
 B 
 
2 THE DRAMATIC LIST. 
 
 Theatre, on Saturday, October 7, 187 1, Miss Carlotta Addison 
 appeared at the Globe Theatre in a leading role {Fanny SmitK), 
 first performance of H. J. Byron's comedy ' Partners for Life.' On 
 the 9th of March, 1872, first performance at the same theatre of 
 Albery's play ' Forgiven,' she sustained the part of Mrs. Redriithj 
 and in the same year, at the same theatre, Mrs. Cuthbert, in a 
 revival of H. J. Byron's comedy ' Cyril's Success.' In February 
 1873, first performance at the same theatre of Mr. Albery's comedy 
 ' Oriana,' Miss C. Addison acted the part of Peep with great suc- 
 cess. The play itself proved unattractive, but Miss Addison's 
 acting in it received unqualified praise. In April 1S75, iii ^ re- 
 vival of ' The Merchant of Venice ' at the Prince of Wales's Theatre, 
 which proved unsuccessful, though for the most part carefully acted 
 and well put on the stage, she sustained the part of Nerissaj and 
 in October of the same year played the heroine, Ethel Grainger, yo. 
 Byron's comedy ' Married in Haste,' produced on Saturday, the 
 2nd of that month, at the Haymarket Theatre. A contemporary 
 journal {Athencettm, October 9, 1875) remarked of this performance 
 that Miss Carlotta Addison, as the heroine, had made a distinct 
 stride in her profession. So concentrated and intense was the 
 manner in which she displayed feeling, without going outside the 
 bounds of social custom, that a high position might reasonably be ■ 
 predicted for her as an exponent of realistic drama. 
 
 Since her marriage, in September 1876, Miss Carlotta Addison 
 has rarely appeared on the stage. At the Prince of Wales's 
 Theatre, in 1877, she played Grace Harkaway, in a revival of 
 'London Assurance'; and at the Haymarket Theatre on Thurs- 
 day, October 3, 1878, appeared as Julia in a revival of 'The 
 Rivals.' 
 
 ADDISON, FANNY (Mrs. H. M. Pitt), elder daughter of 
 the late Edward Phillips Addison, comedian, and sister of the 
 above-named Carlotta Addison, was born in Birmingham De- 
 cember 1847. She was educated by her father for the stage in 
 childhood, and acted frequently at the Doncaster Theatre in 
 children's parts in the intervals between school vacations. At 
 the age of fifteen Miss Addison commenced work in earnest at the 
 Theatre Royal and Amphitheatre in Liverpool. She subsequently 
 accepted an engagement as "leading lady," first at the Newcastle- 
 on-Tyne Theatre Royal, and subsequently at the Bath and Bristol 
 Theatres. She made her first appearance in London, Mondav 
 November 19, 1866, at Her Majesty's Theatre in Falconer's drama 
 entitled ' Oonagh.' The part which Miss Fanny Addison sus- 
 tamed m the play was carefully acted, and received very favour- 
 able notice from the press. (See, especially, the Morning- Star 
 November 22, ib66.) The play itself was withdrawn after but 
 few representations. On Thursday, October 24, 1867, on the 
 occasion of the opening of the New Queen's Theatre, Lon°- Acre 
 London (now relegated to other uses'). Miss Addison played the 
 part of Joseplune de Beaurepaire, in the first performance of 
 ' The Double Marriage ' (Charles Reade), founded on that author's 
 
AMALIA, MISS. 3. 
 
 story of ' White Lies.' In this play Miss Fanny Addison gave a 
 fine and passionate representation of the heroine. Some portions of 
 her acting were intensely tragic, and all of it was excellent. 
 
 In October 1868 Miss Addison appeared at Drury Lane Theatre 
 in Halliday's drama ' King o' Scots,' performing the part of 
 Martha Trapbois with considerable effect. This actress's most 
 important and successful London engagements have been as follows, 
 ^via..i-te L7?gJa Par tie in Halliday's 'L ittle Em'ly,' produced at the __ 
 _01ym^i>>Theatre October 9, i869,Tjart which she su staSH 
 with great force and earnestness. Her actmg was thus commented" 
 upon in a London journal : "Thejiighest compliment that jcould__ 
 bepaidto an artist was certainly paioTd Miss Addison. So'com- 
 pletely did~sHe fdentifyVEefsen' with The,' t^rribl§-i?wn; Dartle, a53 '.. - 
 
 so -vile and powerful was her' invective, that the audience, forgetting 
 
 ^tfae-ectriLeb)i dueTro a la:ay7tma~t>bllvious of '^lFcanon s■6f-C^naaIU-. 
 ~aLl^alIy hiisatid her oecatise she acted so g ,:ftremp1 y vtif}^ M ejiat: — 
 " ~%assuch a paradox heard of. But it Va<; r^nt nnly .in the fi^^=ff— 
 alfld unbridled passion that Miss Addison showe4J3.erse1f siir.h. 
 
 "yjcoiliJUll'lUUte artist. -"I'heJi earTBroEeiraccents in which she 
 tells the frightened girl of her~own love for Steerforth were exqui- 
 sitely touching." {Weekly Dispatch, Oclohtx \'j,ii,i>()^ {2) Queen 
 Elisabeth in the same author's play of ' Amy Robsart,' pro- 
 duced at Drury Lane September 24, 1870; and (3) the Countess 
 Danischeff in ' The Danischeffs,' produced at St. James's Theatre, 
 January 6, 1877.' At intervals ' between her London engagements 
 Miss Addison has played in the provinces as " star leading lady " 
 of the so-called ' Two Roses,' the ' Caste,' and the Pitt-and-Hamilton 
 Comedy Companies, of the latter of which her husband is joint 
 manager. 
 
 AMALIA, MISS, burlesque actress, made her debut on the 
 London stage at the Surrey Theatre, December 26, 1869, in the 
 pantomime of ' St. George and the Dragon.' She subsequently 
 played in other pantomimes, securing, conjointly with Miss Violet 
 Cameron, the full honours of the evening on December 27, 1873, ^t 
 Drury Lane Theatre, " for her acting and singing in a ballad called 
 ' Buttercup Green,' " introduced into the burlesque opening. More 
 recently Miss Amalia has been engaged at the Gaiety, and has 
 played in many of the extravaganzas of Mr. Byron on which that 
 theatre^mainly, and for the most part profitably relies as its prin- 
 cipal attraction. 
 
 ANDERSON, JAMES R, was born in Glasgow, May 8, 181 1. 
 In the early part of his professional career he " strolled " as a 
 member of the company of the Theatre Royal, Edinburgh, under 
 Mr. William Murray ; on the Nottingham Circuit with Mr. Tom 
 Manly ; and as a member of the Theatre Royal, Newcastle-on- 
 Tyne, Company with Mr. Sam Penley. Mr. Anderson was 
 manager of the Leicester,- Glo'ster, and Cheltenham Theatres 
 in 1834-5-6, and at the latter theatre first met Mr. William 
 
 E 2 
 
4 THE DRAMA TIC LIST. 
 
 Macready, who offered him an engagement. Mr. Anderson made 
 his dihit in London 30th September, 1837, at the Theatre Royal, 
 Covent Garden, under Mr. Macready's management, in the part 
 of Florizel ('A Winter's Tale'), winning golden opinions for the 
 ease and propriety of his demeanour and delivery. 
 
 His next appearance was in 'The Novice,' a dramatic piece, 
 which did not prove successful. The following year, May 23, 1838, 
 Mr. Anderson played the part of Sir Valentine de Grey in an 
 original drama by Sheridan Knowles, then for the first time per- 
 formed at Covent Garden Theatre, entitled ' Woman's Wit ; or. 
 Love's Disguises.' Thursday, March 7, 1839, at the same theatre, 
 he personated Chevalier de Mauprat, on the occasion of the first 
 performance of Lord Lytton's play of 'Richelieu' with Macready, 
 Warde, Phelps, Howe, and Helen Faucit in the principal cha- 
 racters. The performers exerted themselves so as to render selec- 
 tion for praise impossible. " Each seemed in possession of, and 
 able to realize, the character that was professedly personated. . . . 
 The irritability, the extremes of feeling, the vivacity and the 
 earnestness of De Maup?-at, were effectively presented by Mr. 
 Anderson." {Morning Chronicle, March 8, 1839.) At the opening 
 of Covent Garden Theatre under the Vestris-Mathews manage- 
 ment, September 30, 1839, he played the part of Biron ('Love's 
 Labour Lost') ; and on March 16, 1840, for the first time, the 
 character of Romeo at the same theatre. In September of the same 
 year Mr. Anderson acted Fernando, in the first performance of 
 Sheridan Knowles's play 'John of Procida.' He was also the 
 " original" Charles Courtly of ' London Assurance,' by Dion Bouci- 
 cault, first performed at Covent Garden Theatre May 4, 1841. 
 Notwithstanding the not too favourable criticisms of the London 
 press, this play was one of the most signal successes of the "V'estris- 
 Mathews management of that theatre. The Examiner, March 7, 
 1 841, thus remarked upon the individual merits of the players 
 in the original cast : " The degree of merit that appeared in the 
 acting of the piece was a test of the incapacity of the actors 
 for anything higher or better ; a melancholy exhibition of the state 
 of the stage. We would except from this remark Mr. Anderson, 
 whose part was unsuited to him ; Mr. Keeley, who is always an 
 admirable comedian ; and we are surprised to find ourselves add 
 Mr. Mathews." 
 
 In January 1842 Mr. Anderson took part at Drury Lane Theatre 
 in the opening performance which inaugurated Mr. Macready's 
 management, sustaining the part of Bassanio ('Merchant of Venice'). 
 During the month of February 1842 his name appeared in the 
 original cast of Douglas Jerrold's comedy ' The Prisoners of War' ; 
 and on the 23rd of the same month he played Titus Quintus 
 Fulvius, in the drama of ' Gisippus ' (Gerald Griffin), at its first 
 performance at the same theatre, Mr. Macready being in the title 
 role. Mr. Anderson earned special praise for his performance 
 in the last act. It was stated that his choking voice when he 
 recognized the sword of Gisippus, and the horror that spread over 
 
ANDERSON, JAMES R. 5 
 
 his features and shuddered through his frame, as he staggered wildly 
 off to rescue his friend, suggested much greater powers in Mr. 
 Anderson than he had ever given any indication of before. He 
 obtained repeated plaudits. 
 
 Monday, May 23, 1842, was the closing night of Macready's first 
 season at Drury Lane, and Mr. Anderson played Othello then for 
 the first time. He had been a rising star ever since he made his 
 first appearance at Covent Garden under Mr. Macready's manage- 
 ment. Said the Tiiiies, May 24, 1842 : " Mr. Anderson's Othello 
 last night was what might have been expected from him ; it was 
 nranly, it was careful, it was eloquent. Probably no one could 
 have delivered better the speech to the senate. Mr. Anderson has 
 a good ear for rhythm and metre, he makes fewer slips than most 
 of His colleagues, and this speech was beautifully spoken, with the 
 calm dignity of the veteran soldier, and with a voice deepening 
 into emotion as he came to the tale of love. The speech at the 
 close of the tragedy, which terminates with Othello's death, the 
 speech concluding with ' Othello's occupation's gone,' may likewise 
 be cited as specimens of elocution, mournful and deeply impressive. 
 .... The expression of countenance during the quieter stage of 
 jealousy was well sustained ; it was a growing sorrow. . . . The 
 first loud burst of anguish was effective — it was a startling con- 
 trast ; and as the Moor sank exhausted into a chair, the audience 
 rose into loud and repeated applause." 
 
 During the season 1842-3, at Drury Lane (the second of Mr. 
 Macready's management), Mr. Anderson played the following lead- 
 ing parts, viz. Orlando in ' As You Like It ' ; Captain Absolute in 
 'The Rivals'; Harry Dornton in 'The Road to Ruin'; Faulcon- 
 bridge in ' King John' ; Posthu7nus in ' Cymbeline.' On February 
 II, 1843, Mr. Browning's poetic melodrama 'A Blot on the 
 Scutcheon' was first performed at Drury Lane, and Mr. Anderson 
 sustained the character of Earl Mertoun; and on the 24th of April 
 following, being the night of the first performance of Sheridan 
 Knowles's ' The Secretary,' the title role. The following season, 
 1843-4, Mr. Anderson was engaged at Covent Garden Theatre, 
 playing Shakespearian characters alternately with Vandenhoff and 
 Phelps, viz., Othello, lago, Cassio, &c. On October 20, 1845, ^.t a 
 performance of Lord Lytton's play of ' The Lady of Lyons ' at the 
 Haymarket Theatre, Mr. Anderson sustained the part of Claude 
 Melnotte with care and tact ; " but his voice," said the AthencBum 
 (November r, 1 845), " that once fine organ, seems irreparably ruined ; 
 it is husky and guttural, and requires excessive watchfulness to 
 prevent its becoming inarticulate." 
 
 During the years 1846-7, and part of the year 1848, Mr. Ander- 
 son fulfilled various engagements in the United States, opening in 
 the part of Othello at the Park Theatre, New York. Returning 
 to England in 1848 he made a professional tour of the provinces 
 in the early part of 1849, in company with Miss Huddart (Mrs. 
 Warner), acting with great success in Birmingham, Manchester, 
 Liverpool, Dublin, Edinburgh, and Glasgow. Following this he 
 
6 THE DRAMATIC LIST. 
 
 became manager of the Theatre Royal, Drury Lane, and "opened" 
 December 26, 1849, with Shakespeare's ' Merchant of Venice,' 
 and the pantomime of ' Good Queen Bess,' in Mr. Anderson's 
 opinion one of the best and most successful examples of this 
 species of entertainment ever produced. Among his company 
 were included Mr. Vandenhoff and Mrs. Nisbett. 
 
 In the year 1850 Mr. Anderson produced various plays at Drury 
 Lane Theatre, principally of the Shakespearian and poetic drama, 
 —'As You Like It'; 'Othello'; 'The Hunchback'; Beaumont and 
 Fletcher's ' The Elder Brother ; or. Love at First Sight '; Blanche's 
 adaptation of Schiller's ' Fiesco,' &c. In the following year, on 
 January 16, he produced an original comedy, 'The Old Love and 
 the New ' (Sullivan), in which he played the part of Captain Sidney 
 Courtoun. The piece was but a partial success. His next produc- 
 tion, however, was a more profitable venture. It was a drama entitled 
 ' Azael, the Prodigal,' founded on M M. Scribe and Auber's ' L'Enfant 
 Prodigue.' The English adaptation of this play, first performed at 
 Drury Lane on Wednesday, February 19, 1851, is described in 
 contemporary journals as " one of the most elaborately gorgeous 
 exhibitions ever placed on the boards." It had a very successful 
 run. Discussing its merits the AtliencEum of February 22, 1851, 
 remarked : — " We are next taken to Memphis, with its Egyptian 
 architecture and processions, and especially its temple of Isis, the 
 interior of which is shown with jfll its grandeur and mystical rites, 
 voluptuous and picturesque to the extreme point of tolerance. As 
 -a splendid show the scene surpasses all examples of which we have 
 any remembrance." Mr. Anderson played Azael, the son; Mr. 
 Vandenhoff the part of Reuben, the father. In April, 1851, the 
 bill was changed, and the management produced ' The Queen of 
 Spades' (Boucicault), founded on a French piece, 'La Dame de 
 Pique.' In June 1851 Mr. Anderson produced another successfiil 
 play, which brought money to the treasury, viz., Lovell's ' Ingomar,' 
 in which he sustained the title role. Although a considerable 
 success, it was not, however, sufficient to retrieve the falling fortunes 
 of the theatre ; and on the 24th of the same month Mr. Anderson 
 retired from the management of Drury Lane Theatre. During the 
 two seasons he had held the lesseeship the speculation had resulted 
 in a loss of 9161/. The number of nights the theatre was open 
 was 232 {Athenceum, July 26, 1851). 
 
 Mr. Anderson now turned his attention to " starring," and down 
 to the date of his retirement from the stage occupied himself with 
 this more profitable and less speculative way of securing theatrical 
 honours and pecuniary independence. He began his career as a 
 " star " actor at the Britannia Theatre, under the management of 
 Mr. Sam Lane, November 3, 1851. His first engagement here was 
 made for six nights at 25/. a night. Afterwards he went to the City 
 of London Theatre, and played a six-weeks' engagement at 80/. a 
 week. In May 1852 Mr. Anderson returned to the Britannia 
 Theatre for a four-weeks' engagement, concluded at the rate of 
 100/. a week. These figures will enable the reader to judge of the 
 remuneration at one time aiforded prominent actors by the'^London 
 
ANDERSON, JAMES R. 7 
 
 East-end Theatres.* In 1853 he fulfilled an engagement at the 
 Strand Theatre, appearing there Monday, January 17, in a piece 
 originally produced at the City of London Theatre, and written by 
 one of its " stock " actors, by name John Wilkins, under the title 
 'Civilization.' The play was founded on Voltaire's 'L'Ing&u,' 
 and was a remarkable success. Mr. Anderson played in it the 
 part of Hercule, an Indian of the Huron tribe. 
 
 In the year 1853 Mr. Anderson again went to America, and 
 opened at the old Broadway Theatre in New York. It was stated 
 as an item of gossip {Athenaum, October 8, 1833, p. 1197), that 
 this engagement was effected at 16,000/. for four years, to perform 
 800 nights ; this sum not including travelUng expenses. Although 
 Mr. Anderson was undoubtedly a great favourite in American 
 cities, he was scarcely fortunate enough to realize these extra- 
 ordinary terms, for in the year 1854 he had returned to England 
 and was acting with "great success, for the most part in five-act 
 tragedies," at the Standard Theatre, London. And he continued 
 to perform at the same theatre, renamed the New National 
 Standard Theatre, as a " star," with but few intervals of rest, down 
 to November 1855. In November 1856 he revisited the United 
 States, playing for some part of the time at Wallack's Theatre, 
 New York; and again in 1858, and the year following, he went 
 to America. He visited California, opening in San Francisco, 
 March 9, 1859, in Hamlet, and playing 30 nights in that city; 
 in Sacramento City he played 14 nights, and in Nevada City 
 6 nights. Making a second short trip to San Francisco he re- 
 turned to New York after six months' absence, having netted over 
 $10,000. In 1863 Mr. Anderson joined Mr. Richard Shepherd as 
 part manager at the Surrey Theatre, which was unfortunately 
 destroyed by fire in February 1865. During this joint manage- 
 ment Mr. Anderson produced his own stirring drama of 'The 
 Scottish Chief,' which had a run of 80 nights, and Shakespeare's 
 'Second Part of King Henry VI.' (the Wars of the Roses), which 
 achieved a success of nearly 100 nights. This play had probably 
 not been performed in England, until Mr. Anderson produced it, for 
 a period of 200 years. The cast of the play is, as most persons are 
 aware, very full, and all the actors at " the Surrey " had to double, 
 treble, and quadruple their parts. Mr. Anderson himself played 
 the Duke of York and Jack Cade. In May 1867 he made a voyage 
 to Australia, vid the West Indies, Panama, and New Zealand, 
 playing at Melbourne, Ballarat, Sydney, Adelaide, &c., returning 
 home by way of Ceylon, Aden, and Malta. Mr. Anderson was 
 absent for 32 weeks, and had the good fortune to earn 3000/. by 
 his trip round the world. In 1873-4 he once again appeared on 
 the boards of his old house, Drury Lane, ^vith much success,- as 
 Antony ('Antony and Cleopatra'), and as Richard Cceur de Lion 
 in an adaptation of Sir Walter Scott's ' Talisman.' Mr. Anderson 
 has written several dramatic pieces, none of which, however, have 
 secured any permanent success, with the exception of ' Cloud and 
 Sunshine,' and ' The Scottish Chief,' already mentioned. 
 *' Letter from Mr. Anderson to the Editor. 
 
8 THE DRAMATIC LIST. 
 
 ANDREWS, ALBERT GARCIA, was born at Buffalo, New 
 York, U.S.A., and was educated in France and at the College of 
 the City of New York. He has been more or less engaged in 
 dramatic affairs since boyhood, under the guidance and instruc- 
 tion of his father, the late M. A. Andrews, who was for some 
 years professionally connected with the Haymarket Theatre. Mr. 
 Andrews's first important appearance on the stage was at the 
 Gaiety Theatre, Dublin, with the so-called ' Chippendale Comedy 
 Company,' on April 17, 1876. He remained with that company for 
 two seasons, and then became a member of the " stock " company 
 at the Theatre Royal, Newcastle-on-Tyne. Subsequently, June 
 1877, he joined the Haymarket company on tour, and "opened "as 
 Crabtree in 'The School for Scandal,' to Mr. J. B. Buckstone's Sir 
 Benjamin Backbite. Whilst with the same company Mr. Andrews 
 played such characters as Careless, Fag, and David in 'The 
 Rivals ' ; Cool in ' London Assurance ' ; Captam Smart in ' Over- 
 land Route,' &c. His first appearance on the London stage was 
 made December 1877 at the National Standard Theatre in the 
 aforesaid part of Captain Smart. Subsequently he was engaged 
 by the management of the Lyceum Theatre to play in the revival 
 by Mr. Irving of ' Louis XL,' and sustained therein the character 
 of The Dauphin, March 9, 1878. Mr. Andrews is still (1879) a 
 member of the company of the same theatre, having recently 
 personated the part of Second Gravedigger in the revival of 
 ' Hamlet.' 
 
 * ANSON, GEORGE WILLIAM, son of the undermentioned 
 John William Anson, was born in Montrose, N.B., November 25, 
 1847. He first appeared on the stage in December 1865 at the 
 Theatre Royal, Edinburgh, and had achieved some success in the 
 provinces (notably at Liverpool) as a " character actor " previous to 
 his ddbut in London, which took place at the Olympic Theatre, 
 October 4, 1873, in the part of Minadab in H. J. Byron's four-act 
 comedy ' Sour Grapes.' Mr. Anson's acting on this occasion 
 made a favourable impression. In the following year, in February', 
 he performed the role of Verges in a revival at the Olympic Theatre 
 of Shakespeare's ' Much Ado About Nothing,' Mr. Righton playing 
 Dogberry, Mr. G. Neville Benedick, and Miss Fowler Beatrice. 
 At the same theatre, in March of the same year (1874), on the 
 occasion of the first performance of Tom Taylor's four-act historical 
 drama, entitled ' Lady Clancarty ; or, Wedded and Wooed,' Mr. 
 Anson sustained, in a way which elicited high admiration of his 
 dramatic powers, the part of Scum Goodman. In this drama Miss 
 Cavendish " created " the leading rdle, and Miss Fowler the character 
 oi-Lady Betty Noel. Mr. Anson was likewise in the original cast 
 (l) of 'The Two Orphans,' "drama in six acts and eight tableaux " 
 adapted from the French ' Les Deux Orphelines,' produced at the 
 Olympic Theatre, Monday, September 14, 1874; and (2) of Mr. 
 Albery's five-act comedy ' The Spendthrift ; or, the Scrivener's 
 Daughter,' first performed at the same theatre in May 1875. His 
 acting in the latter play was remarked upon as " strikingly realistic." 
 
ANSON, GEORGE WILLIAM. 9 
 
 Mr. Anson performed also in revivals of ' The Ticket-of-Leave Man ' 
 and ' Henry Dunbar ' at the Olympic ; his picture of light-hearted 
 and ebullient villainy, as typiiied in the amusing Major of the last- 
 named drama, was singularly life-like and unconventional, and 
 formed not the least interesting and attractive element of the 
 revival. It may be interesting to note that ' Henry Dunbar ; or, a 
 Daughter's Trial,' a four-act drama by Tom Taylor, founded on 
 Miss Braddon's novel, vs^as first produced at the same theatre in 
 December 1865. At that time Miss Kate Terry (Mrs. Arthur Lewis) 
 had not quitted the stage, and the play obtained a measure of 
 success to which her acting as Margaret Wentworth the heroine, 
 and that of Mr. Henry Neville as the so-called Henry Dunbar, 
 largely contributed. This piece has always been a favourite with 
 Olympic playgoers, who in general exhibit a nice appreciation of 
 the trifling infirmities and cool impudence of the Major. 
 
 In 1875-6 Mr. Anson was engaged at the Court Theatre, and 
 appeared there in burlesque with considerable ^clat, and in a 
 revival of the comedy of ' New Men and Old Acres,' in which he 
 sustained the character of Bunter. In 1877-8 he had returned to 
 the Olympic Theatre ; and on Monday, June 10 of the latter year 
 was in the original cast of Messrs. Tom Taylor and Paul Meritt's 
 three-act domestic drama ' Love or Life.' The piece, however, 
 proved unattractive. In the summer season of 1879 Mr. Anson 
 was engaged at the Haymarket Theatre, and appeared there in 
 April in Mr. W. G. Wills's unsuccessful five-act comedy ' Ellen ; or, 
 Love's Cunning,' subsequently revised by the author and reproduced 
 at the same theatre as a three-act comedy under the title of ' Brag.' 
 There were some admirable points in both these plays, but each 
 lacked intelligibility and cohesion. The characters which secured 
 most notice were those of Tom Pye, most amusingly played by 
 Mr. Charles Kelly ; a Jesuit Priest, superbly acted by Mr. Anson 
 himself; and Lady Breezy, performed by Miss B. Henri. Miss 
 Florence Terry " created" the title role. Following the withdrawal 
 of ' Brag,' Mr. Boucicault"s all-but-forgotten Adelphi drama ' The 
 Life of an Actress ' was placed on the Haymarket stage, Mr. Anson 
 undertaking the role of Grimaldi, originally played by the author of 
 the play. As an actor Mr. Anson is possessed of force and pathos, 
 and is an excellent low comedian. He has acquired the facility of 
 a foreign accent which in some pieces he has employed to ad- 
 vantage. On the whole, his broken English is the best that has 
 been heard on our stage since the days of Mr. Alfred Wigan, with 
 whom, in that actor's well-known impersonation of Achille Talma 
 Dufard, Mr. Anson favourably compares. He has been recently 
 (July 1879} appearing in this character at the Folly Theatre, 
 London. 
 
 ANSON, JOHN WILLIAM, father of the above-named, was 
 born in London, July 31, 1817. At the age of twenty he joined 
 the Cambridge " Garrick Amateur Club^" in whose theatrical per- 
 formances he bore a leading part, and in 1843 entered the dramatic 
 profession, first appearing at the Theatre Royal, Bath, as Lissardo 
 
lo THE DRAMATIC LIST. 
 
 in the comedy of ' The Wonder.' His debut being a success, Mr. 
 Anson joined the Ryde and Southampton, and afterwards the York, 
 and later, the Belfast " circuits," of the latter of which organizations 
 he was a member for four years. For some considerable period of 
 his earlier career Mr. Anson was manager of the Dundee, Perth, 
 Montrose, and Inverness theatrical companies. He made his first 
 appearance in London in 1853, as a member of Mr. W. Cooke's 
 dramatic company, then playing at Astley's. At that theatre Mr. 
 Anson appeared in a dramatic piece entitled ' The Battle of the 
 Alma ' ; and subsequently sustained there the character of Fahtaff; 
 and during a revival of ' Rob Roy ' the part oiBaiUie Nicoljarvie. 
 For many years Mr. Anson was connected with the Adelphi Theatre 
 under the lesseeship of Mr. Benjamin Webster. He has taken a 
 prominent part in various enterprises designed to benefit members 
 of his profession incapacitated through age or ill-health from 
 following the active duties of their calling. In 1855 he founded 
 the Dramatic, Equestrian, and Musical Sick Fund ; and he was 
 also largely instrumental in promoting the foundation of The 
 Dramatic College, an institution which, continuing for some years, 
 resulted in failure, owing to the lack of adequate pecuniary support. 
 
 APPLEBY, THOMAS BILTON, was born at Howdon (New- 
 castle-on-Tyne). He began his professional career August 3, 
 1866, at the Theatre Royal, Dundee, under the management of 
 Mr. E. D. Lyons, as " first low comedian and principal burlesque 
 actor," " opening " there as Wormwood in ' The Lottery Ticket.' 
 Afterwards he fulfilled engagements at the Theatres Royal, 
 Glasgow and Edinburgh, and at the Tyne Theatre (Newcastle-on- 
 Tyne), where, at its first performance in England, Mr. Appleby 
 played the part of Sadlove in Boucicault's drama ' Elfie ; or, the 
 Cherry Tree Inn.' On March 4, 1872, he joined the late Mr. L. J. 
 Sefton's company at the Theatre Royal, Leeds, selected to play 
 ' Pygmalion and Galatea' throughout the provinces, and sustained 
 the part of Chrysos during the very successful provincial " run " of 
 the piece. Mr. Appleby played at the same theatre on the date 
 above given the title rdle in Burnand's burlesque ' King Kokatoo ; 
 or, Who is Who, and Which is Which?' afterwards altered and 
 produced at the Opdra Comique, London, under the title of ' Kissi- 
 Kissi.' Mr. T. B. Appleby made his debut on the London stage 
 August 15, 1874, at the last-named theatre as the Governor in 
 the opera bouffe ' The Broken Branch.' At the conclusion of his 
 engagement at the Opdra Comique, Mr. Appleby joined, suc- 
 cessively, the companies of the Theatres Royal, Manchester and 
 Hull, and of the Gaiety Theatre, Dublin, remaining at the latter 
 theatre for two years, where his careful acting of the Fijst Grave- 
 digger in a revival of 'Hamlet' during an engagement of Mr. 
 Irving secured well-merited approbation. Afterwards he joined the 
 company of the late Mdlle. Beatrice to undertake " the character 
 business." With that company he appeared at the Olympic 
 Theatre August 5, 1878, as Remy in 'The Woman of the 
 People' ; and at the same theatre April 27, 1879, on the occasion of 
 
ARCHER, FRANK. ii 
 
 the first performance in London of an original " comedy-drama " by 
 Frank Harvey, entitled ' Married, not Mated,' he played the part of 
 Matthew Lambert. 
 
 ARCHER, FRANK (a nom de thidtre ; FRANK BISHOP 
 Arnold), was born at Wellington, Salop. He began his dramatic 
 career at the Theatre Royal, Nottingham. In September 1869 Mr. 
 Archer appeared at the Prince's Theatre, Manchester, under Mr. 
 Calvert's management, as Polixenes in a revival of ' A Winter's 
 Tale ' ; and continued at the same theatre for several seasons, 
 playing principally in the Shakespearian revivals introduced by 
 Mr. Calvert, 1869-72. In March 1871 Mr. Archer appeared there 
 as Apemantus in ' Timon of Athens,' the first time of its produc- 
 tion in Manchester, concerning which performance the Manchester 
 Guardian (March 8, 1871) wrote: "The rare perceptive power of 
 the great poet, of the subtle differences between qualities which a 
 common generalization would consider identical, is finely displayed 
 in this drama. Timon the misanthrope is an altogether different 
 being from Apetnantus the cynic. In make-up, attitude, gait, and 
 voice Mr. Archer realizes this latter character admirably. He is, 
 however, a trifle too ready with his bitter badinage, and thus some- 
 times suggests rather a chiselled criticism than a flashing retort. 
 He is too aufait; but in all other respects he speaks and acts the 
 part well." 
 
 The same year Mr. Archer accepted an engagement at Liverpool ; 
 but returning to Manchester, played Antonio in a grand revival of 
 ' The Merchant of Venice.' He made his first appearance in London 
 at the Prince of Wales's Theatre, May 1872, as Captain Dudley 
 Smooth in 'Money.' During May 1873 Mr. Archer appeared as 
 the King in ' Hamlet ' in a series of performances of that tragedy 
 organized at the Crystal Palace, Sydenham, by Mr. Tom Taylor ; 
 and on the 19th of the same month and year he represented the 
 character of JiUian Gray in Mr. Wilkie Collins's play of the ' New 
 Magdalen,' then performed for the first time at the Olympic 
 Theatre. This part was very ably sustained by him. 
 
 In November 1874 he returned to the Prince of Wales's Theatre, 
 appearing as Lord Ptarmigant in the revival of ' Society.' At the 
 same theatre, in April 1875, he enacted the part of Antonio in the 
 unsuccessful revival of ' The Merchant of Venice ' ; and subsequently 
 Vane in ' Masks and Faces.' In April 1876 Mr. Archer undertook 
 the representation of Wilfred Gordon in Byron's play of ' Wrinkles,' 
 also at the Prince of Wales's Theatre ; and in May of the same year 
 played Prince Perovsky in a revival of T. W. Robertson's ' Ours.' 
 In September 1876 he reappeared at the Olympic, under Mr. H. 
 Neville's management, as The Duke de Gonzagues in ' The Duke's 
 Device.' In the following year, on July 6, at the Princess's Theatre, 
 Edinburgh, he played Hamlet. " Mr. Archer's impersonation of the 
 greatest of all Shakespearian characters is original, not in the sense 
 that he has placed a strikingly new interpretation on any scene 
 or passage, but because he has manifestly devoted himself with 
 earnestness to the study of the part, has thought out the meaning 
 
13 THE DRAMATIC LIST. 
 
 of every line, and strives, with a very considerable measure of 
 success, to give a natural, spontaneous delineation of each phase of 
 the character. . . . The chief fault of his impersonation arose from 
 his anxiety to avoid rant, vfhich made" his reading of some of the 
 louder and more stormy scenes too quiet, and wanting in fire, though 
 rarely in depth of passion. Mr. Archer's delivery of the great soli- 
 loquies was excellent from the total avoidance of the ' set speech ' 
 style, and from the meaning and expression given, without artifice 
 or effort, to every word." [Scotsman, July 7, 1877.) 
 
 On March 30, 1878, and during the subsequent "run "of the piece 
 at the Royal Court Theatre, he undertook the part of Btirchell in 
 Wills's play of ' Olivia,' founded on a leading incident in Oliver 
 Goldsmith's ' Vicar of Wakefield.' On September 23 of the same 
 year, in a revival at the Olympic Theatre of ' The Two Orphans,' 
 Mr. Archer played the Count de Linierej and on Monday, March 24, 
 1879, first performance at the same theatre of Mr. W. S. Gilbert's 
 ' Gretchen,' he acted Mephistopheles. The play proved unattractive; 
 its withdrawal, however, giving rise to some difference of opinion 
 as to the expediency of that course between the author and the 
 management of the theatre. 
 
 ARCHER, JOHN, was born in London 1835, and entered the 
 dramatic profession in 1849. He was for some years member of a 
 travelling company, first of the Kent, and afterwards of the York 
 circuits, and has appeared at the various leading theatres in the 
 provinces. In 1868 he entered upon an engagement as a leading 
 member of the " stock " company of the Edinburgh Theatre. He 
 subsequently appeared at the Lyceum Theatre, in London, under 
 Mrs. Bateman's management, in various parts in the revivals 
 originated by Mr. Henry Irving. 
 
 ASHFORD, CHARLES, born in Birmingham, was in early 
 Iffe apprenticed to an engraver. He entered the dramatic pro- 
 fession in 1 87 1, making his first appearance, September 11 of 
 that year, at the Theatre Royal, Nottingham, as Genshetie in the 
 drama of ' Notre Dame.' Afterwards, from 187 1 to 1877, he fulfilled 
 engagements as " low comedian, character and burlesque actor " 
 at various provincial theatres. At the Theatre Royal, Hull, 
 1876-7, under Mr. Sefton Parry's management, Mr. Ashford 
 estabhshed hmiself as a great favourite in such parts as Barney 
 O Toole 1^ Peep o' Day '), Wackford Squecrs (' Nicholas Nickleby '), ' 
 Picard ('The Two Orphans'), &c. He made his d^ut on the 
 .^r , ?", f'""^? .^' '^^^ Olympic Theatre, Monday, April 2, 1877, as 
 Welsh (^\^ ships carpenter) in Mr. Charles Reade's drama ' The 
 bcuttled Shtp, " by his dancing and thoughtful acting contributino- 
 not a httle to the general success of the piece." Subsequentlv in 
 August of the same year, he acted at the Criterion Theatre the 
 character of Sampson Burr in a revival of ' The Porter's Knot'- and 
 in September joined Mr. Alexander Henderson's coniDany at the 
 Foly Theatre, appearing as Neptune in Lecocq's ' Musical Romance ' ' 
 The Sea Nymphs,' and as Babillard in Offenbach's comic opera 
 
ASHLEY, HENRY JEFFRIES. 13 
 
 'The Creole.' In February 1878, at the same theatre, on the 
 occasion of the first performance in London of Planquette's comic 
 opera ' Les Cloches de Corneville,' Mr. Ashford performed the part 
 of Gobo. He has continued to act the same role during the suc- 
 cessful " run " of the piece, at the Globe Theatre, extending to the 
 present time (July 1879). 
 
 ASHLEY, HENRY JEFFRIES, nephew of the late well-known 
 author and contributor to English literature, Dr. Doran, was born 
 in London, and was originally educated for the profession of a civil 
 engineer, having passed nine years of studentship in the office of the 
 firm of Maudslay, Sons, and Field. A predilection for the stage 
 induced Mr. Ashley to enter the dramatic profession, and he studied 
 the rudiments of the actor's art under the late Edmund Glover in 
 Glasgow. With the exception of a brief season at Birmingham, 
 Mr. Ashley remained at Glasgow acting minor parts until the 
 opening of the St. James's Theatre, London, under the management 
 of Mr. and Mrs. Alfred Wigan in i860. His d^but on the London 
 stage was made at that theatre the same year, in Tom Taylor's 
 comedy entitled ' Up at the Hills.' It was during this engagement, 
 extending over two years, that this actor first discovered a qualifi- 
 cation for eccentric comedy in a farce called ' Under the Rose.' 
 After a season at Liverpool, under Mr. Alexander Henderson's 
 management, Mr. Ashley returned to the St. James's Theatre 
 (under Benjamin Webster), and was subsequently transferred 
 to the Adelphi, where Mr. Ashley remained for seven years. 
 Among the successes obtained by him at that theatre, the part of 
 William in Charles Reade's adaptation of Tennyson's ' Dora ' is 
 deserving of mention. After leaving the Adelphi he accompanied 
 Mr. Toole on an extended tour, and subsequently fulfilled several 
 successful engagements at Liverpool and Hull. During the per- 
 formance of the play entitled ' The Great Divorce Case,' at the 
 Criterion Theatre, Mr. Ashley performed for a time the part of 
 Geoffrey Gordon. He has continued at the same theatre, appear- 
 ing in prominent characters in the following pieces, viz. : ' Hot 
 Water,' ' On Bail,' the ' Pink Dominos ' (in the character of Joskyn 
 Tubbs), and the ' Porter's Knot ' (in the character of Sampson Burr). 
 
 AUBREY, KATE, was born at Stafford, and commenced her 
 theatrical career in the provinces under the management of Mr. 
 John Hudspeth, making her first apjjearance on any stage at 
 Derby,- December 24, 1874. She remained with Mr. Hudspeth's 
 company for some months, and afterwards (September 4, 1875) 
 accepted an engagement at the Theatre Royal, Hull, which con- 
 tinued until May in the year following. Here Miss Aubrey played 
 a variety of parts of more or less importance, notably the character 
 of Mrs. Leslie in a new piece written by W. F. Broughton, entitled 
 ■* A Labour of Love,' and that of Rosa Dartle in ' Little Em'ly.' In 
 May 1876 she was engaged at the Prince's Theatre, Manchester, 
 under Mr. Browne's management, and played there in a new opera 
 entitled ' Nell Gwynne,' and the part of Pedro in ' Girofld-Girofla '; 
 
14 THE DRAMATIC LIST. 
 
 and subsequently acted with Mr. Irving, Mr. Toole, and Miss 
 Neilson during their several engagements at that theatre in 1876. 
 Miss Aubrey made her ddbut- on the London stage, December 2, 
 1876, at the Royal Court Theatre, in the character of Fanny 
 Biinter in a revival of ' New Men and Old Acres ' ; and subse- 
 quently appeared there in various plays produced between 1876 and 
 1878. In the latter year, on 30th March, she performed the part of 
 Sophia on the occasion of the first representation of Wills's play 
 ' Olivia,' and continued to appear in the same character during 
 the run of the piece. 
 
BALFOUR, THOMAS. 15 
 
 BALFOUR, THOMAS, was born in London, October 1849, and 
 adopted the stage as a profession in 1876, having previously passed 
 through the usual routine of study with " stock " companies in the 
 provinces. He made his first appearance on the London stage as 
 the Coroner in ' Jo ' at the Globe Theatre, and afterwards played 
 there a round of various characters (including Rawdon Smdamore 
 in Boucicault's 'Hunted Down'), terminating his engagement at 
 the end of April 1878. Mr. Balfour has supported Mrs. Herman 
 Vezin on tour, playing George du Hamel (' Cora '), Mr. Oakley 
 (' The Jealous Wife '), Fortesme (' Miss Chester'), &c. ; and with the 
 so-called ' Dan'I Druce ' Company has played "juvenile leading 
 parts," Archibald Herries (' Heroes '), &c. 
 
 BANCROFT, MARIE EFFIE {iide WiLTON, Marie), was 
 borri in Doncas ter^^ and entered th e dra.matic. prnfR,ssiQn-in.cmdr- 
 "^ood.plavmef various ch ildreiVs parts i n the p .ca^ia££gj-Brincipally at 
 the Norwich, Bristol, ana Batft t neatres. She inadeher first ap^eax::, 
 ' ance on the Lon ggn^stage September i5,"fK5B^t the Cyc^uni_ 
 'iheatre, as tne "boy Henri in ' B elphegor,' Mr. Dillon sustaining 
 the titlg^Vfe.' a nd on the same eroning' acT5arPgy??Sa7l!ri~Eiu£Z 
 lesque by William Brough, then performed for the firsftime, entitled 
 'Perdita; or, the Royal Milkmaid.' On Monday, April 13, 1857, at 
 the Hayniarket Theatre, Miss Wilton played the part of Ctipid in 
 Talfourd's burlesque of ' Atalanta,' " with her usual vivacity, and 
 aptitude for point making"; and in the following year, on Monday, 
 August 9, the comedy of ' Court Favour ' was revived at the Strand 
 Theatre, in order to introduce her in the part of Litcy Morton, 
 originally played by Madame Vestris. The ability of Miss Marie 
 Wilton being admitted, she at once received offers of engage- 
 ment from London managers, and in December of 1858 acted 
 the leading character in Morton's play, ' The Little Savage,' at 
 the Strand Theatre with considerable success. Without par- 
 ticularizing the many characters played by this actress in the first 
 years of her connection with the London stage, it may be remarked, 
 in general, that for some seasons she was one of the leading 
 attractions, at the Hayniarket, Strand, Adelphi, and St. James's 
 Theatres, chiefly as an impersonator of sparkling characters in 
 farce and extravaganza. Some of the more sterling successes at 
 the Strand Theatre — at one period of its history the home of 
 English burlesque — were in a considerable degree attributed to 
 Miss Wilton's admirable acting. Her metropohtan reputation 
 being established, in 1865, in conjunction with Mr. H. J. Byron, 
 she entered upon the management of the little theatre in Tottenham 
 Street, Tottenham Court Road, now known as the 'Prince of 
 Wales's.' Many first-rate associations had been connected with 
 the building, which was originally opened as a melodramatic theatre 
 on Easter Monday, April 23, 1810, with the result, however, of 
 bringing about the ruin of Mr. Paul, a retired pawnbroker, who 
 
i6 THE DRAMATIC LIST. 
 
 became its manager. Succeeding conductors fared little better, 
 until in 1821 it came under the biton of Mr. Brunton, the father of 
 the celebrated Mrs. Yates. In the interval it had changed its 
 name more than once, and was known successively as ' The 
 Regency,' and ' The West London Theatre.' A French company 
 occupied it for some time ; and here M. Fr^d&ic Lemaitre made 
 his dibiit in England. Afterwards Mr. Thomas Dibdin assumed 
 the reins with moderate success. On the accession of William the 
 Fourth, the theatre was again re-named, and called ' The Queen's,' 
 in compliment to Queen Adelaide ; but- in 1833 it changed its title 
 to ' The Fitzroy,' under the management of the May hews, when 
 ' The Wandering Minstrel,' afterwards made so famous by the 
 inimitable Robson, was produced. Mr. Henry Mayhew and Mr. 
 Gilbert Abbott a' Beckett were the chief authors of the establish- 
 ment. In 1835 it came under the management of the celebrated 
 Mrs. Nisbett, who again called it 'The Queen's'; but after 
 passing through the hands of Colonel Addison and Mr. George 
 Wild, it finally came into those of Mr. Charles James, a scenic 
 artist, who retained possession of it from 1839, and who retained 
 the lesseeship while transferring its direction to Mr. Byron and 
 Miss Wilton. On Saturday, April 15, 1865, it was opened as the 
 Prince of Wales's Theatre. Burlesque — hitherto Miss Wilson's 
 fgrte — was at the outset the raism d'etre of the new establishment. 
 The performances on the opening night comprised, ' The Winning 
 Hazard' (J. P. Wooler) ; 'La Sonnambula ! or, the Supper, the 
 Sleeper, and the Merry Swiss Boy'(H. J. Byron); and Trough- 
 ton's farce of ' Vandyke Brown.' ^Miss Wilton^acted the Merry 
 Swiss Boy, and in the course of the "evening spoTTe apfoTogue 
 to the audience, which was very neatly written and well received 
 It was not, however, by means of Mr. Byron's metrical hits, or the 
 production of such skilful work as Mr. Palgrave Simpson's ' Fair 
 Pretender,' that the new management achieved its most noteworthy 
 triumphs. The elevation of the Prince of Wales's Theatre to the 
 rank of what might be called, with every propriety, the most 
 fashionable and best frequented theatre in London, dates from the 
 introduction there of modern English comedy — ^of comedy of a 
 kind hitherto unattempted by any graduate in the younger school 
 of Enghsh dramatists. The genius of the late T. W. Robertson 
 supplied the necessary plays for presentation. In their order those 
 plays, as produced at the Prince of Wales's Theatre, stand as 
 follows: — 'Society' on Saturday, November ii, 1865; 'Ours 'on 
 Saturday, September 15, 1866; 'Caste,' Saturday, April 6, 1S67; 
 ' Play,' Saturday, February 15, 1868; 'School,' Saturday, January 16, 
 1869; and ' M.P.,' Saturday, April 23, 1870. In 'Society' Miss 
 Wilton undertook the part of Maud H ether i iigton ; in ' Ours' she 
 played the original Mary Netley ; and in ' Caste ' created the part 
 of Polly Eccles. And here it should be mentioned that at the close 
 of the season of 1867, in December, Marie Wilton married Mr. S. 
 B. Bancroft, one of the members of her company, who had from the 
 first borne a principal part with her in representing the characters 
 drawn by the skilful pen of Mr. Robertson. 
 
Continuing the enumeration of the parts played by Miss Wilton 
 (now Mrs. Bancroft), in the comedies of Mr. T. W. Robertson 
 above-mentioned : — In ' Play,' she enacted the part of Rosie Fan- 
 queherej in 'School,' she represented the girlish heroine Naomi 
 Tighej and in ' M.P.' she was Cecilia Dunscombe, the lighter- 
 hearted of the two girls by whose bright eyes and pretty ways the 
 whole of that pleasant piece was irradiated. With truth it may 
 be said that, during the six years of their first performance at 
 the Prince of Wales's, Mrs. Bancroft was the leading spirit of the 
 Robertsonian comedies. Success followed success in her accu- 
 rate and charming reproductions of the characters sketched by the 
 author. The name of Bancroft will always be intimately associated 
 with Mr. T. W. Robertson's dramatic triumphs ; and assuredly 
 these were sufficiently brilliant to mark an epoch in the history of 
 the modern English stage. 
 
 Previous to the production of ' Society ' — which, it may be 
 noted, was first performed at the Prince's Theatre, Manchester — 
 Mr. Robertson, one of the most indefatigable of dramatic writers,* 
 had only produced one piece which achieved anything of a success. 
 This was the play of ' David Garrick,' an adaptation of the French, 
 ' Sullivan,' first performed at the Haymarket Theatre Saturday, 
 April 30, 1864 with Mr. Sothern in the title rSle. His later work 
 ' Society ' was not only original, but in tone and construction so 
 thoroughly English that even the suspicion of a foreign source 
 was at once dismissed as absurd. Said the Times (November 14, 
 1865), in discussing its merits, and those of the players who per- 
 formed in it at ' the Prince of Wales's ' : " What is most to be 
 admired in this piece is the fresh, genial spirit in which it is 
 written. We can fancy, as it progresses, that we can see the author 
 pleased with the contrivance of his own plot, and chuckling over 
 the jokes as they come spontaneously from his brain. Even his 
 looseness of construction, his frequent change of scene, his defi- 
 ciency in everything like Gallic finish, and the inartificiality of 
 soipe of his motives, far from offending, suggests the pleasant 
 notion of a perfect freedom from conventional trammels. Then the 
 personages are well and distinctly drawn, and adequately acted. 
 Sydney Daryl [played by Mr. Bancroft], by nature a spirited 
 gentleman, by habit a semi-Bohemian, is a much less common- 
 place personage than the generality of stage lovers. . . . Next in 
 importance [in the comedy] is Lord Ptarmigant, a remarkably thin 
 nobleman of unmistakably aristocratic appearance [played by Mr. 
 Hare], who less from weakness than from indolence, allows his wife 
 to tyrannize over him, till he finds that he has to defend a righteous 
 cause and then surprises the audience by a sudden display of authority. 
 
 * Thomas William Robertson, born gth January, 1829, died 4th 
 February 1871 ; was educated at Spalding in Lincolnshire, and in Hol- 
 land He wrote a number of dramas for the minor theatres, but none of 
 them brought him much reputation. His first great success was ' Society.' 
 Other noticeable plays of his, in addition to those enumerated in the 
 •oresent article, are ' For Love,' ' Shadow Tree Shaft,' ' Progress,' 
 'Dreams,' 'Home,' and 'War.' 
 
 C 
 
■j8 the dramatic LIST. 
 
 .... Maud Hetherington is a young lady of delicate sensibilities, 
 delicately represented by Miss Marie Wilton, and as John Chodd, 
 Mr. J. Clarke cleverly spices insufferable vulgarity and insolence 
 with an indication of deep malignity. As for the ' Owls,' big and 
 little, they are all capital fellows, capitally represented, from rough 
 Tom Stylus who can't go to a patrician ball without a dirty meer- 
 schaum in his pocket, and the eloquent president. Dr. Olinthus 
 O'SuUivan, to a silent gentleman with snow-white hair and beai-d, 
 who is said to be a professor of philanthropy." 
 
 To the last-named play succeeded ' OURS,' a three-act comedy, 
 played with great success at Liverpool in the summer of 1866, and 
 in the ensuing September placed on the Prince of Wales's stage. On 
 the first night of the piece the little theatre in Tottenham Street was 
 crammed, and the verdict of Liverpool was endorsed with enthu- 
 siasm. " From the author of ' Society,' " remarked the Daily News 
 (.September 18, 1866), "it was only reasonable to expect dramatic 
 writing of a high order, and no reasonable expectations will be 
 disappointed in ' Ours.' Mr. Robertson evidently reUes more 
 upon the brilliancy of his dialogue, and the originality of his situa- 
 tions, than upon any subtleties of plot. The construction of the 
 piece is exceedingly simple, and the story of it may be told in two 
 or three lines. A poor ensign falls in love with a rich ward, and a 
 rich brewer falls in love with a poor companion. The Russian war 
 summons the former to the Crimea, and the latter follows as a 
 volunteer. They are joined by the ladies — whose presence at the 
 seat of war, by the way, is not satisfactorily accounted for — and the 
 two couples ultimately become two units. A minor character is 
 introduced in the person of a Russian prince, who proposes to the 
 heiress, is rejected, and bears his mortification like a gentleman. 
 There is also a highly amusing sergeant, the possessor of twins, 
 whose domestic calamity forms the subject of some happy allusions 
 .... The acting of the comedy was very near perfection ; every- 
 body was fitted to a nicety. Mr. Clarke, as the wealthy brewer 
 [Hugh Chalcot], misanthropic in appearance, but in reality the 
 kindest of creatures, was excellent ; Mr. Hare, in the small part of 
 the Russian prince [Prince Perovsky], made up and played as 
 admirably as usual. Mr. F. Younge made his first appearance here 
 as the doubly paternal sergeant [Sergeant Jones], and acted the 
 part with much humour. The fair manageress (Miss Wilton), 
 whose reception was overwhelming, played as well as she looked 
 \Mary Netley] ; and Miss Louisa Moore looked as well as she 
 played [Blanche Haye]. The comedy is remarkably well mounted, 
 and the last scene — a Crimean hut — was veiy effective." 
 
 'Caste' was the next of Mr. Robertson's comedies. The 
 materials of which its story was composed had often been used 
 before, but never more effectively. " The author," wrote a contem- 
 porary journal, "has combined the geniality of Mr. Dickens, with 
 the cynicism of Mr. Thackeray. He has taken the ordinary bailer 
 girl of the stage and made her his heroine, and an angel, and he 
 has shown, as clearly as a dramatist can show, that marriages 
 between persons of very different classes are often very uncomfort- 
 
BANCROFT, MARIE EFFIE. 19 
 
 able, if not positively unhappy." The plot was excellently con- 
 structed for the purpose of exhibiting- and grouping the various 
 characters. " The Hon. George d'Ahoy, son of the Marquise de 
 Samt-Maur, an English lady of high birth, married to a French 
 nobleman, has fallen in love with Esther, daughter of Eccles (a 
 dissipated specimen of the working man, who does no work), and, 
 during the absence of his mother on the Continent, visits the 
 humble residence of the plebeian in the character of an honourable 
 suitor. He is accompanied by his friend. Captain Hawtree 
 [Mr. Bancroft], who lectures him from a worldly point of view on 
 the danger he is encountering by entering into a family so much 
 below him in rank. Old Eccles [Mr. Honey] is simply detestable ; 
 his two daughters support themselves and him by dancing at the 
 'Theatre Royal, Lambeth' (wherever that may be), and though 
 Esther [Miss Lydia Foote] the object of his choice, is a girl of 
 superior manners, the same cannot be said of her sister Polly 
 (Miss Marie Wilton), who is a damsel of very blunt manners, 
 engaged to Sam Gerridge [Mr. Hare], a worthy gas-fitter, who 
 neither tries nor even desires to elevate himself above his order. 
 .... Eccles is a degraded mortal, who is always howling about 
 the rights of labour, but who has scarcely been known to do a 
 ' stroke of work ' within the memory of his oldest friends. H^hates . 
 _t]l£. aristocracy in theory, but is ready to lick the shoe JofTa. person 
 of quality if anything is to^be made by the degradatio;i5.„That 
 denrocratirTJl'Sp^^ti^p'wKich is amongst the leading nuisances of the 
 day is satirized in this character with the most unsparing severity, 
 and the moral effect of the part is heightened by the contrast of 
 Eccles with Sam Gerridge, intended as a good specimen of the 
 operative class. A less conservative writer would have found an 
 opportunity for putting a little clap-trap into the mouth of honest 
 Sam, but such operations are not to the taste of Mr. Robertson. 
 Sam is not at all idolized, nor are his uncouth appearance or the 
 vulgar terpsichorean feats which he performs under the influence of 
 excessive joy accompanied by the possession of lofty sentiments. 
 He is honest, industrious, and good-natured, has an eye ever 
 directed to the main chance, and respects his own ' caste ' without 
 less respecting that of others. He has a fitting partner in Polly 
 Eccles, whose character is in the main similar to his own, though a 
 tinge of feminine coquetry gives her somewhat the tone of a fine 
 lady. These three parts are as well played as they can possibly 
 be by Mr. George Honey, Mr. Hare, and Miss Marie Wilton." 
 {Times, April 11, 1867.) 
 
 " The hero of ' Play ' is very much like a blackleg ; his com- 
 panion is one of those ' Honourables ' of ancient family who are 
 not above earning a little money by billiard-sharping ; and round 
 these two characters revolve, at different distances, an old trades- 
 man and toady ; an old woman who borrows from nearly everyone 
 she meets ; a young lover who has more money than brains ; a 
 silly impulsive girl, one of those ideal actresses who are all beauty, 
 goodness, virtue, charity, and affection ; a Prussian soldier, who 
 speaks seven or eight words, not languages ; and another Prussian 
 
20 THE DRAMATIC LIST. 
 
 soldier, who is qualified for a deaf and dumb asylum. These are 
 the characters who have to work out the story ; and the story may 
 be told in a very few words— attempted bigamy. The blacldeg 
 hears the silly girl has come into a large fortune ; cuts the an- 
 nouncement of this fact out of a sporting paper to conceal it from 
 her uncle and guardian ; then makes love to the girl, and is defeated 
 by the unexpected appearance of his wife, who is only a trifle less 
 silly than the other woman. . . . The acting leaves nothing to be 
 desired." {Daily News, February 17, 1868.) 
 
 In noticing the first performance of ' School,' the Times 
 (January iS, 1869) wrote as follows : "The fact is not to be denied 
 that the production of a new comedy by Mr. T. W. Robertson at 
 the theatre which, once obscure, has become, under the direction 
 of Miss Marie Wilton, one of the most fashionable in London, is 
 now to be regarded as one of the most important events of the 
 dramatic year. . . . The name of the piece might possibly recall 
 to the memory of some elderly playgoers a delightful comedy by 
 Mr. Douglas Jerrold, entitled ' The Schoolfellow,' which was pro- 
 duced on the same boards more than thirty years ago, when the 
 theatre flushed into temporary celebrity under the nominal manage- 
 ment of Mrs. Nisbett. . . . Although in four acts the piece may 
 be said to lack plot altogether, if by plot is meant a complication 
 of incidents. Nor is this peculiarity felt to be a defect. Four 
 pictures, all striking and full of significance, though of unequal 
 merit, are connected with an artistic hand, and when all is over an 
 unwearied audience is aware that a perfectly organized whole has 
 been contemplated with uninterrupted pleasure. . . . The dialogue 
 between the young lord [Lord Beaufoy, played by the late Mr. H. 
 J. Montague] and Bella [played by Miss Carlotta Addison], while 
 they converse in the moonlight, contemplating their own strongly- 
 cast shadows, and fancifully commenting upon them, is replete with 
 the prettiest conceits, in which it is hard to say whether wit or 
 sentiment has the mastery, and the effect of the situation is 
 heightened by the perfect arrangement of the decoration and the 
 contrivance of dramatic effect. The school-girl archness of Naomi, 
 and the transformation of the stubborn cynic Poyntz [Mr. Bancroft] 
 into an uncouth adorer are expressed, too, in the smartest talk, 
 sparkling with natural yet unexpected touches of humour. The 
 actors, too, should receive their full share of credit for the perfect 
 manner in which they realize the refined conception of the author." 
 
 Mr. Robertson added another leaf to the garland he had so 
 honestly and honourably won at this theatre, by the production of 
 ' M.P.' " None of his ' first nights,' we should say, can have been 
 more genumely and pleasantly successful than that of his new 
 comedy ' M.P.' ... In the way of light comedy there is nothing 
 m London approachmg the pieces, and the troupe of the Prince of 
 Wales's taken together. In a more spacious theatre, and by an 
 audience more largely leavened with the usual pit and gallery 
 public, these light and sparkling plays would probably be voted 
 slow in movement, slight in texture, and weak in interest. But 
 in this pretty little bandbox of a house, with such artists as Marie 
 
BANCROFT, MARIE EFFIE. 21 
 
 Wilton, Hare, Bancroft, and their associates to interpret them, 
 almost at arm's length of an audience who sit as in a drawing-room, 
 to hear drawing-room pleasantries, interchanged by drawing-room 
 personages, nothing can be better fitted to amuse. Author, actors, 
 and theatre seem perfectly fitted for each other. . . . Paris itself 
 furnishes no exact pendant to this theatre and these comedies. 
 The Gymnase would be, on the whole, the nearest parallel ; but the 
 staple of pieces at that house is heavier and more solid than Mr. 
 Robertson has created for the Prince of Wales's. These plays 
 are, indeed, so unlike other men's work that they amount to a 
 creation. Light as they are, there is in them an undercurrent of 
 close observation and half-mocking seriousness which lift them 
 above triviality. The worldliness, which is their predominant 
 atmosphere, is corrected by fresh airs of unselfishness and better 
 feeling, skilfully let in from time to time. They play about life, 
 but not with it. There is no vulgarity in them, and no horseplay ; 
 and their morale is, on the whole, healthy, even when they most 
 affect to disclaim ' purpose,' and laugh ' goodiness ' to scorn. Mr. 
 Robertson is perfectly seconded by his actors. Miss Marie Wilton 
 is the actress who, of all now on the stage, has preserved most of 
 the arch humour and shrewd significance of Mrs. Keeley, while her 
 line of parts combines with these a refinement which in Mrs. 
 Keeley's usual business would have been misplaced. . . . Miss 
 Marie Wilton was charming in the mingled archness, sweetness, 
 petulance, grace, and sauciness, which she threw into her part." 
 [Times, April 25, 1870.) 
 
 " In Miss Marie Wilton's performance of Cecilia it would be 
 difficult to hint any fault," remarked another contemporary journal 
 {Daily News, April 25, 1870). " Its spontaneous, genuine, and 
 unflagging vivacity, though, perhaps, the quality which recom- 
 mended it most to the audience, is really the least of its charms, 
 which lie still more in the rarer qualities of the artistic actress. 
 The perfect command of appropriate gesture and movement ; the 
 subtler play of feature ; the power to indicate, in spite of an exterior 
 of frivolity and mirth, a deeper and more earnest nature, these are 
 things which on our stage are unhappily given but to the few. As 
 Cecilia Dunscombe, Miss Wilton has actually succeeded in dignify- 
 ing the famous ' young lady of the period ' ; and by a happy revela- 
 tion of a something beneath the surface of a character, has, in spite 
 even of a double gold eye-glass, and a faint approximation to a 
 ' Grecian bend,' raised that odious and half- fabulous personage to a 
 point absolutely commanding our sympathy and admiration." 
 
 In May 1872, Mrs. Bancroft undertook the part of Georgina 
 Vesey, in a revival of ' Money ' at the Prince of Wales's Theatre, 
 thus adhering to the principle which resulted in the strong casts of 
 former days — the principle of making even the smallest parts as 
 effective as possible. As pertinent to this admirable plan — so care- 
 fully followed at the Prince of Wales's Theatre, under Mr. and 
 Mrs. Bancroft's direction, and, with justice it should be added, by 
 the late management of the Royal Court Theatre — the following 
 remarks may seem not inappropriate : " From the current blemishes 
 
22 THE DRAMATIC LIST. 
 
 of English acting the Prince of Wales's company is to a great 
 extent free. No attempt is made by any one of its members to 
 eclipse his fellows, or to monopolize either the space on the boards 
 or the attention- of the audience; no piece is presented in such a 
 state of unpreparedness that the first dozen performances are no 
 better than rehearsals ; no slovenliness in the less important acces- 
 sories of the play is permitted. A nearer approach, accordingly, 
 than elsewhere in England can be found to that ensemble it is the 
 boast of the Comddie Frangaise to encourage, is witnessed. Actors 
 are measured, so to speak, by their parts, and are only to take such 
 as fit them. Miss Wilton herself, with an artistic feeling to be 
 expected from her, accepts a subordinate character. The example 
 she sets is followed, and, as a result, the performance takes the town 
 with a sort of wonder." (Athenaum, May i8, 1872.) 
 
 Among later assumptions by Mrs. Bancroft, Lady Teazle, in 
 ' The School for Scandal,' revived at the Prince of Wales's Theatre 
 in April 1874, should be noticed. "At last we obtain — at least in 
 modern days — a Lady Teazle who is the fresh, genuine, impulsive 
 country maiden ■»/edded to an old bachelor, and not the practised 
 actress, with all her airs and graces. How often in Lady Teazle 
 the character is forgotten, the actress and the whole business in- 
 variably remembered ! In the scandal scenes we were presented 
 with an archness and sly sense of humour, always evident but never 
 superabundant, in which Mrs. Bancroft has a special patent ; in the 
 coaxing scene with Sir Peter Teazle, the child-like desire to kiss 
 and make friends, the almost kitten-like content when the recon- 
 ciliation is made, and the expressive change of the countenance from 
 sunshine to storm when the wrangle commences again, were ad- 
 mirably conveyed. But it was reserved for Mrs. Bancroft to make 
 her most lasting impression in the screen scene. With wonderful 
 care and welcome art the impression conveyed to an innocent mind 
 by the insinuating deceit of Joseph was accurately shown by ex- 
 pression to the audience, though the excellence of the general idea 
 culminated in what is known as Lady Teazle's defence, when the 
 screen has fallen and the dinoiiement has taken place. This was 
 entirely new, and thoroughly effective. The tones, alternating 
 between indignation and pathos, between hatred of Joseph and 
 pity for her husband's condition, were expressed with excellent 
 effect. It was the frank and candid avowal of a once foohsh but 
 now repentant woman. The womanly instinct which [bids Lady 
 Teazle touch and try to kiss her husband's hand, the womanly 
 weakness which makes Lady Teazle totter and trip as she makes 
 for the door of the hated room, the womanly strength which steels 
 Lady Teazle in her refusal of .assistance from Joseph, and the 
 woman's inevitable abandonment to hysterical grief, just before the 
 heroic goal is reached, were one and all instances of the treasured 
 possession of an artistic temperament." {Daily Teh-trrabh April 6 
 1874) ' "^ ' 
 
 In November of the same year Mrs. Bancroft played the part of 
 Jenny Norihcote, in Mr. W. S. Gilbert's charming " dramatic con- 
 trast " ' Sweethearts,' then first performed. (See subsequent criti- 
 
BANCROFT, MARIE EFFIE. 23- 
 
 cism.) And in November 1875 she sustained the part of Peg 
 Woffington, in a revival of ' Masks and Faces.' In April 1877 she 
 acted the part of Mrs. Heygarth, in ' The Vicarage ' ; and in Sep- 
 tember of the same year, the character of Hester Grazebrook, in a 
 revival of 'The Unequal Match,' in which she gave further proof 
 of her careful study of character and keen insight into peculiarities 
 of temperament. 
 
 On Saturday, January 12, 1878, Mrs. Bancroft undertook the role 
 of the Countess Zicka, in an English version of M. Sardou's play of 
 ' Dora,' entitled ' Diplomacy,' then first performed at the Prince of 
 Wales's. In a lengthy and well-considered criticism of this piece, 
 the method of its adaptation, and of the acting of those set down 
 in the original English cast, the Saturday Review (January 19, 
 1878) remarked, that in one particular of some importance the 
 English had the advantage over the French performance : " Mdlle. 
 Bartet, promising though her acting was, did not approach the com- 
 plete mastery and finish which Mrs. Bancroft shows in her playing 
 of the Countess Zicka. . . . Whatever sins may be chargeable to 
 the adapters, however, they have not been able to spoil the play for 
 acting purposes. Mrs. Bancroft, as we have hinted, reveals as 
 Countess Zicka a power for which her previous performances have 
 scarcely prepared one. Every emotion of the scheming woman 
 who, in Mrs. Bancroft's interpretation, says with infinite _ pathos 
 that she might have been as good as Dora had she been as for- 
 tunate, is given with rare skill and truth. In the last act, the 
 shame of her detection commands pity, in spite of the baseness 
 of her conduct ; and so great an interest is given by the actress to 
 what has been left of Countess Zicka's account of her early life and 
 its trials, that one cannot but regret its curtailment." The Countess 
 Zicka, though always an important element in the piece, is not 
 brought into any marked prominence till the last act, where the 
 toils are gathered round her, and, struggling bravely to the last, she 
 is brought to make confession and to sue for pardon. In this act 
 Mrs. Bancroft, the representative of that character, exhibited in a 
 degree which none of her later performances have permitted to her, 
 all the admirable refinements and resources of the art in which she 
 is acknowledged a mistress. 
 
 On Saturday, January 11, 1879, 'Caste,' on the whole, the best 
 known of the comedies^ of Mr. Robertson, was revived at the 
 Prince of Wales's Theatre and had a successful run of nineteen 
 weeks, the last performance taking place on Friday, May 30. Mrs. 
 Bancroft had not appeared at the Prince of Wales's as Polly 
 Eccles since 1871 ; the brightness and dramatic force of "her 
 last appearances in this character"* during the period indi- 
 cated, were beyond all praise. Of the original representatives 
 of the piece, three were in their old places— Mrs. Bancroft, Mr. 
 Bancroft, who again performed the part of Ca!ptain Hawtree, 
 and Mr. George Honey, who represented the drunken father 
 
 *.The playbills advertised these as Mrs. Bancroft's last appearances in 
 the part of Polly Eccles. 
 
24 THE DRAMATIC LIST. 
 
 {see Honey, George). Of this revival it was remarked that, 
 while armies of supernumeraries fill the stage of the great 
 theatres, eight people on the stage of the Prince of Wales's 
 cause the benches to be full. On Saturday, May 31, the pro- 
 gramme was altered by the substitution, for the last-named play, 
 of W. S. Gilbert's dramatic idyll, ' Sweethearts ' (in which Mrs. 
 Bancroft sustained her original part of Jenny Northcote), and by 
 the addition of Palgrave Simpson's comedietta ' Heads or Tails,' 
 and Buckstone's comic drama ' Good for Nothing.' " The main 
 burden of the rest of the evening falls upon Mrs. Bancroft," re- 
 marked the Times (June 2, 1879). " It is hardly necessary to say 
 how she sustains it in ' Sweethearts,' a poetical contrast by Mr. 
 Gilbert, sometimes charming and sometimes nearly revolting, as 
 the feeling for beauty of form or the tendency to cynicism in mean- 
 ing, which make up the two sides of the author's work, alternately 
 prevail. In the first act two young people are in love, but the 
 pride of the girl is roused on hearing that her lover has suddenly 
 determined, without consultation with her, to go to India; she 
 pretends that he is indifferent to her, and teases him by mere 
 courtesy when he comes to her to say ' Good-bye,' full of vague 
 hopes and tender sentiments. He asks for a flower, and she gives 
 him a whole pot of pelargoniums, and congratulates him on his 
 botanical tastes. When he is gone, disappointed, she runs to see 
 him come back, sure that he will come, ready, now that she has 
 punished him, to betray the secret of her heart. Her happy flutter 
 of expectation when she thinks she sees him returning, her sudden 
 tears when, like the knight in the ballad, he shakes his bridle-rein 
 and rides away, had the old result upon the audience. The 
 emotions of Mrs. Bancroft are magnetic, and draw laughter and 
 tears from some to whom these are rare luxuries. In the next act 
 she is an old lady with silver hair, and her lover has come back 
 with the title and fortune of a retired Indian Chief Justice. He 
 visits the old place without any precise consciousness or recollec- 
 tion of the particular circumstances which make it dear to him. 
 To the charming old maid whom he converses with so uncon- 
 cernedly, her petulent dismissal of her sweetheart has been the one 
 event of her life, and she has treasured c%er since his rosebud, in 
 exchange for which she made him that ill-timed gift of pelargoniums. 
 So there comes about the second contrast of the drama. The first 
 is between the garden in the country in 1848 and the suburban 
 grass-plot in 1878. The second is between the woman who through- 
 out her quiet life has cherished and kept green her old passion and 
 the man with the dust and ashes of a busy life accumulated over 
 the once active volcano of his love." 
 
 In the little comic drama of ' Good for Nothing,' Mrs. Bancroft 
 represented the heroine Nan, 'for the first time for thirteen years,' 
 according to the playbill. ' Good for Nothing ' was first produced 
 at the Haymarket Theatre in 185 1, and is understood to be founded 
 upon the French vaudeville ' La Gamine.' Nan, first personated 
 by the late Mrs. Fitzwilliam, has also found excellent interpreters in 
 Mrs. German Reed and Mrs. Mellon. Mr. Buckstone in the part of 
 
BANCROFT, SQUIRE BANCROFT. 25 
 
 Tom Diddles has been followed by Mr. Toole and the late Mr. 
 John Clarke ; the original Harry Collier was Mr. Howe. " Mrs. 
 Bancroft's performance of Nan is delightful because of its drollery, 
 its naturalness, its artistic touches of pathos. This female Cymon 
 of the streets, whom love converts from gutter games, rags, and 
 uncleanness, to decency and propriety of language, conduct, and 
 aspect, has never been more expertly or whimsically presented. 
 From her first entrance, when soiled with mud, and fresh from 
 throwing stones at Master Simpson, the landlord's son, who had 
 interfered with her ' hop-scotch,' she stands to be rebuked by her 
 'two fathers' — the gardener who begins like a lamb and ends like a 
 lion, and the stoker who begins like a lion and ends like a lamb — 
 Nan is assured of the hearty goodwill of the audience ; her rapid 
 toilet, accomplished chiefly by the aid of a blacking brush, affords 
 great amusement ; and genuine sympathy attends her ultimate 
 union with her true love, Charley the carpenter." (Daily News, 
 June 4, 1879.) During the season negotiations were opened between 
 Mr. and Mrs. Bancroft and Mr. J. S. Clarke, which resulted in the 
 former becoming lessees of the Haymarket Theatre. It is under- 
 stood that Mr. and Mrs. Bancroft will enter upon their new and 
 more responsible undertaking at the beginning of 1880, when, 
 should ' Duty ' prove sufficiently attractive, that play will constitute 
 the principal attraction. 
 
 BANCROFT, SQUIRE BANCROFT, was born in London, 
 May 14, 1841, and entered the dramatic profession at the Theatre 
 Royal, Birmingham, in Januaiy 1861. Subsequently, he accepted 
 engagements in Dubhn and Liverpool, playing almost every hne 
 of character at each place, notably, various Shakespearian 
 parts at the Theatre Royal in the first-mentioned city during the 
 " starring " engagements of the late G. V. Brooke and Charles 
 Kean in 1862-3. At this period of his career Mr. Bancroft 
 likewise personated with considerable success the widely-different 
 characters of Bob Brierly (' Ticket of Leave Man '), Monsieur 
 Tourbillon, John Mildmay, Captain Hawkesley, and Murphy 
 Maguire. He made his- first appearance on the London stage on 
 the occasion of the opening of the Prince of Wales's Theatre, under 
 the management of Mr. Byron and Miss Marie Wilton, April 15, 
 1865. His reception being favourable, he was selected to sustain 
 the part of Sydney Daryl in Mr. T. W. Robertson's comedy 
 ' Society,' first performed in the November following. This, as we 
 have already noted, was the first of the series of plays written by 
 that dramatist which so largely contributed to the success of the 
 Prince of Wales's Theatre, and in no small measure to establish 
 the Wilton-Bancroft company in the foremost rank of present 
 Enghsh players. In each Mr. Bancroft may be said to have 
 created one of the leading characters. In 'Society' (1865) he 
 appeared as Sydney Daryl and afterwards as Tom Stylus j in 
 'Ours' (1866) as Angus McAlister; in 'Caste' (1867) he was the 
 original Captain Hawtreej in ' Play ' (1868) the original Chevalier 
 Browne; in ' School ' (1869) the original Jack Poy?its. This 
 
26 THE DRAMATIC LIST. 
 
 latter play is generally acknowledged to be the masterpiece, as. 
 regards dialogue, of the six principal works (including 'M.P.,' in 
 which Mr. Bancroft took the part of Talbot Piers), written by the 
 late T. W. Robertson. ' School ' had a consecutive run of nearly 
 four hundred nights (381) by way of commencement, and has since 
 been performed with unvarying success at every leading provincial 
 theatre in the kingdom. Considering the care, skill, and originality 
 brought to bear on the original presentment of the character of 
 Jack Poynts, it seems only proper to mention Mr. Bancroft as a 
 principal contributor to the conspicuous success which attended 
 the first presentation of that play. 
 
 In 1867 Mr. Bancroft married Miss Marie Wilton, and a large 
 share of the management of the Prince of Wales's Theatre thence- 
 forward devolved upon him. After the death of Mr. Robertson, in 
 
 1 87 1, revivals of various plays were tried at this theatre with grati- 
 fying success, the more noteworthy of these being ' Money,' in May, 
 
 1872, followed by the revival of 'The School for Scandal,' in 1874. 
 In the first Mr. Bancroft played the part of Sir Frederick Blount, 
 in the second that of Joseph Surface. Both representations exem- 
 plified the ability and earnestness with which this actor pursues his 
 art. Said the Daily Telegraph (April 6, 1874): "The Joseph 
 Surface of Mr. Bancroft, in that it is one of the most original and 
 reflective performances, will attract most criticism, will probably 
 court the most objection. When Mr. Fechter played I ago, and 
 discarded the hackneyed villain, there was a similar disturbance. 
 According to stage tradition, lago and Joseph Surface are such 
 outrageous and obvious rascals that they would not be tolerated 
 in any society. Mr. Bancroft reforms this altogether, and by a 
 subtlety and an ease most commendable, valuably strengthens his 
 position as an actor and his discrimination as an artist. Joseph 
 Surface can be played as a low, cunning villain, or as a hungry, 
 excited, and abandoned libertine. Mr. Bancroft adopts the golden 
 mean. His deception is never on the surface, his libertinism is 
 never for an instant repulsive. Not altogether striking or showy at 
 first sight, it is, however, one of those instances of good acting 
 which strikes the beholder when the curtain is down and the play 
 put away." 
 
 Among important parts played by Mr. Bancroft at the Prince of 
 Wales's Theatre since 1872, the following deserve notice, viz., 
 Triplet in 'Masks and Faces'; Sir George Ormond in 'Peril'; 
 Dazzle in ' London Assurance ' ; Blenkinsop in ' An Unequal Match ' ; 
 and lastly, Cotcnt Orloff in the English version of M. Victorien 
 Sardou's play of ' Dora,' entitled ' Diplomacy,' performed in London 
 for the first time January 12, 1878. " Some time ago, when writing 
 of the performance of 'Dora' in Paris, we {Saturday Review, 
 January 19, 1878] expressed a doubt whether adequate interpreters 
 could be found foi the great scene between the three men. We 
 may as well say at once that we are delighted to find this doubt 
 need not have been entertained. This scene, which is no doubt 
 the one upon which the play depends, is played as admirably here 
 as it was at the Vaudeville in Paris. . . . Mr. Bancroft's perform- 
 
BANDMANN, DANIEL EDWARD. 27 
 
 ance in this scene as Count Orloff (the Teckly of the original play) 
 could hardly be improved, and his playing of the part throughout 
 gives a fresh proof of Mr. Bancroft's fine power of impersonation — 
 a thing somewhat different from acting in the loose sense which is 
 too commonly attached to the word. The character demands an 
 unusual capacity for indicating rather than expressing a passionate 
 emotion, and in Mr. Bancroft's rendering of it we can find no fault." 
 In the first of the great scenes of the play the acting of Mr. Ban- 
 croft, Mr. Kendal, and Mr. Clayton, respectively impersonating the 
 friend, the husband^ and the brother, could not well have been 
 bettered. The situation is in itself very striking, and presented as 
 it was by these three gentlemen, it brought down applause from all 
 quarters of the house. The play was a great success. 
 
 In a revival of 'Caste,' January 1879, Mr. Bancroft resumed his 
 original part of Captain Hawtreej and in June of the same year, 
 in a revival of W. S. Gilbert's ' Sweethearts,' he sustained the 
 character of Harry Spreadbrow, originally played by Mr. Coghlan. 
 
 Mr. Bancroft, it may be remarked, has devoted much time and 
 energy at the Prince of Wales's Theatre to, what may be not unfitly 
 termed, the art of stage management. Towards the end of the 
 present year he becomes joint-lessee with his wife of the Hay- 
 market Theatre. 
 
 BANDMANN, DANIEL EDWARD, was born at Cassel, 
 Germany, and entered the dramatic profession at the age of 18, 
 making his professional ddbut at the Court Theatre of New Strelitz. 
 He afterwards performed in various towns of Gennany and Prussia, 
 and in Vienna, and acquired considerable reputation as an actor in 
 Shakespearian drama. Subsequently, going to the United States, 
 Mr. Bandmann acted for the first time in English January 15, 1863, 
 at.Niblo's Garden in New York, where he created a very favour- 
 able impression as Shylock. He remained for five years in the 
 United States acting in the principal cities. At Philadelphia (where 
 his tragic power attracted the notice of the distinguished tragedian 
 Edwin Forrest) he was selected to play Hamlet at a commemo- 
 rative celebration of the tercentenary birthday of Shakespeare. Mr. 
 Bandmann performed the same part at San Francisco during a 
 " run "of the play, which extended to a month. He made his first 
 appearance on the British stage at the Lyceum Theatre, on Monday, 
 February 17, 1868, in a play called 'Narcisse,' which had already 
 acquired much reputation in Germany and America. Its author, 
 Herr Brach Vogel, a Berlin dramatic writer of some note, founded 
 its chief incidents on M. Diderot's well-known story ' Neveu de 
 Rameau.' Mr. Bandmann played the title rdle. The following 
 notice of the performance was published in the Times (February 
 21, 1868): — "On Monday night this theatre (the Lyceum) was 
 crowded to an extraordinary degree by an audience anxious to 
 witness the performance of Herr Bandmann, a German actor, who, 
 though he had never been seen in London, had acquired in his own 
 country and the United States a fame which had travelled to 
 England. Herr Bandmann, by birth a Prussian, commenced his 
 
28 THE DRAMATIC LIST. 
 
 professional career by a tour through Bohemia, Austria, and 
 Hungary, and then crossing to America came out at the Stadt- 
 theater, New York, a house in the Bowery exclusively appropriated 
 to German performances. So great was his success,_ that he was 
 advised to study the English language. -.The counsel was followed, 
 and its soundness was proved by a successful performance in 
 English at Niblo's Garden, then the chief house for the higher 
 class of drama, though now apparently doomed to the perpetual 
 representation of spectacle. Herr Bandmann brings with him to 
 England the translation of a German play, entitled ' Narcisse,' 
 being the work in which his great successes, European and Ame- 
 rican, have been achieved. The hint for this piece was taken by 
 the author, Dr. Brach Vogel, from the remarkable dialogue en- 
 titled 'Rameau's Neffe,' which was published by Goethe in 1805, 
 and always has a place in his collected works. The history of this 
 dialogue is curious. ' Le Neveu de Rameau ' was written by 
 Diderot — of course in French — about the year 1760, and the 
 original MS., we read, is still to be found in the Imperial library 
 at St. Petersburg, where it is numbered 381. A copy of this MS. 
 fell into the possession of Schiller, and was by him handed over to 
 Goethe, who translated it, and published it with a highly instructive 
 appendix. A re-translation from Goethe's German into French, 
 by M. de Saur, published in 1821, first rendered the dialogue 
 accessible to the French public, and was for a time regarded as the 
 genuine production of Diderot. However, shortly afterwards the 
 real original, taken from a copy in the possession of the only 
 surviving daughter of Diderot, was published in the collected works 
 of the atheistical philosophe, edited by Bri^re. . . . 
 
 " In the elaborate book on the life and works of Diderot, written 
 by Dr. Carl Rosencranz, and published rather more than a twelve- 
 month since, Brach Vogel's ' Narcisse ' is mentioned as one of the 
 most popular plays of the modern German repertory. That it 
 could ever become very popular in England, save as a vehicle for 
 the actor who plays Narcisse, is extremely doubtful. The numerous 
 dramatis personce are neither strongly marked, nor are they of a 
 kind that greatly appeals to British sympathies, inasmuch as these 
 generally lie dormant in the atmosphere of a theatrical French 
 Court. The dialogue, too, the repartees of Narcisse included, is 
 marked by that absence of sparkle which is not unfrequent in 
 Teutonic wit. This latter defect is rendered most apparent by a 
 scene representing Madame de Pompadour at her toilette, which 
 has been written in by the last French adapter, and which in 
 point, purpose, and historical significance is so far superior to the 
 rest of the work, as far as dialogue is concerned, that we should 
 hazard a wish that the same gentleman had rewritten the whole, 
 from beginning to end, did we not take into consideration the 
 immense trouble that would have been encountered by Herr Band- 
 mann had he been subjected, after performing the piece for hun- 
 dreds of times, to a study of new words. It is on Herr Bandmann 
 himself that the success of ' Narcisse ' depends. Not that the 
 nephew of Rameau is a personage whom any actor desirous to 
 
BANDMANN, DANIEL EDWARD. 29 
 
 make a display would choose to represent ; for, strange to say, be 
 is not involved in a single dramatic situation till within a few 
 minutes before the fall of the curtain, nearly the whole of his effect 
 being produced by speeches of a narrative and reflective kind. 
 Herr Bandmann, however, has manifestly taken a strong fancy to 
 the part, and so completely has he identified himself with its 
 peculiarities, that the result is one of the most highly finished and 
 original performances to be seen on any stage. There is a light 
 easy grace in his early scenes, which at once prepossesses the 
 public in his favour, and the sarcasms which he utters, and which 
 are not of the most pungent, gain a strange significance from the 
 glib manner in which he rolls them off his tongue. With all his 
 merriment there is something weird in his aspect, as though he 
 was talking under the influence of a dream, and it was altogether 
 uncertain what odd phrase would follow the last one uttered. His 
 pathos in the delivery of an affecting narrative is deep and quiet — 
 so quiet indeed, that it at first leads to a belief that he is deficient 
 in physical power. But the fallacy of the inference is amply proved 
 before the end of the play. The rush into the arms of the Mar- 
 quise, when Narcisse first recognizes her amongst the audience of 
 the play ; the change of the love, so passionately and so spon- 
 taneously expressed, into absolute abhorrence, and the further 
 change to despair, tell with a force that could scarcely be sur- 
 passed. In this situation occurs the only opportunity for a display 
 of gesticulatory talent, and Herr Bandmann avails himself of it to 
 the utmost. There is not one of his attributes that is otherwise 
 than picturesque, and, strange to add, that is otherwise than 
 natural. In some of his impassioned utterances, where love is the 
 theme, he will remind many of Mr. Fechter, but in his command 
 of the English language he is far superior to that celebrated actor. 
 Indeed there is little in his accent to indicate that he is a German 
 at all, the slight peculiarity in his pronunciation apparently in- 
 dicating the influence of his visit to America rather than that of 
 his birth in Fatherland." 
 
 On Saturday, October 3, 1868, on the occasion of the first 
 
 Eerformance at the Lyceum Theatre of ' The Rightful Heir ' (Lord 
 ytton), Mr. Bandmann sustained the character of Vyvyan, and 
 on the 30th of November of the same year at the Lyceum he 
 played Othello. In the year 1869 he visited the Australian colonies, 
 remaining there for twelve months, and appearing in various roles 
 in the legitimate drama during that period. Subsequently (1870-1) 
 he made a second tour through the United States, which was 
 equally successful as his first. Returning to Englandin June 1871, 
 he reappeared in ' Narcisse ' at the Queen's Theatre, and also in a 
 new play by Mr. Tom Taylor entitled ' Dead or Alive.' On 
 Monday, February 10, 1873, he made his third appearance as 
 Hamlet, in London, at the Princess's Theatre, having already 
 performed the character at the Standard Theatre, Bishopgate, and 
 in Manchester and several provincial towns in England, Scotland, 
 and Ireland. Judging from the criticism of Mr. Bandmann's acting 
 of the part, published in several provincial journals of repute, his 
 
30 THE DRAMATIC LIST. 
 
 Hamlet has been keenly appreciated by large audiences, and has 
 been rewarded with a larger measure of praise than falls to the lot 
 of most actors. His success in London in this and other Shake- 
 spearian parts has perhaps not been so decided, at least in the 
 view of some whose judgment is entitled to respect. The Athenmim 
 (February 15, 1873) remarked as follows : " So far as Mr. Band- 
 mann's presentation of Hamlet has any interest, it is an embodi- 
 ment of the views of the character prevalent among German actors. 
 The value of the exposition is greatly diminished by want of grace 
 and refinement. Mr. Bandmann not merely lacks the chivalrous 
 bearing, which in Mr. Fechter does duty for passion, but is in 
 scenes almost slouching. The princeliness of Hamlet disappears, 
 and is replaced by a weak sentimentahty. No touch of the irony, 
 pathetic and savage in turns, of Hamlet is found in the actor's 
 performance. No sign is there, moreover, of the working of fate 
 upon the mind. At the outset of each separate scene the life of 
 Hamlet seems to start afresh, — 
 
 " ' This year knows nothing of last year ; 
 To-morrow has no more to say 
 To yesterday.' 
 
 " Especially noticeable is this in the bearing of Mr. Bandmann 
 when he sees the funeral of Ophelia. The first shock over, he 
 moralises as calmly as though the interest he felt in the dead body 
 before him was as remote as that in the skull of Yorick he had 
 previously exhibited. Though the inadequacy of the acting de- 
 tracted thus from the value of the experiment, the experiment 
 itself is not without interest. Since the days of ^ Emil Devrient the 
 German rendering of Hamlet has been much tamer than that 
 customary in England. The points on which the English actor 
 most insists are omitted, and the stage business judged of most 
 consequence is allowed to lapse. This is not wholly loss, if indeed 
 it is loss at all. There is something almost ludicrous in the notion 
 of an audience waiting for a certain elevation or inflexion of voice 
 at a fixed word, and bursting into applause as soon as it hears it. 
 Some tameness, however, seems inseparable from the best ren- 
 dering of the part after the German fashion. The tendency to 
 monotony Mr. Bandmann tries to counteract by inventing 'busi- 
 ness' of his own. This is wholly bad. His addressing to the 
 picture of Claudius the strong words employed by Hamlet in his 
 intei-view with the Queen has some ground of reason, but his 
 sudden recoil and fall when the Ghost appears, and his delivery in 
 a recumbent attitude of the advice to his mother, are equally 
 meaningless and ineffective. The omissions from the text, whether 
 due to carelessness or inattention, are alike unjustifiable. The 
 most noteworthy occurs in the scene to which reference has just 
 been made. In this the words following Hamlet's ' Good-night,' — 
 
 " ' Put go not to my uncle's bed, 
 
 Assume a virtue if you have it not,' &". 
 
J3ANDMANN, DANIEL EDWARD. 31 
 
 are omitted. A little previously the actor left out the lines — 
 
 " ' A station like the herald Mercury, 
 New-lighted on a heaven-kissing hill.' 
 
 Some scenes usually excised are, however, introduced. . . , That 
 the experiment is wholly a failure is due to want of judgment in 
 certain scenes, and of expository power in all. To partial failure 
 such an essay is doomed from the first." 
 
 The Examiner (February 23, 1873), while concluding that Mr. 
 Bandmann is an accomplished and capable actor, practised in all 
 the resources of his art in a thorough manner, which is charac- 
 teristic of his nation, considered that he did not evince that critical 
 ability by which some of his countrymen have been able to throw 
 considerable light on the works of the great poet. " His repre- 
 sentation is careful, and shows conclusively that much thought has 
 been expended upon it ; but the thought seems to have been turned 
 rather towards matters of detail than towards the central idea, the 
 result being a number of small innovations which, on considera- 
 tion, appear unmeaning and useless, when not absolutely detri- 
 mental to the true effect. This constant striving after novel read- 
 ings and ' business ' is becoming a characteristic of our revivals of 
 Shakespeare's plays. To speak a passage with an unexpected 
 accent, and to accompany it with some gesture not before used, 
 seems to be the great object of most modern actors. It should be 
 needless to point out that this method is at variance with the true 
 order of procedure. Let the actor first grasp the main idea of the 
 character he has to portray, and the smaller points in behaviour 
 and speech will become clear to him, so that it is impossible to 
 conceive them in two ways. Mr. Bandmann's Hamlet gives us no 
 evidence of this process ; on the contrary, he would appear to have 
 taken up each passage separately, and devised some mode of 
 interpretation which should be peculiar, without any special refer- 
 ence to the nature and inner feelings of the speaker. In restoring 
 some scenes usually omitted Mr. Bandmann shows, however, ex- 
 cellent judgment. One of these, in which Ha77ilet refuses to take 
 the opportunity of killing the King while he is praying, because his 
 soul might go to heaven, gives a necessary touch to the portrait, 
 and is of the utmost importance as being the only instance in the 
 play of the trait it illustrates. It has been said that such cruelty 
 was inconsistent with the soft and affectionate disposition of the 
 Prince — a criticism showing, we think, a want of acquaintance with 
 peculiar developments of such a character. The entrance of 
 Fortinbras with the soldiers, after the death of Hamlet, now closes 
 the play, and here also the return to the original form is to be 
 commended. From a certain point of view the usual conclusion 
 with the words, ' The rest is silence,' is doubtless impressive, but 
 a larger effect is made upon the imagination by this glimpse of the 
 fighting, practical world. Like a breath of fresh air in a heated 
 room, it braces the nerves, and enables us to see the occurrences 
 of the drama in their true light ; it adds a salient colour to the 
 picture, giving to the whole a broad and comprehensive harmony." 
 
3 2 THE DRA MA TIC LIS T. 
 
 In January 1877 Mr. Bandmann appeared as Hamlet and Othello 
 in Berlin with considerable success. He has since been acting in 
 the provinces, mainly, and is now (1879) in the United States. 
 
 BANDMANN, MRS. {nde PALMER, Millicent), born in Lan- 
 caster, England, was an actress of considerable repute at the 
 Liverpool Theatre Royal, previous to her first appearance on the 
 London stage, which took place November 7, 1864, at the Strand 
 Theatre. She played on that occasion the part of Pauline in a 
 piece entitled ' Delicate Ground.' " The romance and simplicity of 
 Pauline were exquisitely represented by Miss Palmer {Standard, 
 November 9, 1864), who, without an effort, and in a style very 
 different to what the visitors to the Strand Theatre have been 
 accustomed to see, made a deep impression, and appealed to all 
 hearts. The tenderness of the character, too, was exquisitely 
 realised, nor were energy and spirit wanting when required. There 
 is, moreover, infinite grace and elegance in Miss Palmer's motions 
 and attitudes which stamp her in a moment as a veritable queen of 
 comedy ; added to which, her appearance is prepossessing in the 
 highest degree. Need we say that Miss MiUy Palmer is an in- 
 valuable acquisition to the Strand Theatre ? We may go even 
 beyond this, and assert that Miss Palmer is one of the most 
 accomplished actresses whom the London stage has witnessed for 
 many years." She remained a member of the ' Strand ' company 
 until the end of the season 1864-5. During her connection 
 with that theatre she appeared in two pieces by J. P. Wooler, 
 viz. ' The Wilful Ward ' and ' Laurence's Love Suit,' in both of 
 which her acting secured special attention. In the latter play she 
 sustained the part of Eva, the main purpose of this piece, accord- 
 ing to the AthencEum (January 14, 1865), being the provision of an 
 opportunity to Miss Palmer for the display of her pathetic powers. 
 " The same lively sensible girl to whom humour seemed as natural 
 as the most spontaneous act of her daily life, possesses also a fund 
 of pathos so genuine in character, so unstudied, yet so effective, 
 that it commands voluntaiy sympathy from all classes of spectators. 
 The situation devised for her is of the simplest sort, scarcely suf- 
 ficient for the supply of the most elementary conditions of dramatic 
 structure ; but meagre as it is Miss Palmer charges it with a subtle 
 vitality that acts on all within its reach. . . . Enough has been 
 done to prove that Miss Palmer, with a more carefully drawn 
 character, and in a more elaborately constructed drama, will rise 
 into an estimation with which few will be able to compete." 
 
 In October 1866 Miss Palmer played the leading female rdle in 
 Tom Taylor's drama, ' The White Boy,' then first performed at the 
 Olympic Theatre, and on November 18, 1867, she appeared as 
 Juliet at the Lyceum Theatre and played the part for five weeks 
 with great success. Subsequently, February 17, 1868, Miss Palmer 
 appeared at the same theatre as Doris Guinault in ' Narcisse'; 
 and on October 3 of the same year as Eveline, first performance 
 of ' The Rightful Heir.' Since her marriage with Mr. Bandmann 
 (February 9, 1869) Mrs. Bandmann has appeared in the seversil 
 
 . I I 
 
BARNES, JOHN H. 33 
 
 plays in which her husband has acted a principal part. She 
 accompanied him to the Australian colonies and the United States, 
 and during his lengthened tour performed, among others, the 
 following characters of the Shakespearian drama, viz. Juliet, 
 Beatrice, and Portia j and in addition, Pauline in ' The Lady of 
 Lyons.' Returning to England she appeared at the Queen's Theatre 
 (Long Acre) July 6, 1872. In 1873 (February 10) she commenced 
 an engagement at the Princess's Theatre, and then acted for the 
 first time Lady Macbeth (see an appreciative notice in the Era, 
 March 9, 1873). Since that year Mrs. Bandmann has played 
 several successful " starring " engagements in the provinces, having 
 appeared at various times in the characters already named, and as 
 Ophelia, Rosalind, Desdemona, Mrs. H'aller (' The Stranger '), 
 and Lady Teazle. Her last London engagement was in the play 
 of 'Proof; or, a Celebrated Case,' first- performed at the Adelphi 
 Theatre, Saturday, April. 20, 1878. 
 
 BARNES, JOHN H.,,made his first appearance on any stage 
 November 1871, at the Lyceum Theatre, in a subordinate part in 
 ' The Bells.' After filling minor engagements at the Globe Theatre 
 (December 1871), and at Scarborough, he appeared, September 1872, 
 as Captain Lewis in ' The Lady, of the Lake ' at Drury Lane. 
 Subsequently at the Strand Theatre, during the winter of 1873, he 
 performed with some success the character of Gordon Lockhar't 
 in ' Old Soldiers.' The following summer, while playing at the 
 Globe Theatre, then under the management of Mr. E. Saker, he 
 was engaged by Mr. R. H. Wyndham to take, leading parts at 
 Edinburgh. His successful impersonations of Romeo, Claude 
 Melnotte, lago, and other characters established his position as 
 an actor of ability. At Mr. Byron!s solicitationhe appeared at the 
 opening of the Criterion Theatre in. 1874 as Geoffrey Greville in 'An 
 American Lady.' In September 1874 he was engaged for a tour with 
 Miss Neilson in America, and supported that lady in the well-known 
 plays with which her histrionic fame is identified. During the 
 summer of 1875 Mr. Barnes played leading comedy parts with his 
 own selected company in the principal towns and cities of Canada. 
 Returning to England, he sustained leading characters at the 
 Theatre Royal, Manchester, and in a revival there of 'The School 
 for Scandal ' appeared as Charles Surface. After playing Captain 
 Molyneux in ' The Shaughraun,' he returned to London, appearing 
 in May 1876 at the Princess's Theatre, where he achieved success 
 as Chateau Renaud in a revival of ' The Corsican Brothers.' Since 
 then he has appeared as Sir Leicester Dedlock in ' Jo ' at the Globe 
 Theatre, and in various pieces at the Park, the Gaiety, the Opdra 
 Comique, and the Aquarium (now Imperial) Theatres. During 
 the autumn of 1878 Mr. Barnes acted in the provinces as Captain 
 Julian Beauclerc in ' Diplomacy.' He appeared at the Olympic 
 Theatre in Mr. Frank Harvey's play ' The Mother,' April 14, 1879, 
 and as Henry IV., at a morning performance. May 3, 1879. When 
 Miss Genevieve Ward took the Lyceum at the close of Mr. Irving's 
 season August 1879, Mr. Barnes supported her in ' Lucrezia 
 
 D 
 
3+ THE DRAMA TIC LIST. 
 
 Borgia ' and other plays ; and September 20, in ' The Boarding 
 School,' appeared at the reopening of that theatre under Mr. 
 Irving's management. In ' The Iron Chest,' at the same theatre, 
 Mr. Barnes appeared as Captain Fitzhardinge. 
 
 BARRETT, MRS. WILSON. See Heath, Caroline. 
 
 BARRETT, WILSON, previous to assuming the management 
 of the Court Theatre, had acquired considerable reputation in the 
 provinces as an actor and manager, and is well known as the 
 lessee of the Grand Theatre, Leeds, and Theatre Royal, Hull. He 
 appeared as the advocate Pomerol in ' Fernande ' at the reopening 
 of the Court Theatre under his management, Saturday, September 
 20, 1S79. 
 
 BARRINGTON, RUTLAND (a nomdetM&trej GEORGE RUT- 
 LAND Fleet). Born at Penge, Surrey, January 15, 1853. Made his 
 professional dibut at the Olympic Theatre, London, September i, 
 1874, as Sir George Barclay in ' Clancarty.' At the same theatre 
 during the same month and year he played Lafleur in ' The 
 Two Orphans' (' Les Deux Orphelines' of M. d'Ennery), by John 
 Oxenford. In connection with "readings" given in 1875 ^t the 
 Egyptian Hall by Miss Emily Faithfull, Mr. Barrington played in 
 a comedietta (adapted from the French by Miss Ella Dietz) 
 entitled 'Lessons in Hannony.' Afterwards he joined the late 
 Mrs. Howard Paul in her " Entertainment," traveUing through the 
 provinces 1875-7. At the Op^ra Comique, November 17, 1877, 
 first performance of Gilbert and Sullivan's comic opera ' The 
 Sorcerer,' Mr. Barrington played Dr. Daly, the Vicar ; and on 
 Saturday, May 25, 1878, first performance at the same theatre of 
 ' H.M.S. Pinafore,' comic opera (Gilbert and Sullivan), lie played 
 Captain Corcoran, a part which he has sustained during the very 
 successful " run " of the piece. 
 
 BARRY, HELEN (Mrs. Alexander Rolls), was born in 
 Kent, and entered the dramatic profession in August 1872, appearing 
 at Covent Garden Theatre as the Princess Fortinbrasse in " a new 
 fantastic musical drama" by Boucicault and Planchd, entitled 
 ' Babil and Bijou.' In 1872-3 at the Court Theatre she personated 
 a leading character in Gilbert'splay entitled 'The Happy Land'; and 
 in the latter year was engaged by Mr. Tom Taylor to play Margaret 
 Hayes in his drama of ' Arkwright's Wife ' on its first production at 
 the Leeds Theatre Royal. Subsequently, October 1873, Miss Barry 
 sustained the same character at the Globe Theatre in London, 
 " expressing the tenderer emotions with good effect, and her even 
 passages being delivered with judgment " {Times, October 8, 1873). 
 In December of the year following Miss Barry was engaged by the 
 late Andrew Halliday to personate Edith Donibey in his play of 
 ' Heart's Dehght,' adapted from Charles Dickens's ' Dombey and 
 Son,' and proved herself an efficient representative of the character. 
 She was specially engaged by Mr. Boucicault to play Armande in 
 his play of ' Led Astray ' on its production at the Gaiety Theatre 
 
BARRY, SHIEL. 35 
 
 July I, 1874. following wliich she went on a " starring " tour in the 
 provinces. Returning to London, Miss Helen Barry was engaged 
 to play the leading part in ' Round the World in 80 days ' (' Le 
 Tour du Monde en 80 joui-s'; MM. d'Ennery and Verne) at the 
 Princess's Theatre. Subsequently, in June 1875, at the same theatre 
 she sustained the leading rile in Mortimer's unsuccessful play 
 entitled ' Heartsease,' afterwards performing the part of Za<^ Clan- 
 carty at the Queen's Theatre with considerable success. In 1876 
 she appeared in London at the Haymarket in the title rdle in the 
 Enghsh version of ' L'Etrang^r*,' and afterwards at the Standard 
 Theatre as Donna Carmen in Hugh Marston's ^ True Till Death,' 
 an adaptation from the French. Among important principal parts 
 sustained with success by Miss Helen Barry the following may be 
 selected for mention, viz. Lady Macbeth (at the Theatre Royal, 
 Edinburgh), Lady Teazle (at the same theatre), Lady Gay Spanker 
 (at Plymouth and Brighton Theatres, &c.), and Mrs. Sutherland in 
 Cheltnam's comedy 'A Lesson in Love' (at Aberdeen), September23, 
 1878, she began an engagement at the Olympic, playing Countess 
 de Liniire in a revival of ' The Two Orphans.' Miss Helen Barry 
 is married to Major Alexander RoHs, formerly of the 4th Dragoon 
 Guards, J.P. and D.L, for Monmouthshire. 
 
 BARRY, SHIEL, was born in Kildare County, Ireland, and 
 first ap{)eared on the stage in 1859, in the Australian colonies, as 
 Dr. O' Toole in ' The Irish Tutor.' Mr. Barry remained in AustraUa 
 for some years. Returning to England he played several engage- 
 ments, principally in Irish comedy, in the provinces, and made 
 his first appearance on the metropolitan stage September 7, 1870, 
 at the Princess's Theatre, as the Doctor in Boucicatflt's drama 
 entitled ' Th« Rapparee.' Mr. Shiel Barry first attracted notice in 
 London as an exponent of Irish character, his principal successes 
 being in Boticicault's plays. He has appeared at the Gaiety 
 Theatre, London, in support of that actor in ' Arrah-na-Pogue ' 
 and ' The Colleen Bawn ' ; and with hiin has performed at the 
 principal theatres in the United States (includiMg Booth's at New 
 York) and in Canada. After various fortune Mr. Barry went to 
 Demerara in British Guiana and visited the principal West Indian 
 Islands. Returning by way of New York, he was engaged by Mr. 
 Boucicatilt to act in England in ' The Shaughraun.' In the latter 
 drama Mr. Shiel Barry appeared on the occasion of its first per- 
 formance in London at Drury Lane Theatre, Saturday, September 4, 
 1875, as Harvey Duff, a police spy. He met with his greatest 
 success on the metropolitan stage in February 1878, at the Folly 
 Theatre, when he acted the part of Gaspard, first performance of 
 Messrs. H. B. Farnie's and R. Reece's English adaptation of M. 
 Planquette's op^ra comique, ' Les Cloches de Corneville.' The piece 
 proved most attractive. On Saturday, August 31 of the same 
 year, it was transferred to the stage of the Globe Theatre, the 
 services of Mr. Shiel Barry being still retained for the principal 
 character. " So exceptionally encouraging Avas the reception which 
 awaited it in its new abode, that it would seem in a fair way to 
 
 D 2 
 
36 THE DRAMATIC LIST. 
 
 rival in popularity the original version, which has already achieved 
 in Paris a success as remarkable in its way as that of ' Our Boys ' 
 itself, when it is borne in mind that long ' runs ' are comparatively 
 rare upon the French stage. More than one cause may be said to 
 have contributed to this satisfactory result. The distinctness of 
 its incidental melodies, the real dramatic interest centred in the 
 character of the old miser Gaspard, and the scope afforded to 
 the scenic artist and his ally the costumier, all served to attract 
 attention to M. Planquette's work. . . . Few who have once heard 
 it will forget the guttural laugh of Mr. Shiel Barry in his powerful 
 delineation of the miser — a performance which belongs to the very 
 highest order of eccentric comedy." {Daily News, September 3, 
 1878.) In the summer season of 1879 this piece was still being 
 performed at the Globe Theatre, Mr. Shiel Barrj' in his "' original" 
 character. 
 
 BATEMAN, ISABELLA, third daughter of the late H. L. 
 Bateman, formerly of New York, and subsequently lessee of the 
 Lyceum Theatre, London. As a child, on the 22nd December, 
 1865, she appeared at Her Majesty's Theatre, in a piece entitled 
 ' Little Daisy,' in the character of Diggory Dawdlegrace, her sister, 
 Miss Virginia Bateman [Francis], playing the part of Little Daisy. 
 Miss Isabella Bateman made her professional d^but at the Lyceum 
 Theatre on Monday, September 11, 1871, as the heroine in 'Fan- 
 chette ; or, the Will o' the Wisp,' an adaptation of the German 
 'Die Grille.' In the opinion of the Athenmum (September 16, 1871), a 
 character less suited to a young actress whose talents are not of the 
 highest order could not readily have been found. " Miss Isabella 
 Bateman has stage aptitudes. Her first appearance should have 
 been made, however, in a part far less exacting. A face which can 
 be charged with fine sorrow, movements cultivated almost too 
 carefully, youth, brightness, and intelligence constitute her gifts. 
 Against these must be opposed a certain hardness, such as her 
 sister never conquered, and an unsympathetic voice. In the per- 
 formance of Fanchette, the later scenes, wherein the mischievous 
 nature of the child was overcome, were decidedly the best. The 
 early scenes were decidedly wanting in girlishness, ease, and 
 spontaneity." 
 
 On Saturday, September 28, 1872, Miss Isabella Bateman played 
 the part of Queen Henrietta Maria, first performance at the 
 Lyceum Theatre of Mr. W. G. Wills's historical drama ' Charles I.,' 
 with real ability, and carried all the sympathy of the audience 
 with her. Her entry with the cavaliers at the close of the second 
 act was accompanied with admirable fire of voice and gesture, 
 and in the pathetic scenes her emotion was never out of place. 
 The prettiness of her French- Enghsh constituted one of the 
 charms of this impersonation {Daily News, October i, 1872). In 
 October 1874, in a revival of 'Hamlet' at the same theatre, she 
 performed, during the unprecedented run of that tragedy, with Mr. 
 H. Irving in the principal character, the part of Ophelia; and in 
 February 1876, in a revival of 'Othello,' the character of Desde- 
 mona. In June of the same year, on the occasion of s revival nf 
 
BATE MAN, KATE JOSEPHINE. 37 
 
 ' The Belle's Stratagem,' she perfornaed the part of Letitia Hardy; 
 and in June 1878 that of Thekla, first performance of ' Vander- 
 decken ' (Messrs. Fitzgerald and W, G. Wills), founded upon ' Der 
 Fliegende Hollander.' 
 
 BATEMAN, KATE JOSEPHINE (Mrs. CrOWE), eldest 
 daughter of the late H. L. Bateman, formerly of New York, and 
 subsequently lessee of the Lyceum Theatre, London, was born in 
 Baltimore, October 7, 1842. She first appeared on the London 
 boards as one of the so-called "Bateman Children," at the St. 
 James's Theatre in 185 1, under the auspices of Mr. P. T. Barnum. 
 During that engagement Miss Bateman played in 'The Young 
 Couple' (a comic French piece written for the child L^ontine Fay, 
 by M. Scribe) ; and also in selected scenes from Shakespeare's 
 ' Richard III.' in conjunction with her sister, Miss Ellen Bateman, 
 the characters enacted being Richard HI. and Richmond. Miss 
 Bateman's first appearance on the stage proper in London was 
 made Thursday, October i, 1863, at the Adelphi Theatre, as Leah, 
 in the tragedy of that name, an adaptation of Mosenthal's ' Deborah,' 
 of which Madame Ristori was the original heroine. In this cha- 
 racter Miss Bateman suppoKted by her own exertions a drama 
 which, left entirely to its unassisted merits, might weary many and 
 offend a chosen few. " Her speech," said the Saturday Review 
 (October 10, 1863) in a criticism <5f the performance, "is not alto- 
 gether free from the Transatlantic accent, and the delivery of her 
 more quiet speeches, clearly as they are articulated, is not without 
 an appearance of studied formality. But her power ofgjgJidon- 
 ment to the influence of a st rong passion is very greatTaScThaving" 
 "ffist'niade aS" im^ess ion.^a-b£tLaij2^,pe Ipy hej;_picturesque aspect," 
 she nvets tneir attention when they least expect it by theintensity 
 " wilh"which she expresses her" emotions. . Her poses, evidently the 
 fHsuTf of^aTsbiiiewhat severe' study, are extremely striking ; and the 
 peculiar costume which heightens their effect shows that the idea 
 of forming part of an effective tableau has been uppermost in the 
 young artist's mind. ' Leah ' is not the ' tendency-drama ' that 
 ' Deborah ' was when it issued fresh from the hands of Mosenthal, 
 whose dialogue almost looks like a consommd of the Old Testament. 
 On the contrary, the Judaical tone is softened, and a few practical 
 expedients bring the work to a more melodramatic level than 
 originally belonged to it. But still, for acting purposes, the im- 
 passioned, wronged, vindictive, and penitent Jewess remains showy 
 and effective as ever. Miss Bateman hurls down the great solemn 
 curse with aplomb, and everybody shrinks. She reappears in 
 enfeebled condition and murmurs forth forgiveness, whereupon 
 everybody weeps. The means to the end are broad rather than 
 subtle, but they are forcibly and skilfully employed, and when the 
 curtain falls the actress has fairly subjected her audience." 
 
 The play was a great success. Miss Bateman's first engagement 
 at the Adelphi terminated Saturday, June 11, 1864. On Monday, 
 January 30, 1865, at the same theatre, she played the part of Julia 
 in 'The Hunchback.' "We (Daily Telegraph, Yehrnsry i, 1865) 
 regard Miss Bateman's performance of Julia as falling short of 
 
38 THE DRAMA TIC LIST. 
 
 that high standard by which it is apparently the lady's laudable 
 ambition to be judged. A fine figure and a command of statuesque 
 attitudes will do much to enchain the attention of the eye ; but the 
 heart requires to be warmed by that glow of sympathy which is 
 only felt when a strong belief is impressed in the reahty of the 
 emotions so completely simulated. Miss Bateman is certainly not 
 to be charged with a slavish adherence to what is called theatrical 
 tradition, and rather too frequently gives a bold renderiiig of 
 passages in a manner which is entirely her own ; but taken in its 
 entirety the performance lacked that individuality which endows 
 with a fresh interest a familiar part. In the mechanism of acting 
 Miss Bateman is thoroughly proficient, and the tone with which a 
 word is spoken, or the gesture by which it is accompanied, appear 
 to have been adopted only after much consideration. The study 
 by which certain results are sought to be obtained is, indeed, too 
 evident. The natural impulse of the moment is not suggested by 
 measured cadences and obviously premeditated movements of the 
 hands and arms. The perfection of art lies in the fidelity with 
 which nature is presented ; and it is precisely this point of her pro- 
 fession which the actress has yet to pass. For this reason the first 
 act of the play, where Julia is shown as a guileless girl, happy in 
 her rustic retirement, and content with the simple pleasures of a 
 country life, was that which was least effective. When town is 
 reached, and the giddy maiden, yielding to the frivolities of fashion, 
 estranges her affianced lover. Miss Bateman portrayed the influences 
 of an artificial life much more accurately. The interview with 
 Clifford, where he first appears as the secretary, and which forms 
 the crucial test of the actress who plays Julia, was characterized 
 by a force of expression which secured the first really deserved 
 recognition of an imparted sensation. In depicting the struggle 
 between love and pride Miss Bateman somewhat elaborately 
 marked the transitions ; but her energy in the deHvery of the fine 
 speeches which are allotted to Julia in this scene carried the 
 audience with her, and caused the fall of the act-drop to be 
 followed by a vigorous recall. The last scene, in which the im- 
 passioned appeal is made to Master Walter to release her from the 
 engagement to the Earl of Rochdale, was mai-ked by more power 
 than delicacy of treatment; but the crowded audience, strongly 
 predisposed in her favour, accepted every outburst of feeling as an 
 indication of fresh evidence of ability, and as the curtain descended, 
 strewed the stage with bouquets amidst vehement applause. That 
 Miss Bateman's Julia will prove as attractive as Leah, her most 
 sanguine admirers would hardly dare to anticipate. It is a per- 
 formance that illustrates the talents of a lady who has assiduously 
 cultivated the means at her disposal, but it cannot be described as 
 an embodiment which will give the town a new topic for conver- 
 sation. The other parts in the play were not sustained in a manner 
 likely to overshadow the heroine by their superior excellence." 
 
 The following appears in Journal of a London Playgoer, by 
 Henry Morley, Professor of English Literature in University 
 College, London, pp. 362-5 : — 
 
BATSMAN, KATE JOSEPHINE. 39 
 
 "March 18, 1865.— Having now seen Miss Bateman in two 
 characters, one may estimate the measure of her ability. Her acting 
 as Julia in ' The Hunchbaclc ' too exactly repeats the impression 
 made by her Leah. In Leah it was only for a strain of pathos in 
 the last act, and for a few touching notes of the voice there, that 
 she was to be credited with a power of pathetic expression that 
 came of her own genius, and not of mere stage drilling. But in 
 other respects I find Miss Bateman as monotonous in the part of 
 Julia as she was in the part of Leah, showing no original ability 
 of any sort save when she has to give pathetic expression to her 
 voice, and there, and there only, again succe^ing. She says 
 marvellously well the words of distress, ' Clifford, why don't you 
 speak to me?' but acts lifelessly in the first scenes of country 
 simplicity, and almost lumpishly, certainly without a trace of real 
 vivacity, in the succeeding scenes of town gaiety, standing almost 
 unexpressive while Clifford is cruelly wounding her pride, and put- 
 ting only the monotone of her pathos into the few words she utters. 
 . . . Now that I have seen her in two plays, I do not hesitate to 
 rank Miss Bateman among the clever actresses whose special 
 excellence is bounded within limits so narrow that although, once 
 carefully and exclusi-^ely presented, it may win for a short time a 
 deserved sufccess, it does not enable them permanently to hold their 
 own among performers of the highest class." 
 
 In the same year, 1865, on Monday, May 8, Miss Bateman 
 appeared as Bianca in a revival of Milman's tragedy of ' Fazio,' 
 at the Adelphi Theatre. At Her Majesty's Theatre, on December 
 22, 1865, advertised as " her last appearance prior to her departure 
 for America and retirement from the stage," she sustained the 
 character of Juliet for the first time in London. " Farewell 
 benefits, when the actor or actress is an old and well-tried favourite 
 of the public, retiring into private life after a prolonged theatrical 
 career, are generally very melancholy things. . . Farewell benefits, 
 however, when the actress is young, and the retirement is only a 
 prelude to a happy marriage, is a very different ceremony ; and 
 such a benefit was taken last night by Miss Bateman at Her 
 Majesty's Theatre. Miss Bateman came to us a few seasons ago 
 with an Anglo-German play, called ' Leah,' and made her first bow 
 to an English public (if we except her juvenile performances in 
 England) at the Adelphi Theatre. The pastoral simplicity and 
 emotional power of the play secured its popularity with mixed 
 audiences, not only at the Adelphi, but throughout the country, and 
 'the fortunate actress gained a firm footing on the English stage, 
 partly by her own merits, and partly by the merits of the drama. 
 The unfortunate Jewish heroine became the talk of the town and the 
 idol of the picture-shops. Miss Bateman performed other charac- 
 ters with more or less success ; but the statuesque grace which 
 probably helped to make ' Leah ' popular was hardly so effective in 
 ' Fazio ' or ' The Hunchback.' The character chosen last night by 
 Miss Bateman for her final appearance in England was Juliet. 
 ... A performance of this nature is beyond the pale of criticism ; 
 it would be useless to praise it arid ungracious to condenjn it. The 
 
40 THE DRAMATIC LIST. 
 
 house was crowded and friendly ; every entry and every point was 
 loudly applauded ; and the balcony and potion scenes were received 
 with the loudest applause. Her powerful passages were the most 
 effective. ... It is a singular fact connected with Miss Bateman's 
 former representation of this character in America that her Romeo 
 was Wilkes Booth, the assassin of President Lincoln." {Daily News, 
 December 23, 1865.) 
 
 "Those acquainted with the previous performances of Miss 
 Bateman would readily surmise in which portion of the tragedy 
 her talent was jnost effectively exhibited. It was not as the 
 impulsive Italiaji_rnaideD--in-the early awakening of her heart to 
 the feelings of an ardent passion that the actress best deserved the 
 applause of her admirers. The girlish 'Juliet which Sh akespeare 
 has presented to the imaginatiOn-is-ra-Fely-reaKred'OTrthe stag£^ 
 The _^balcbriy scene showed rather the statuesque effect of certain 
 attitudes, than the d elicate Jenderness^of the . love-inspired jitS^iT" 
 who there confesses the warmthroJ"Her_affection. _^In the soliloquy 
 ^of'tlie fourth act, when the contents of the phial are drainedJI^Wst^ 
 the shuddering^ anticipation of the horrors of the charnel-house,_th£^ 
 ""acffess'was much more successful ; and in portraying the excite- 
 j ment of frenzy arrd the desolation of despair Miss BatehianJairly^ _ 
 
 justi hedrth e'WarmtfanDf^ the applause received. The last s£eae_was 
 very carelulljTactedJ arid when the curtain fell on the form ai-^uliei~ 
 prostrate over 'the body of her lover, the audience would not be 
 appeased until both were resuscitated, and the Juliet was bronght 
 smiling by Romeo before the curtain to receive the usual compU- 
 ment in a more than ordinary emphatic form." {Daily Telegraph, 
 December 23, 1865.) 
 
 On Monday, October 19, 1868, Miss Bateman reappeared as 
 Leah, in a revival of that play at the Haymarket Theatre, and on 
 December 7 of the same year, at the same theatre, she sustained 
 the character of Pietra, in an adaptation of Dr. Mosenthal's tragedy 
 of that name. At the Haymarket Theatre, June 21, 1869, on the 
 occasion of the first performance of Tom Taylor's play ' Mary 
 Warner,' Miss Bateman played '.the heroine, Mary Warner, on the 
 whole the most finished performance with which she had as yet 
 favoured the public. " She does not capture her audience with a 
 start, as when she rushes across the Styrian bridge to then fall into 
 an attitude singularly picturesque ; but in the dress of very humble 
 life she has to begin with the quiet delineation of a very pattern 
 wife and mother, and then gradually to render a person whose 
 highest virtue appears to be frugality, an object of the most intense 
 interest. The scene in the prison, when in a subdued tone She 
 almost implores her husband to cheer her with a kind word, is 
 singularly beautiful, through the depth of sorrow expressed, and 
 the perfect nature of the expression ; and throughout the piece the 
 manner is homogeneous. The indignation felt by Ma7y at George's 
 supposed contumely is mild in its intensity, and a resignation 
 quahfies the almost despair with which she sits down to die at the 
 door of her residence. The scene with the child is given with all 
 the tenderness which distinguished Leah's interview with the child 
 
BATEMAN, VIRGINIA FRANCES. 41 
 
 of her rival, and with those additional touches that the change in 
 the situation requires." {Times, June 24, 1869.) In the autumn of 
 1869 Miss Bateman appeared at Booth's Theatre, New York, as 
 Leah, and in the following May (1870) reappeared on the London 
 boards at the Olympic Theatre as Mary Warner. In May 1872 she 
 again appeared in London in her favourite character of Leah at the 
 Lyceum Theatre, and in July 1872 she played there the part oi Medea, 
 in an adaptation of the ' Medea in Corinth,' by Mr. W.'G. Wills. 
 
 The Examiner (July 13, 1872) considered that in this impersona- 
 tion Miss Bateman greatly surpassed all her previous successes. 
 In one or two scenes she was perhaps rather too violent ; but the 
 part was admirably suited to her powers, and her acting of nearly 
 all of it was admirable. " ' Medea in Corinth ' ought to last her as 
 long as ' Leah ' has done ; and when she ceases to play in it, it 
 deserves to maintain a lasting place among the best productions of 
 modern English dramatists." The Saturday Review of the same 
 date, however, entertalined a different opinion of the actress's per- 
 formance of Medea. 
 
 In October 1873, in a new drama by Mr. Dubourg, entitled ' Bitter 
 Fruit,' first performed at the Alexandra Theatre, Liverpool, Miss 
 Bateman played the leading female rSlej and in September 1875, 
 in a revival of Shakespeare's tragedy of ' Macbeth ' at the Lyceum 
 Theatre (Mr. H. Irving as Macbeth), she played the part of Lady 
 Macbeth. 
 
 In February 1876, at the same theatre, she acted the part of 
 Emilia (' Othello ') ; and in April of the same year, first perform- 
 ance at the Lyceum Theatre of ' Queen Ma:ry' (Tennyson), Miss 
 Bateman sustained the title rdle. " The nature of Mary is a hard 
 and unlovely one, albeit weak as water before the shghtest breath 
 of Philip, and she is unable, as we see her on the stage, to create 
 sufficient interest for her own sake to compensate for the want of 
 other interest. This character is represented by Mrs. Crowe, who 
 struggles hard with a hard task, and with far more success than we 
 confess we should have thought possible. Despite a certain con- 
 ventionality of voice and action, which would seem to be rather the 
 property of the Lyceum company, her acting must on the whole be 
 commended. In the fifth act especially is she to be praised, not 
 because she is seen here at her best — in the first act we were most 
 pleased with her — but because she does not altogether fail in one of 
 the most difficult tasks which, perhaps, were ever set to any actress. 
 Nearly the whole of this act is occupied with Mary's death, and 
 that Mrs. Crowe was enabled to command the patience of her 
 audience in such circumstances speaks, as we conceive, very highly 
 for her powers. . . ." {Times, April 20, 1876.) In January 1877, 
 in a revival of ' Fazio ' (Milman), at the same theatre, she played 
 . Bianca. On Thursday, October 9, 1879, Miss Bateman played 
 Helen Macgregor {' Rob Roy ') on the occasion of the opening of 
 New Sadler's Wells. 
 
 BATEMAN, VIRGINIA FRANCES. See FRANCIS, VIR- 
 GINIA. 
 
42 THE DRAMA TIC LIST. 
 
 BEAUMONT, ALLEN,hasfor the last six years been a member 
 of the Lyceum company, where he has, under Mrs. Bateman axid 
 Mr. Irving's management, appeared in various parts, among which 
 may be mentioned the King in 'RicheUeu'; First Player in 
 'Hamlet'; Comines in 'Louis XI.'; and Didier in 'The Lyons 
 Mail' 
 
 BELFORD, W^ILLIAM ROWLES, was born at Easton, near 
 Bristol. He made his first professional appearance on the stage at 
 the Adelphi Theatre, Glasgow, in 1847, as Sir Thomas CUjfford in 
 ' The Hunchback,' having, in the previous year, already acted (as 
 an amateur), at Pym's private theatre in Gray's Inn Road, the 
 character of Gratiano (' Merchant of Venice '). Mr. Belford was a 
 member of the late Mr. Samuel Phelps's company at Sadler's 
 Wells for twelve years, and performed during that period in no less 
 than thirty-two of Shakespeare's plays, besides several of the older 
 comedies presented on its stage. In the year 1855, at the Maryle- 
 bone Theatre, Mr. Belford acted Romeo to the Juhet of Miss 
 Cushman, and in 1856 went on a provincial tour with the late 
 Charles Mathews. At the Strand Theatre in 1856 and 1858 Mr. 
 Belford appeared in the following plays, namely, ' Hard Times ' (as 
 Harthouse), ' Nothing Venture, Nothing Win ' {Duke de Vendome), 
 ' The Country Squire' {Horace Selwood), ' Court Favour' {David 
 Brown). In the following year he went on tour with Mr. Phelps, 
 and acted with him in Berlin, Leipsic, and Hamburg. In i860, at 
 the St. James's Theatre, he performed with much success the part 
 of Harry Sparkly in ' A Friend in Need,' and, during the same 
 year, various parts in Shakespearian and other revivals, for which 
 the public were iiidebted to Mr. Charles Kean. In the course of 
 thirty years' connection with the metropolitan stage Mr. Belford 
 has played many " original " parts in plays of more or less im- 
 portance, and has fulfilled engagements at nearly every leading 
 theatre. He was well known at the Strand Theatre some sixteen 
 years ago as a painstaking and efficient actor in such pieces as 
 ' My Preserver,' ' Kind to a Fault ' {Frank Goldsworthy), ' Miriam's 
 Crime' {Scumley), 'One Tree Hill' {Tom Bubble), &c., &c. On 
 the occasion of the opening of the Court Theatre under Miss 
 Litton's management, January 25, 1871, Mr. Belford " created" the 
 leading role in W. S. Gilbert's comedy ' Randall's Thumb,' and 
 at the same theatre sustained the character of Orlick in the dramatic 
 version of ' Great Expectations.' More recently Mr. Belford was 
 engaged by the late Mr. Charles Calvert, and acted the character of 
 Henry the Eighth at several provincial theatres. 
 
 BELL, PERCY, born at Peterborough, January 4, 1848, and 
 entered- the dramatic profession in 1869, first appearing on the 
 stage at the Theatre Royal, Exeter. After fulfilling various en- 
 gagements in the provinces (Leeds, Belfast, Scarborough, &c.), in 
 1875 Mr. Bell was engaged at the Royal Edinburgh Theatre, 
 and appeared there as Captain Thornton in a revival of ' Rob 
 Roy,' and as Dick Evergreen in Charles Mathews's comedy ' My 
 
BELLEW, HAROLD KYRLE. 43 
 
 Awful Dad.' For his judicious performance of this part Mr. Bell 
 was recommended by Mr. Mathews to the management of the 
 Gaiety Theatre, London. He made his first appearance on the 
 London stage at that theatre, April 17, 1876, in the above-named 
 piece, with the late Mr. Charles Mathews in the principal character, 
 and was very favourably received. 
 
 After playing the part for a "run" of nearly 100 nights he 
 was engaged by Mr. F. B. Chatterton for the season 1876-7, at 
 Drury Lane Theatre, performing important parts in 'Richard III.,' 
 'Macbeth,' &c., with Barry Sullivan. In September 1877 Mr. 
 Bell again played the part of Dick Evergreen on tour with the late 
 Mr. Charles Mathews, during which tour Mr. Bell acted as stage- 
 manager. In April 1878 he was engaged at the Queen's Theatre, 
 London, appearing as Chevalier de Favre in 'Madeleine Morel'; 
 and on February 10, 1879, joined the. company of the Duke's 
 Theatre, Holborn, to play in ' The New Babylon.' 
 
 BELLEW, HAROLD KYRLE, younger son of the late J. C. M. 
 Bellew, the well-known pubhc reader of dramatic and lyrical pieces. 
 Mr. H. K. Bellew passed part of his early life in the Mercantile 
 Marine; and, subsequently, in 1871, at Melbourne, he appeared 
 before the public as reader of a lecture written by Dr. Russell 
 {Times correspondent) on the events of tlie Franco-Prussian War. 
 In the following year he joined a company of strollers and played 
 at the Northern Diggings in New South Wales and Queensland. 
 Mr. Bellew first appeared on the stage in England in August 1875, 
 at Brighton Theatre, performing the part of Woodstock in ' Clan- 
 carty,' and made his dibut in London at the Haymarket Theatre, 
 where he was subsequently engaged for a period of three years. 
 In 1876, on February 5, he acted there the part oi Lord Percy, first 
 performance of Tom Taylor's drama ' Anne Boleyn,' and was after- 
 wards in the original cast of Mr. Gilbert's comedy 'Engaged,' 
 produced at the same theatre. During the engagement there of 
 Miss Neilson in 1878 Mr. Bellew appeared as Claudia (' Measure 
 for Measure'), and as Beauseant (' Lady of Lyons'). In January 
 1879 he joined Mr. Irving's company at the Lyceum Theatre, 
 "opening" as Osric in the very successful revival of 'Hamlet.' 
 Mr. Bellew is now (October 1879) ^ member of Miss Litton's 
 company at the Imperial Theatre. 
 
 BENTLEY, WALTER (a nom de thddtre), fourth son of the 
 Reverend Dr. Begg, of Edinburgh, was born in that city, and 
 entered the dramatic profession at Dunedin, New Zealand, in 1870, 
 making his first appearance as Potter in Tom Taylor's comedy 
 ' Still Waters Run Deep.' Subsequently he played at several 
 colonial theatres all classes of parts, and for a season was lessee of 
 the Prince of Wales's Theatre, Auckland, New Zealand. Arriving 
 in England in October 1874, in that month Mr. Bentley first 
 appeared before a London audience, at the Royal Court Theatre, 
 in the character of Stephen Tickle in Herman Merivale's ' Pea- 
 cock's Holiday.' On February 22nd, 1875, he appeared at the 
 
44 THE DRAMATIC LIST. 
 
 Princess's Theatre, Edinburgh, as Alfred Evelyn in 'Money,' 
 sustaining also, during this and ensuing engagements in other 
 Scotch towns, the following characters, viz., Hamlet, Macbeth, 
 Richard III., Othello, lago. Shy lock, Claude Melnotte, Richelieu, 
 John Mildmay, &c. Mr. Bentley's first important London engage- 
 ment was at the Lyceum Theatre, under Mrs. Bateman's manage- 
 ment, where he made his dibut as Noailles, the French Am- 
 bassador, in Tennyson's ' Queen Mary.' At the same theatre, 
 subsequently, he sustained various leading parts in the several 
 plays revived and produced during Mr. Irving's engagement, 
 notably, Laertes in 'Hamlet,' Lord Moray in 'Charles I.,' 
 Christian in 'The Bells,' Clarence in 'Richard IIL,' and Tristan 
 LErmite in ' Louis XL' 
 
 BERNARD-BEERE, MRS., daughter of Mr. Wilby White- 
 head, of Norfolk, and widow of Captain E. C. Dering, a son of Sir 
 Edward Dering, Bart., was a pupil of Mr, Herman Vezin. She 
 first appeared on the stage at the Op&a Comique when Mr. 
 Kingston was manager of that theatre. After her marriage she 
 left the stage for a time, but returning to it gave a very successful 
 impersonation of Julia in ' The Rivals' at the St. James's Theatre, 
 then under the management of Mr. Hayes. At this theatre Mrs. 
 Bernard-Beere played Lady Sneerwell, Grace Harkaway, and 
 Emilia with much success. Afterwards she appeared at the 
 Royalty Theatre, when Miss Fowler was manager, as Lady Man- 
 tonville in ' Scandal,' and at the Crystal Palace as Constance in 
 ' The Love Chase.' In the autumn of 1878 she made a tour of the 
 provinces with Mrs. Chippendale's company, and played leading 
 parts. Her principal appearances in London since have been, 
 as Constance in ' The Love Chase '- at a morning performance, 
 January 25, 1879, at the Olympic; as Lisa in W. S. Gilbert's 
 ' Gretchen,' March 24, at the same theatre ; as Lady Teazle and 
 Lydia Languish at the Hay market ; and at a matinee at the 
 Criterion Theatre, May 24, when she took the leading part in a 
 comedy called ' Campaigning.' 
 
 BEVERIDGE, JAMES, was born in Dubhn, October 28, 1844, 
 and first appeared on any stage August 31, 1861, at the Theatre 
 Royal, Oldham. Having studied the various lines of an actor's 
 profession at the Theatres Royal, Newcastle-on-Tyne, Glasgow, 
 Plymouth, Belfast, &c., he made his dibtit in London, October 3, 
 1869, at the Adelphi Theatre, as Lord Alfred Colebrooke, in a 
 drama written in collaboration by Messrs. Boucicault and Byron, 
 entitled ' Lost at Sea.' At the same theatre Mr. Beveridge played 
 various parts, original and otherwise, during the season 1869-70, 
 and in the summer of the latter year went on tour with Mr. H. 
 J. Byron ; and afterwards, owing to the death, in a railway acci- 
 dent, of Mr. Frederick Younge, filled the place of that gentleman 
 in Mr. Richard Younge's company of comedians. This engage- 
 ment continued for three years, during which time Mr. Beveridge 
 sustained various leading characters in the comedies of Mr. T. W. 
 
BILLINGTON, JOHN. 45 
 
 Robertson in all the principal towns in the kingdom. In May 
 1873, 3.t the Charing Cross Theatre, he was the original Claude 
 Ripley, in a comedy of H. J. Byron's, entitled ' Time's Triumph.' 
 Afterwards he accepted an engagement at the Lyceum Theatre for 
 two years, under the late H. L. Bateman's management. At the 
 end of his engagement at the Lyceum Mr. Beveridge fulfilled 
 various metropolitan and provincial engagements ; at the Queen's 
 Theatre, Manchester, he appeared as Marc Antony in a revival of 
 'Julius Caesar.' In the autumn of 1878 he was engaged as stage- 
 manager for Mr. Vance's company of comedians, and to sustain 
 the character of Beauclerc in ' Diplomacy,' a part which he is still 
 (July 1879) playing in the provinces. 
 
 * BILLINGTON, JOHN, was born in 1830. Having earned in 
 the provinces the reputation of being a painstaking and efficient 
 actor, he made his first appearance on the London stage April 14, 
 1857, at the Adelphi Theatre, in the character of Harry Mowbray, 
 in a play entitled ' Like and Unlike.' From that date down to 
 the year 1868, a period of eleven years, Mr. Billington remained 
 a member of the company of the Adelphi Theatre, under Mr. Ben- 
 jamin Webster's management. He appeared in nearly every play 
 of importance originally performed at that theatre during the 
 term of this long engagement. The following, among the various 
 " original " parts sustained by him, are deserving of record, viz. : 
 Walter, nephew of Michael Cassidy, first performance of ' The 
 Poor Strollers' (Watts PhiUips), on Monday, January 18, 1858; 
 M. Dubois, first performance of ' Ici on Parle Frangais,' on Monday, 
 May 9, 1859 ; Frederick Wardour, first performance of ' The House 
 or the Home' (Tom Taylor), on Monday, May 16, 1859; Beau- 
 mont Fletcher, first performance of ' One Touch of Nature,' &c., on 
 Saturday, August 6, 1859. On Monday, September 10, i860, on the 
 occasion of the first performance in London of ' The Colleen Bawn ' 
 (Boucicault), he sustained the part of Hardress Cregan. In the 
 first performance of ' Magloire, the Prestigiator,' on Monday, April i, 
 1861, he performed the character Count VArcy; and on Monday, 
 November 18, 1 861, in the first performance in London of ' The 
 Octoroon ' (Boucicault), the part of George Peyton. In 1862, on 
 Monday, April 14, first performance of Mr. Boucicault's dramatized 
 version of 'The Cricket on the Hearth,' entitled 'Dot,' Mr. Billington 
 performed the character of Ned Plummer. In March 1863, in a 
 version of ' Aurora Floyd,' dramatized by Mr. Benjamin Webster, 
 junr., he played John Mellish, and realized the character m a style 
 so effective that this eccentric individual became the legitimate 
 hero of the drama. " We use the word ' individual ' purposely ; for 
 the part is by the actor, and, in the intention of the adapter, in- 
 dividualized in the strictest sense of the term ; and the uxorious 
 Yorkshire squire, not only fond but proud of being hen-pecked by 
 a wife who possesses the business habits in which he is deficient, is 
 drawn with a fidelity to nature that does credit to the author and 
 actor" (Athenceum, M.a.rch. 2%, i?>6^.) On Monday, Jan. 30, 1865, 
 in a revival of ' The Hunchback,' at the Adelphi (Miss Bateman 
 
46 THE DRAMATIC LIST. 
 
 as Julia), Mr. Billington played Modus, and in July of the same 
 year, first performance of Walter Gordon's play ' Through Fire 
 and Water,' sustained the part of Kit Coventry. On Thursday, 
 December 26, 1867, first performance at the Adelphi of ' No 
 Thoroughfare' (Charles Dickens and Wilkie Collins), he played 
 Walter Wilding. In 1868 Mr. Billington's long connection with 
 the Adelphi Theatre terminated. Since that date he has princi- 
 pally devoted his time to playing " star " parts in the provinces, and 
 leading rdles in London. On Monday, October 9, 1871, first per- 
 formance at the Olympic Theatre of 'The Woman in White' 
 (Wilkie Collins), Mr. Billington sustained the character of Sir 
 Percival Clyde. On January 31, 1874, a-t the Adelphi Theatre, 
 London, in a drama by Mr. Paul Meritt, entitled ' Rough and 
 Ready,' he played the part of the hero, Mark 'Mttsgrave, with 
 marked excellence. On Monday, July 19, 1875, ^^ entered upon 
 the management of the Globe Theatre for a brief season, and. pro- 
 duced there the last-mentioned play, sustaining the same character, 
 and] also appearing in his original character of Alfred Cosby, in 
 an old comic drama by Mr. Benjamin Webster, entitled ' The Hen 
 and Chickens.' 
 
 * BILLINGTON, ADELINE, wife of the above-named, was 
 for many years connected with the Adelphi Theatre under Mr, 
 Benjamin Webster's management, appearing there in the various 
 plays and revivals of plays produced in the decade 1858-1868. In 
 August 1859 she sustained the part of Cynthia, in a revival of 
 the popular Adelphi drama ' The Flowers of the Forest.' On 
 Monday, September 10, i860, first performance in London of 'The 
 Colleen Bawn,' Mrs. Billington played the character of Mrs. 
 Cregan. On Saturday, March i, 1862, first performance at the 
 Adelphi of ' The Life of an Actress,' by Mr. Boucicault, she played 
 the part of Julia; and in the same year appeared in the same 
 author's dramatized version of ' The Cricket on the Hearth,' entitled 
 'Dot.' In March 1863, in a version of 'Aurora Floyd,' by Mr. 
 Benjamin Webster, junr., she played the part of Mrs. Powell. On 
 Monday, March 8, 1865, revival of Milman's tragedy of ' Fazio,' at 
 the same theatre (Miss Bateman in the character of Bianca), Mrs. 
 Billington sustained the part oi Aldabella " with great force of style, 
 that frequently extorted loud plaudits from the pit." On Monday, 
 September 4, 1865, first appearance of Mr. Joseph Jefferson at the 
 Adelphi Theatre in his famous impersonation of Rip Van Winkle, 
 Mrs. Billington played Gretchen. In 1867, Thursday, December 
 26, first performance of 'No Thoroughfare' (Messrs. Charles Dickens 
 and Wilkie Collins), she performed the character of the Veiled Lady. 
 In 1868 Mrs. Billington and her husband ceased their long con- 
 nection with the Theatre Royal, Adelphi. 
 
 On Saturday, September 9, 1871, first performance at the Queen's 
 Theatre, Long Acre, of Mr. W. G. WiUs's drama of ' Hinko,' Mrs. 
 Bilhngton played the part ai Margaret. In July 1872, production 
 at the Gaiety Theatre of Mr. Boucicault's version of Colman's 
 comedy 'John Bull,' she sustained the character of Mrs. Brul- 
 
BISHOP, KATE, 47 
 
 gruddery. On January 31, 1874, at the Adelphi Theatre, in a 
 drama by Mr. Paul Meritt, entitled ' Rough and Ready,' she played 
 Mrs. Valentine, and the same character, in a revival of that play 
 at the Globe Theatre, Monday, July 19, 1875, during the temporary 
 management of Mr. Billington. Since her retirement from the 
 company of the Adelphi Theatre Mrs. Billington has, with her 
 husband, fulfilled several important provincial engagements. 
 
 * BISHOP, KATE, has been connected with the London stage 
 for some twelve years. Her acting of the part of Alice Barlow in 
 a revival of Mr. Byron's comedy of ' ;£ioo,ooo ' at the Charing Cross 
 Theatre in 1868 received favourable iMtice. In 1869-70 she was 
 a member of the company of Miss M. Oliver at the New Royalty 
 Theatre, and later was engaged at the Holborn Theatre. On the 
 occasion of the opening of the Court Theatre under Miss Litton's 
 management, 25th January, 1871, Miss Bishop sustained the part 
 of Edith Temple, first performance of W. S. Gilbert's comedy 
 ' Randall's Thumb.' She also performed with considerable success 
 in the other plays produced at that theatre during Miss Litton's 
 management — ' Great Expectations,' ' Creatures of Impulse,' &c., 
 &:c. Miss Kate Bishop was in the original cast of ' Our Boys,' 
 produced at the Vaudeville Theatre on January 16, 1875, in the 
 character of Violet Melrose. On the withdrawal of the last-named 
 comedy, after an extraordinary "run" extending over a period 
 of three years. Miss Bishop " created " the part of Mabel Clench 
 in the same author's play 'Our Girls,' first performed at the Vaude- 
 ville, April 19, 1879, and subsequently appeared as Ida in the 
 revival of ' The Two Roses.' 
 
 BISHOP, ROSE. See Egan, ROSE. 
 
 BLANDFORD, PERCY (a nom de thMtri), was favourably 
 known as a concert singer at Brighton and other provincial towns 
 previous to his entering the dramatic professidn. His earliest 
 reputation on the stage was gained as Ralph Rackstraw in 
 'H.M.S. Pinafore' at the Imperial Theatre. He has since ap- 
 peared in the same character at the Olympic with the Comedy- 
 Opera Company's artists. 
 
 BLUNT, ARTHUR CECIL. See Cecil, Arthur. 
 
 BOLEYN, RICHARD SMITH (a nom de ihMtre). Born at 
 Edgbaston, near Birmingham, He served for a time in the Mer- 
 cantile Marine ; but entered the dramatic profession in 1870. Mr. 
 Boleyn has been frequently engaged to play leading parts in the 
 provinces, viz., at the Theatres Royal, Nottingham, Scarborough, 
 and Bradford, and made his first appearance on the London stage 
 October 8, 1872, at the Globe Theatre as Major Treherne in 
 Byron's comedy ' Cyril's Success.' He subsequently fulfilled a 
 short engagement at the same theatre, and afterwards at the St. 
 James's Theatre, with success. Mr. Boleyn has been a member 
 
48 THE DRAMA TIC LIST. 
 
 of the following travelling companies, viz. : the late Mr. H. J. 
 'Montague's, playing Albery's comedies ; Mr. R. Younge s, playmg 
 Byron's comedies ; in Mr. Duck's so-called ' Our Boys company ; 
 and Mr. C. Wyndham's " Crisis " company, of which he was also 
 stage-manager. 
 
 BOLEYN, MRS. R. S. ^^^ BROUGH, FaNNY WHITESIDE. 
 
 BOND, JESSIE. CHARLOTTE. Born, in London. Pre- 
 vious to her appearance on. the stage had attracted favourable 
 notice as a pianiste and contralto singer at various public concerts ; 
 Hope Hall, Liverpool ; St. James's Hall, London ; the Crystal 
 Palace, Sydenham; Free Trade Hall, Manchester, being among 
 places where Miss Bond has sang with success. She made 
 her theatrical d^but May 25, 1878, at the Op^ra Comique, London, 
 in the character of Hel^e, first performance of W. S. Gilbert and A. 
 Sullivan's comic opera, ' H.M.S. Pinafore.' At the same theatre 
 in the season 1878-9 she played Maria (original) in a vaudeville m 
 one act, by Desprez and A. CeUier, entitled ' After All.' 
 
 BOUCICAULT, AGNES {nh ROBERTSON), was an actress of 
 juvenile comedy at the Princess's Theatre, London, during the first 
 period of the management of Mr. Charles Kean. She appeared 
 there during the seasons 185 1-2-3 in 'Our Clerks,' by Mr. Tom 
 Taylor ; in a burlesque by the same author entitled ' Wittikind and 
 his Brothers,' and as Margaret in. a two-act drama by Mr. Bouci- 
 cault, entitled ' The Prima Donna.' " Margaret, a character of 
 quite an opposite temperament, a being of girlish impulse, absorbed 
 in the object of her passion, and innocently blind to every other 
 consideration, was charmingly acted by Miss Robertson, whom we 
 almost look upon as a ddbutante, so slight have been the characters 
 in which she has hitherto appeared. The scene in which she was 
 the invalid, apparently on the limit of the grave, yet trying to' 
 sustain her spirits in the presence of her father, was given with a 
 .truth and delicacy which left nothing to desire." {Times, September 
 20, 1852.) Having previously resided for some years with her 
 husband in the United States, performing in the various plays 
 written by him, and originally produced there, in the year i860 
 Mrs. Boucicault made her reappearance on the London boards. 
 On Monday, September 10, i860, first performance in London- of 
 'The Colleen Bawn' (Boucicault), at the Adelphi Theatre, she 
 played the part of Eily O'Connor, concerning which performance 
 the Daily Telegraph (September ir, i860) remarked as follows: 
 " Mrs. Boucicault is the same graceful, intelligent actress she ever 
 was, and in her embodiment of the charming Irish beauty showed 
 that a Transatlantic experience had not lessened the force of her 
 talents. Nothing could be more simple and artless than her 
 manner as the charming peasant girl, nothing more touching than 
 her unrepining sorrow when she feels that her husband no lono-er 
 loves her." On Monday, November 18, 1861, Mrs. BouciciTult 
 appeared at the same theatre as Zoe, in ' The Octoroon ' (Bouci- 
 
BOUCICAULT, AGNES. 1 4I 
 
 cault), first performance of that play in London, surprising the' 
 pubhc by the force of her dehneation. " Indeed, such a popular 
 person was the Octoroon in her hands that several of the audience 
 were dissatisfied with her unfortunate end, and refused to under- 
 stand why George could not marry his devoted ' Yellow Girl ' in 
 one of the many happy States where Louisiana law does not prevail, 
 especially as the remittances from Liverpool had set him on his 
 legs. To this feeling alone can we ascribe the few sounds of dis- 
 approbation which followed the descent of the curtain last night, 
 and contrasted so strangely with the enthusiastic applause that had 
 accompanied the first four acts." {Times, November 19, 1861.) It 
 is interesting to note that the author, in obedience to a very general 
 request that Zoe should be saved, altered the drama and brought 
 the story to a happy conclusion. The following advertisement 
 appeared in the daily papers in the first week of December i86i : 
 " Mr. Boucicault begs to acknowledge the hourly receipt of many 
 letters entreating that the termination of ' The Octoroon ' should be 
 modified and the slave heroine saved from an unhappy end. He 
 cannot resist the kind feeling expressed throughout this corre- 
 spondence nor refuse compliance with a request so easily granted. 
 A new last act of the drama, composed by the public and edited 
 by the author, will be represented this evening. He trusts th« 
 audience will accept it as a very grateful tribute to their judgment 
 and taste, which he should be the last to dispute." 
 _ 0n Monda y, February,. io..._i.862. .at Xhesame theatre, Mrs. 
 Boucicault piaye5"Th"e leading r6le in ' The Dublin Boy,' a version... 
 "Ty^^rTBoucicault oFV^anderTDurch's-' Le Gamin de Paris.' "The 
 "■^aractfer^fth^reckless" hero— the mischievous but ggod-heartedlj 
 '"^^^^factly suits the mingled dash and delicac):_oi_Mrs. Bouci- ^ 
 J^T^It's sb4e!7' XAthenaunij^'FthxviaxY 15, 1862.) Her assumption 
 ~of the Tnsh patois and the juvenile indifference to consequences "' 
 were admirably realized. But when the occasion calls on the lad's 
 intrinsic qualities and his undoubted courage, mere vivacity is ex- 
 changed for earnestness and determinate purpose, and the excited 
 youth nobly vindicates his sister's honour. On Saturday, March i, 
 1862, first performance at the Adelphi of the ' Life of an Actress' 
 (Boucicault), she played th e part of Violet, Mrs . Boucicault's im^ 
 __gersonation of the heroine being nothing lessthan perfect. " Her 
 ingenuoiis" ndiveid and the sweetness of her voice, when she appears 
 as~the poor "Stfeet" linger, enlist at once all sympathie.s. The 
 increased refinement in Her manner after she has become more, 
 ^"e du c a te d is uiubt deli c ately deliiteated'7~aTrd" although the slight 
 — elegancfc of hei figi n-e-dpEynm~SEenr altogether adapted, to the _ 
 character of ConieiltgT'^Ke' wears the classic costume with truly 
 classic grace. Again, when Violet is falling under the influence of 
 the opiate, Mrs. Boucicault's gentle demeanour robs an unpleasing 
 situation of more than half its repulsiveness." {Daily Telegraph, 
 March 3, 1862.) 
 
 In the same year, at Drury Lane, on September 15, she acted the 
 heroine, Jessie, in a spectacular drama by her husband entitled 
 ' The Relief of Lucknow.' and appeared in the same piece on its 
 
 E 
 
50 THE DRAMATIC LIST. 
 
 production by Mr. Boucicault at the Theatre Royal, Westminster 
 (Astley's), on Monday, December 22, 1862, and on the same occa- 
 sion as Bob Nettles in ' To Parents and Guardians.' On Monday, 
 January 26, 1863, at the same theatre she sustained the part of 
 Jeannie Deans, first performance of Mr. Boucicault's dramatic 
 version of ' The Heart of Midlothian.' " Mrs. Boucicault is charm- 
 ingly graceful and natural as Jeannie D(ans,^' remarked the Times, 
 (January 29, 1863) ; "so perfectly free indeed from all exaggeration 
 and appearance of effort that the arduousness of the character is 
 likely to be overlooked. She is content to let the part speak for 
 itself when she has embodied its full meaning, and simplicity and 
 firmness of purpose are admirably blended. Worthy of especial 
 commendation is her conduct in the witness box, where the 
 expression of intense anguish is checked by native timidity ; but 
 the impersonation is excellent throughout." On Wednesday, 
 March 22, 1865, at the Princess's, first performance in London of 
 Mr. Boucicault's drama ' Arrah-na-Pogue,' she played the part of the 
 heroine, and secured hearty commendation for her acting. At the 
 Lyceum, in September 1866, in a play by her husband entitled 
 ' The Long Strike,' Mrs. Boucicault sustained the character of 
 Jane Learoyd. On Saturday, May 4, 1872 (having returned in 
 the interval to the United States), she reappeared in London at 
 the Gaiety Theatre, in her original part in a play by her husband 
 founded on 'La Joie fait Peur,' entitled 'Night and Morning'; 
 she acted at the same theatre during 1872 in various revivals of 
 Mr. Boucicault's plays. On Saturday, September 4, 1875, first 
 performance in London (at Drury Lane) of 'The Shaughraun,' 
 she played the part of Moya. In 1878, on Monday, June 10, 
 Mrs. Boucicault appeared at the Olympic Theatre in the leading 
 female rdle, in a piece dramatized from one of Crabbe's < Tales of 
 the Hall,' entitled ' Love or Life.' 
 
 BOUCICAULT, DION, youngest Son of the late S. S. Bouci- 
 cault of Dublin, was born in that city, December 20, 1822. He 
 was educated partly in Dublin and partly at the London University, 
 and became connected with the dramatic profession in the year 
 1841, as author of ' London Assurance,' a play in five acts, first per- 
 formed at Covent Garden Theatre on Thursday, March 4, of that 
 year. The piece was presented to the public as the work of " Mr. 
 Lee Morton," and the following were the principal actors in the 
 original cast, namely. Dazzle, Mr. Charles Mathews; Sir Harcourt 
 Courtly, Mr. Farren ; Charles Courtly, Mr. Anderson ; Lady Gay 
 Spanker, Mrs. Nesbitt ; Grace Harkaway, Madame Vestris. The 
 Times (March 5, 1841) thus remarked upon the performance:— 
 "A five-act piece called ' London Assurance ' was produced last 
 night, sustamed by nearly every actor in the company, and each 
 part one which the sustainer would, of his own free will, have 
 chosen. An easy, flippant man about town, pretending to be a 
 relation to everybody on account of a mai-riage between a remote 
 ancestor and ancestress, whom he admits in an 'aside' to have 
 been Adam and Eve, with much cool impudence, and flexibility of 
 
BOUCICAULT, DION. 51 
 
 limb, is Charles Mathews, under the name of Dazzle ; while his 
 friend, a son of Sir Harcourt, Mr. Charles Courtly, a gentleman 
 of more stamina and less nimbleness— a puUer-off of knockers in 
 the first part, and an ardent lover in the latter part of the drama — 
 gives room for the energies of Mr. Anderson. . . . Such a plot 
 might seem but meagre to sustain a piece in five acts, but the 
 author has contrived to make it a vehicle for oddities both of 
 situation and dialogue, and he contrives to keep his audience in a 
 roar from the beginning to the end with very few interruptions. 
 This is his first attempt in the dramatic line, and he shows us great 
 qualification for the art he has chosen — strength, animation, and a 
 full flow of spirits. It is true his work is a five-act farce, whereas it 
 is called a comedy. ... yet with all this, in the use of his strange 
 materials the author has displayed a vivacity, a fearless humour to 
 strike out a path for himself^ an enjoyment of fun, a rapidity in 
 loading his speeches with jokes, a power of keeping up his spirits tp 
 the last, which distinguish this piece from every work of the day. 
 .... Mr. Charles Mathews announced the piece for repetition 
 amid tumultuous applause, which was only interrupted by calls 
 for Mr. Lee Morton, the author, who was led forward eyeing 
 the enthusiastig multitude with considerable nervousness." In 
 February of the following year Mr. Boucicault produced, under his 
 own name at the same theatre, ' The Irish Heiress,' a play which 
 was not a success. On Monday, September 19, 1842, was performed 
 at the Haymarket Theatre, for the first time, ' Alma Mater ; or, ^ 
 Cure for Coquettes,' by Mr. Boucicault. 
 
 "Writing for the stage," said the Athenaum (September 24, 
 1842), " is either easy or difficult according to the way in which thie 
 dramatist sets about it. To the few who desire to represent human 
 life and character in action without violating the consistency of 
 nature it is so difficult that the instances of success may be soon 
 numbered ; to the mass of playwrights who take the shorter method 
 of disregarding truth and originality, and seek their materials, not 
 in the world, but in plays, the task ' is as easy as lying ' ; one turn 
 of the theatrical kaleidoscope, with the addition of a few bits and 
 scraps of modern phantasmagoria, accomplishes the feat. The 
 public are taken with the trick and seem never tired of seeing it 
 performed ; they like the artificial subjects which they have been 
 used to ; nature ' puts them out,' and no wonder since they so 
 seldom get a gUmpse of it on the stage which ' holds as 'twere the 
 mirror up to itself.' This short way to success, Mr. Bourcicault * 
 treads with the ease and confidence of experience. ' London 
 Assurance' was a triumph of the instinct of appropriation, and 
 though his second attempt proved a failure, it was not without 
 merit of the same kind. ' Alma Mater ; or, a Cure for Coquettes,' 
 a less ambitious exploit, has been completely successful, if to elicit 
 applause and laughter from the portion of the audience whose taste 
 was hit, and to be called forward to receive the greetings of 
 
 * Mr. Boucicault used, about this time, to spell his name as it is here 
 printed,, 
 
5 2 THE DRAMA TIC LIST. 
 
 delighted admirers, be success : why should it not, since the piece 
 pleases the public ? and those who live to please must please to 
 live." 
 
 The Times, September 20, 1842, considered that had this piece 
 been one of the highest productions of dramatic genius the success 
 could not have been more distinguished. Yet the play was not 
 first rate, nor even third rate, indeed, the journal quoted could not 
 conceive a more humble effort of a mind accustomed to the busi- 
 ness of the stage than 'Alma Mater.' "The whole artifice has 
 been to keep the stage in a kind of ' row,' to rattle away all sorts of 
 phrases at random, without any regard to the person who has to 
 utter them ; and such is the state of a London audience at present 
 that there can be found persons not only willing to allow them- 
 selves to be carried away for a moment, but even to pay honour to 
 this kind of thing. . . . There is one merit which is not to be 
 denied to the author, namely, an occasional smartness of dialogue. 
 He sometimes utters a rapid series of ' good things ' which produce 
 a legitimate laugh. But the worst of it is these good things seem 
 to be uttered in the course of saying everything that comes upper- 
 most, and there is no doubt that the man who makes up his mind 
 to talk away all day, right or wrong, will be sure to pop out a 
 brilliant speech .... It professes to be a representation of college 
 life .... but it is a representation of no life at all, there is not a 
 
 breath of vitality from beginning to end Wherever we turn 
 
 we meet an old acquaintance, and we are not gratified at the meet- 
 ing, because we distinctly recollect that we have seen him look 
 
 riiuch better somewhere else Mr. F. Vining was a sketchy 
 
 reproduction of Gradus in ' Who's the Dupe ? ' and strange to say 
 
 he was called Gradus here The college supper was but a 
 
 scene out of ' Charles O'M alley,' played at the Olympic, and singur 
 larly hke one in a piece called ' King O'Neill,' played at this house. 
 
 .... Nothing could be such mere patchwork There is, 
 
 however, one feature in the piece which we would remark before we 
 dismiss it altogether, and that is a want of proper feeling, which 
 
 seemed to pervade it It is true that in the most brilliant 
 
 plays of Congreve we are repulsed by an equal want of heart, but 
 an author must have all the wit of Congreve, and be able to raise a 
 gorgeous structure of epigrams, before he can plead his example as 
 an apology. We repeat the audience were delighted ; the author 
 had measured them well, and the manager had done his part 
 
 admirably But let us hope that the author, who (if we 
 
 mistake him not) once gave promise of better things, and who last 
 night displayed much real wit, may turn his talents to some higher 
 purpose than the mere vamping of disjointed, unartistical, and 
 rakish extravaganzas, which though they may be uproariously 
 hallooed at for a week or two, cannot elicit the approbation of a 
 single judicious friend." 
 
 On Monday, October 2, 1843, Mr. Boucicault produced "a 
 romantic and sentimental drama," entitled 'Woman,' at Covent 
 Garden Theatre. This piece was not successful. On Monday, 
 November 18, 1844, he produced at the Haymarket Theatre 'Old 
 
BOUCICAULT, DION. 53 
 
 Heads and Young Hearts.' In a long criticism of this play, the 
 Athenaum, November 23, 1844, pubhshed the following: — "The 
 talent and wit undoubtedly possessed by the author, and his quali- 
 fications in many obvious respects for a successful dramatist, 
 induce us to press upon him the necessity of re-examining the 
 laws of the species of composition in which up to a certain point he 
 has shown himself a skilful student, and by a thorough and de- 
 liberate appreciation of its nobler ends he may in his future efforts 
 secure a degree of merit to which now he makes but distant 
 approximation." 
 
 The Times, November 19, 1844, expressed the opinion that the 
 comedy of ' Old Heads and Young Hearts ' was the most amusing 
 five-act production that had been seen for years, and that it had 
 pleased — honestly pleased — the public to a degree that might defy 
 the exertions of any opposing theorist to dispute its claim to popu- 
 larity. The improvement which Mr. Boucicault had manifested 
 in this piece, as distinguished from those of former times, was 
 immense. He used to be addicted to a sort of random writing 
 that sometimes turned out well, sometimes the reverse. " Of this 
 fault he has entirely cured himself. His piece is carefully written 
 throughout, and he has introduced points in his dialogue which 
 
 are worthy of any author The creation of character, strong 
 
 individual character, totally different from any conventional class, 
 
 is not Mr. Koucicault's greatest forte But he can give 
 
 appropriate and characteristic dialogue to personages of a more 
 familiar description, and make them vigorously assert their posi- 
 tion in his comedy. He loves the stout bustle and equivoque that 
 distinguished the intrigue school of comedies, and that he may 
 work his characters for these purposes he is inclined to colour 
 them, particularly his women, a little coarsely. But how wrong it 
 is to be over severe on this point. How difficult it would be to get 
 reasonable quantity of action within three hours, without some of 
 the characters proceeding with a suddenness which oversteps the 
 modesty of nature No drama could have been more suc- 
 cessful. And we must say the success was fully deserved. The 
 author has produced a work that has nwre elements of popularity 
 than any of equal length that we have seen for a long, long time." 
 
 On Thursday, February 4, 1847, Mr. Dion Boucicault produced 
 at the Haymarket ' A School for Scheming,' regarded, at the time, 
 as one of the author's happiest efforts in dramatic composition. 
 The play, however, was but a partial success. On Tuesday, May 2, 
 1848, he produced, at the same theatre, a comedietta adapted from 
 the French, under the title of ' Confidence ' ; and on Wednesday, 
 November 22, 1848, at the same theatre, ' The Knight of Arva.' In 
 the year 185 1, 'The Broken Vow,' adapted from the French. 
 ' L'Abbaye de Castro,' by Mr. Dion Boucicault, was, in February, 
 performed for the first time at the Olympic ; and in April of the 
 same year he produced at Drury Lane, ' T,he Queen of Spades,' an 
 adaptation of the libretto of ' La Dame de Pique.' 
 
 On Monday, June 14, 1852, Mr. Boucicault made his ddbut on 
 the London boards at the Princess's Theatre, under Mr. Charles 
 
54 tHE DRAMATIC LIST. 
 
 Kean's management, in an after-piece in three acts (or " dramas," 
 as announced in the play-bills), written by himself, entitled ' The 
 Vahipire.' The piece proved fairly attractive, but there were differ- 
 ences of opinion as to its merits. "If there is truth in the old 
 adage, that 'When things are at the worst they must mend,'" 
 remarked the Examiner (June 19, 1852),* "the amelioration of 
 spectral melodrama is not distant, for it has reached the extreme 
 point of inanity in the new piece which was produced on Monday 
 at the Princess's Theatre, under the attractive title of ' The Vam- 
 pire.' Its plot is chiefly copied from a piece which, some years 
 ago, turned the Lyceum into a Chamber of Horrors ; but it has 
 been spun out into three parts, facetiously designated as 'three 
 dramas'; the little period of a century has been interposed between 
 each part ; and, in order that the outrage on the possible shall be 
 complete, the third part is projected forward into the year that will 
 be in i860! By this ingenious arrangement, the resuscitation of 
 the original Vampire has been enabled to supply the lovers of the 
 revolting at the Princess's with three acts of murder — that is two 
 consummated, and one attempted ; but, as the delicate process of 
 vampirical killing is exactly after the same pattern in each case, 
 the horror is quite worn out before the career of the creature ter- 
 minates. Nothing but tedious trash remains. . . . The monster of 
 absurdity was personated by its reviver, Mr. Boucicault, with due 
 paleness of visage, stealthiness of pace, and solemnity of tone ; the 
 scener)', especially a moonlit ridge amidst the heights of Snowdon, 
 Was beautiful, and the costumes were prettily diversified : but the 
 dreaiy repetition of fantastical horror almost exhausted even the 
 patience which a benefit enjoins. Unfortunately the mischief of 
 such a piece, produced at a respectable theatre, does not end with 
 the weariness of the spectators, who come to shudder and remain 
 to yawn; for it is not only 'beside the purpose of playing,' but 
 directly contravenes it ; and though it may be too dull to pervert 
 the tastes of those who witness its vapid extravagances, it has 
 power to bring discredit on the most genial of arts." 
 
 The same year, on Saturday, September 1 8, Mr. Boucicault pro- 
 duced at the Princess's a new two-act drama, entitled ' The Prima 
 Donna' ; and in 1853, in June, at the Adelphi, ' Genevieve ; or, the 
 Reign of Tenor,' adapted from MM. Dumas and Maquet's ' Le 
 Chevalier de la Maison Rouge.' The same year Mr. Boucicault 
 went to the United States of America, and superintended various 
 revivals of his plays at Wallack's Theatre, New York; and, in 
 November 23, 1853, produced at Burton's Theatre, in the same 
 city, a piece entitled 'The Fox Hunt; or, Don Quixote the Second.' 
 The success of this play was very considerable, and in a speech 
 from the stage, Mr. Boucicault informed his audience that " it was 
 his intention to stay in America for a long time, if they would let 
 him." In 1854 he produced, in New York, a version of the ' Louis 
 Onze' of M. Casimir Delavigne, which was first read by Mr. 
 
 * Compare with 'Journal of a London Phyi^oer, by Henry Morley, 
 Prof. Eng. Lit. in Univ. Col. Lond., pp. 54-5. 
 
BOUCICAULT, DION. 55 
 
 Boucicault in Hope Chapel, in that city. Returning temporarily to 
 England, on the ist January, 1855, he produced at the Theatre 
 Royal, Drury Lane, then under Mr. E. T. Smith's management, 
 'Eugenie, a drama; and on Monday, February 5, 1855, at the 
 Adelphi, ' Janet Pride,' a play which had been already performed 
 •with much success in the United States. (.5"^^ Celeste, Madame.) 
 On Wednesday, June 3, 1857, he produced at the same theatre a 
 drama under the title of ' George Darville,' which was recognized 
 as being full of stage interest, and a very effective drama, " based 
 on an extreme moral which affords no hope to crime, but carries 
 strictly out the punishment incurred, however the one may be 
 delayed or the other repented of.*' 
 
 In September i860 Mr. Boucicault and his wife, Mrs. Boucicault 
 {nie Robertson, Agnes), commenced an engagement at the 
 Adelphi Theatre, London. The drama produced on the opening 
 night, Monday, September 16, was written by Mr. Boucicault, 
 and entitled ' The Colleen Bawn.' For its plot he was in the main 
 indebted to Mr. Gerald Griffin's Irish story ' The Collegians.' In 
 the cast Miss Agnes Robertson (Mrs. Boucicault) was the heroine, 
 Eily O'Connor J and Mr. Boucicault, Myles-na-Coppaleenj Mr. E 
 Falconer played Danny Mannj Mrs. Billington was Mrs. Cregan; 
 Mrs. A. Mellon, Anne Chute j Mr. Billington, Hardress Cregan j 
 and Mr. David Fisher, Kyrle Daly. The play was eminently suc- 
 cessful. When the novel (' The Collegians ) was yet new, a version 
 of it, entitled ' Eily O'Connor,' had been played at one or more of 
 the minor theatres. The early version, however, had been long 
 forgotten by the public, who found in Mr. Boucicault's work one of the 
 best constructed and most striking dramas of domestic life that had 
 ever been put upon the stage. " The interest rises as the story pro- 
 gresses, and the acts, in accordance with a valuable rule, invariably 
 terminate with strong situations. T'he attempted drowning of Eily 
 O'Connor, in a very picturesque lake, is, perhaps, too really horrible ; 
 but this is a fault on the right side ; and the concluding scene, in 
 which Hardress Cregan is first charged with murder, amid the pre- 
 parations for his wedding, and is then released on the appearance 
 of his supposed victim, is wrought with a skill which none but an 
 ■experienced dramatist could attain. For himself, Mr. Boucicault 
 selects the character of Myles-na-Coppaleen, the plebeian Irishman 
 of scampish propensities, who alternates native shrewdness and 
 pathos after a fashion familiar to those who are accustomed to the 
 theatrical Hibernian. His consummate slyness, his dexterity at 
 prevarication, and his evident enjoyment when he feels that he has 
 baffled too curious an investigator, are admirably delineated, though 
 he is less ' rollicking ' than most of the artists who have shown in 
 Milesian character." {Times, September 11, i860.) 'The Colleen 
 Bawn' is a genuine Adelphi drama. It presents a succession of 
 highly-wrought domestic scenes, introduces many very effective 
 situations, and affords good scope to the artist for the display of 
 effective pictorial accessories. From first to last it was admirably 
 acted. At the close of the Adelphi season 1 860-1, Mr. Benjamin 
 Webster announced from the stage that Mr. and Mrs. Boucicault 
 
S6 THE DRAMATIC LIST. 
 
 had performed in ' The Colleen Bawn ' (in London and the pro- 
 vinces) for more than 360 consecutive nights — at that time one of 
 the longest " runs," if not altogether the longest, on record. It 
 may be added that 'The Colleen Bawn' was first performed in 
 New York, with Mr. and Mrs. Boucicault in the characters already- 
 mentioned. On Monday, November 18, 1861, Mr. Boucicault pro- 
 duced at the same theatre another play originally performed in 
 America, entitled ' The Octoroon,' in which he sustained the part 
 of Salem Scudder, and his wife that of Zoe, the Octoroon. The 
 house was crammed in every nook. " Though the title of the piece 
 did not in the least refer to the Green Erin, and the public had 
 been made duly acquainted with the fact that the word ' Octoroon ' 
 denotes the child of a Quadroon by a white, there was a sort of 
 vague notion that another ' Colleen Bawn ' would be presented, so 
 completely had the name of the author been identified with that 
 most famous of modern dramas. It may be as well, therefore, to 
 state that the new piece is not a ' Colleen Bawn,' nor anything like 
 a ' Colleen Bawn,' but that it exhibits a picture of life in the 
 Southern States, not shown even during the mania for ' Uncle 
 Tom.' .... The ' sensation scenes ' which most appeal to the 
 public in the representation of 'The Octoroon,' are the slave sale 
 that takes place in Peyton's house, and the destruction of the 
 steamer by fire. Of these the former is completely novel. Pete, 
 an old negro, gives a vein of drollery to the situation by boasting 
 his own qualities in order to fetch a handsome price, while the 
 competition that arises with respect to Zoe is most exciting. The 
 whole body of planters wish to preserve the daughter of their old 
 friend, the judge, from falling into the hands of McClosky, even 
 Dora, the young lady who has set her heart upon George, coming 
 generously forward to the rescue of her rival, till at last the whole 
 affair is nearly settled by a skirmish with bowie-knives. The 
 acting throughout is very good. Mr. Boucicault, as the shrewd, 
 cool Yankee, Salem Scudder, appears in a line, to him, entirely 
 new, and succeeds to perfection." {Times, November 19, 1861.) 
 During one week in December of this year, the author and his 
 wife appeared at the Adelphi in both ' The Colleen Bawn ' and ' The 
 Octoroon ' on the same night. The last-named play commenced 
 at seven and ended at ten minutes past nine ; ' The Colleen Bawn ' 
 followed, and ended at half-past eleven. It has been already 
 mentioned (BOUCICAULT, Agnes) that the author in answer to a 
 general request modified the original termination of ' The Octoroon,' 
 by saving Zoe's life. 
 
 On Monday, February 10, 1862, Mr. Boucicault produced at the 
 same theatre ' The Dublin Boy '—a version of Vanderburch's ' Le 
 Gamin de Paris'; and on Saturday, March i, 1862, at the same 
 theatre, a drama in five acts, under the title of ' The Life of an 
 Actress,' which had been already performed in America. Mr. 
 Boucicault in this play sustained the character of Grimaldi. " The 
 new play was exceedingly successful up to the end of the third act. 
 Mr. Boucicault's portraiture of the, by turns, obsequious, courteous, 
 and indignant Grimaldi was in all respects a masterpiece of 
 
BO UCICA UL T, DION. 17 
 
 histrionic ability. What is technically called the 'make-up' was 
 complete ; and his manner throughout was true to the natural 
 bearing of a man fallen into misfortune, but conscious of noble 
 birth and noble feelings. He showed, too, some extraordinary 
 powers. While teaching his pupil he has to point out to her how 
 Rachel delivered a particular speech, and finds it necessary to 
 resort to the original French. This feat he brilliantly accomplished. 
 His nervous anxiety for his debutante's success on the provincial 
 stage, and his passionate disappointment when he misses her from 
 the next scene and learns the story of her abduction, were both 
 admirably delineated. These things place Mr. Boucicault in the 
 front rank as an artist of versatile abihties and a comprehensive 
 
 mind We are not quite sure that the drama itself (which is 
 
 partly compilation and partly adaptation) will add much to his 
 reputation as a dramatist ; but his reputation as an actor must be 
 augmented by the skill and tact with which he has embodied and 
 supported the part of its hero." {Atheuceum, March 8, 1862.) In 
 the original cast of this play Mrs. Boucicault acted the part of 
 Violet, Mr. Toole that of Wopshot (" a low comedian "), and Mrs. 
 Billington the rdle of Julia (a " star," leading lady). 
 
 On Monday, April 14, 1862, at the Adelphi, Mr. Boucicault pro- 
 duced a dramatic version of Charles Dickens's ' The Cricket on 
 the Hearth,' under the title of ' Dot.' Becoming sub-tenant of 
 Drury Lane Theatre for a few months in the autumn of 1862, he 
 produced there a spectacular drama entitled ' The Relief of Luck- 
 now,' in which he sustained the part of Corporal Cassidy. Vacating 
 that theatre in December of the same year, on Monday, the 22nd 
 of that month, he opened Astley's Theatre as " The Theatre Royal, 
 Westminster," and produced on the opening night, ' To Parents 
 and Guardians' (in which he played the part of M. Tourbillon), 
 and a revival of ' The Relief of Lucknow,' sustaining in this piece 
 his original character before mentioned. On October 2nd, 1862, a 
 letter was published in the Times over the signature " Dion Bouci- 
 cault," advocating improvements in theatre building, and contrasting 
 the working expenses, the dinginess, ill-ventilation and general dis- 
 comfort of the London theatres of that time with the Winter Garden 
 Theatre in New York, which Mr. Boucicault held in 1859. In fha.t 
 letter he offered to head a subscription with 5000/. for the purpose 
 of erecting a suitable and comfortable London Theatre. It may be 
 reasonably assumed that the alterations which Mr. Boucicault 
 effected in the general arrangements of old Astley's were in some 
 sort to be accepted as a practical exemplification of his views of 
 what a house devoted to theatrical entertainment should be. He 
 converted the old " ring " into an elaborate arrangement of stalls 
 and pit ; the bygone Adelphi system of intermediate " pit stalls " he 
 also introduced. The immense size of the salle admitting of greater 
 alterations, Mr. Boucicault placed between the stalls proper and 
 the orchestra a sort of miniature garden of shrubs, flowers, and 
 fountains, the effect of which in hot weather was extremely pleasant. 
 Adjoining the theatre, and on the site of what was known as 
 " Astlev's cottatre." Mr. Boucicault had nroiected a vast- r.n.f^.. wViirh 
 
5 8 THE DRAMA TIC LIST. 
 
 was to be constructed of iron and glass W\^ foyers for promenaders 
 between the acts, and an open-air restaurant on the flat Moorish 
 roof commanding a view of the river. The affairs of the theatre 
 becoming involved in litigation, this part of Mr. Boucicault's scheme 
 was left unfulfilled ; but during his short term of management he 
 effected immense improvements in the interior of old Astley's. On 
 Monday, January 26, 1863, he produced at the Westminster Theatre 
 a dramatic version of 'The Heart of Midlothian,' under the title 
 ' The Trial of Effie Deans,' in which play he performed the part of 
 Counsel for the Prisoner. On Wednesday, May 11, 1864, at the 
 St. James's Theatre, he produced a drama in five acts entitled ' The 
 Fox Chase,' already performed in New York. This play was not 
 very successful in London. In the same year, on the sth of August, 
 at the Princess's Theatre, he produced 'The Streets of London,' a 
 sensational drama, not exactly new to the English boards, the 
 substance of it having been supplied by Mr. Stirling Coyne to the 
 Surrey stage in 1857, and shortly afterwards to the Strand, by Mr. 
 R. Barnett, under the respective titles of ' Fraud and its Victims,' 
 and ' Pride and Poverty.' The original, it may be remarked, of 
 these adaptations, is a seven-act French drama, entitled ' Les 
 "Pauvres de Paris,' by MM. E. Brisebarre and Eugene Nus, acted 
 in 1856 at the Ambigu Comique. Before being performed in 
 London Mr. Boucicault had produced a version of ' The Streets of 
 London ' in New York, and in Leeds and Liverpool. 
 
 On Wednesday, March 22, 1865, at the Princess's Theatre, 
 Mr. Boucicault produced, for the first time in London (having 
 originally presented it on the stage, in November 1864, in Dublin), 
 a drama entitled ' Arrah-na-Pogue ; or, the Wicklow Wedding,' in 
 which he sustained the part of Shaun, the Post. "The story in 
 this instance, not derived from a novel, but alleged to be the 
 dramatist's own invention, is simple in form, but very ingeniously 
 treated, so as to afford a diversity of situations, all possessing more 
 or less a hold over the sympathies of the audience. Thoroughly 
 versed in the important art of construction, and expert at framing 
 those effective speeches which convey their purpose in the fewest 
 words, the author keeps his characters constantly in action, and 
 suffers neither the ear nor the eye to grow weary. The lines 
 sparkle sometimes with wit, at others glow with good humour, but 
 are always terse, naturally in keeping with the exigencies of the 
 situation, and fitted to the characters from whose lips they proceed. 
 The principles which command success in dramatic composition, 
 and without which the most brilliant dialogue and the most fertile 
 fancy would be of little avail, have seldom received a clearer 
 elucidation than in the management of the plot of 'Arrah-na- 
 Pogue.' . . . "The character of Shaun, the Post, a Wicklow 
 carman, which Mr. Boucicault has allotted to himself, is rendered 
 with considerable artistic power, guided by a thorough knowledge 
 of the peculiarities of the Irish temperament, which finds full 
 expression in a mixture of humour and pathos, very felicitously 
 depicted. The readiness of repartee, coloured with a tinge of 
 poetry, and associated with a warm heart full of trusting con- 
 
BOVCICAULT, DION, 59 
 
 ■fidcnce in the girl he loves, gives the actor the fullest possession 
 of the sympathies of his audience." {Daily Telegraph, March 23, 
 1865.) ' Arrah-na-Pogue ' was a great success, and was repre- 
 sented in Paris.'and throughout the French provinces, the United 
 States, and Austraha. The French version, ' Jean la Poste ; 
 ou, les Noces Irlandaises,' was performed at the Gaietd for 140 
 nights. 
 
 In May 1866, Mr. Boucicault produced at Manchester an " ori- 
 ginal " three-act play entitled ' The Parish Clerk,' the piece having 
 been written expressly for Mr. Joseph Jefferson. At the Lyceum 
 Theatre in London, in September 1866, during the management of 
 Mr. Charles Fechter, Mr. Boucicault produced ' The Long Strike' 
 (partly founded on the story of ' Mary Barton,' and partly on that 
 of ' Lizzie Leigh '), in which he played Johnny Reilly. In the 
 same year on Saturday,' October 6, on the occasion of the opening 
 of the Holborn Theatre, he produced ' The Flying Scud ; or, a 
 Four-legged Fortune ' ; and in November of the same year, at the 
 St. James's Theatre, ' Hunted Down,' a drama. (See Herbert, 
 Louisa.) In 1868, on Wednesday, August 12, at the Princess's, 
 he produced 'After Dark; a Tale of London Life'; and in the 
 year following, in May, at the same theatre, ' Presumptive Evi- 
 dence,' a drama ; and in August, at Drury Lane, ' Formosa,' a 
 drama. In 1870, likewise at the Princess's Theatre, the three 
 following pieces from his pen were placed on the stage, viz. ' Paul 
 Lafarge ' ; ' A Dark Night's Work ' ; and ' The Rapparee ' ; and in 
 December of the same year, at the Holborn Theatre, 'Jezebel ; or, 
 the Dead Reckoning,' founded on ' Le Pendu,' a play by MM. 
 Michel Masson and Anicet Bourgeois. Neither of these plays was 
 altogether successful. After sojourning in the United States for 
 a brief period, in 1872 Mr. Boucicault returned to England, and on 
 Saturday, May 4, of that year, reappeared with Mrs. Boucicault on 
 the London boards at the Gaiety Theatre, in a rendering of ' La 
 Joie fait Peur,' entitled ' Night and Morning,' and in their original 
 characters in a revival of ' The Colleen Bawn.' During the same 
 year at the same theatre, Mr. Boucicault and his wife appeared in 
 various revivals of his plays ; and in July in a version by himself 
 of Colman's comedy of 'John Bull,' produced also at the Gaiety 
 Theatre, Mr. Boucicault sustained the part of Dennis Brul- 
 gniddery. In 1874 (June) at the same theatre, he produced 'Led 
 Astray,' a play adapted from ' La Tentation,' of M. Octave Feuillet. 
 In the following year (Saturday, September 4, 1875) at Drury Lane 
 he produced, for the first time in London, ' The Shaughraun,' in 
 which he performed the part of Conn O Kelly. "The acting in 
 two or three characters was admirable. Mr. Boucicault is pro- 
 bably the best stage Irishman that has been seen. It is impossible 
 to make drollery more unctuous and blarney more attractive than 
 4hey appear in his rendering. To the vitality he imparts to the 
 character of Conn the success of the piece is largely attributable." 
 {Athenaum, Sept. 11, 1875.) 
 
 In 1876 Mr. Boucicault returned once more to the United States, 
 where he resides. It may be said that he reached the climax of 
 
6o THE DRAMATIC LIST. 
 
 his fame as an actor and dramatic author in i860 with the pro- 
 duction of 'The Colleen Bawn.' His merits as an actor were 
 probably best exhibited in that play, in ' The Life of an Actress,' 
 and in his later production, ' The Shaughraun.' It cannot be said 
 that Mr. Boucicault is entitled to the distinction of being designated 
 an original writer. His most popular plays are adaptations ; but 
 no modern dramatic author has said better things on the stage 
 than has Mr. Boucicault in those plays. 
 
 BRENNAN, MAGGIE, made her d^but on the London stage 
 Saturday, November 28, ,i86S, at the Globe Theatre, as the Hon. 
 Fred Titeboy in Byron's play, ' Cyril's Success,' performing one of 
 those parts in trousers and frock coats, which are so often a snare 
 to ambitious actresses, with a self-command and an absence of 
 anything like vulgarity which certainly did not suggest immaturity. 
 Her acting in the part of the Hon. Fred Titeboy, a musical 
 amateur, who is a good-natured but somewhat weak-minded "star" 
 of fashionable circles, was indeed clever throughout, and at once 
 established her in the favour of the audience. In April of the 
 following- year she played the part of Miss Honor Molloy, first 
 performance of Mr. T. W. Robertson's comedy, 'A Breach of 
 Promise.' " Feminine acting is seldom intrinsically comic. Miss 
 Brennan's power of changing her expression, however, is very 
 humorous and her mimetic skill ia remarkable." {Athenceum, 
 April 17, 1869.) Miss Maggie Brennan has since played original 
 parts in various plays, of which the following will suffice as 
 examples, viz. 'Formosa' {Earl of Eden), 'On Guard' [Guy 
 Warrington), ' Randall's Thumb ' {Miss Spi?tn), &c. 
 
 BRENNAN, MAUDE, sister of the above-named, was born at 
 Hurst Castle, Hampshire, in 1855. She became a pupil of Edward 
 Stirling, of the Theatre Royal, Drury Lane, in 1869, and entered 
 the dramatic profession at the Brighton Theatre in 187 1. After 
 a tour through the provinces. Miss Brennan was engaged by Mr. 
 W. Sidney for the Prince of Wales's Theatre, Glasgow, 1872, to 
 support Mr. Barry Sullivan, and during that engagement played 
 various leading parts, including Lady Macbeth. She afterwai'ds 
 fulfilled various engagements at the principal provincial theatres. 
 Her first appearance in London was made in 1876, at Covent 
 Garden Theatre, as Portia in the ' Merchant of Venice.' Subse- 
 quently she played at the Gaiety Theatre, Glasgow, under Mr. C. 
 Bernard's management, and was by him sent on tour with Mr. H. 
 J. Byron. Miss Brennan has lately concluded a " starring " en- 
 gagement at Belfast, where she presented the character of Leah 
 in the tragedy of that name, with some success. During the latter 
 part of 1878 Miss Brennan supported Mr. Henry Irving on his 
 provincial tour as "leading lady," appearing as Ophelia (' Hamlet'), 
 Julie (' Richelieu '), &c. 
 
 BROMLEY, NELLIE, first attracted notice as an actress in 
 burlesque at the Royalty Theatre under the management of Miss 
 M. Oliver in 1868. Here she played with some success in 
 
B ROUGH, FANNY WHITESIDE. . 6i 
 
 Burnand's ' Latest edition of Black-eyed Susan,' as Dolly May- 
 flower, and the same author's ' Claude Du Val,' as Nitnble Ned. 
 In 1 87 1 she was acting at the Court Theatre. In 1873 she was 
 engaged at the Gaiety Theatre, and appeared there as Praline 
 de Patoche in H. B. Farnie's burlesque ' Nemesis,' and in the 
 following year as The Plaintiff, in Gilbert and Sullivan's comic 
 opera, ' Trial by Jury.' Miss Bromley was likewise in the original 
 cast of ' Pink Dominos,' and first performed at the Criterion 
 Theatre, Saturday, March 31, 1877. She acted the part oi Rebecca. 
 Subsequently she has been engaged at the Royalty Theatre, 
 playing in an extravaganza by E. Rose and A. Harris, entitled 
 ' Venus.' 
 
 BROUGH, FANNY WHITESIDE (Mrs. R. S. BOLEYN, a 
 nom de tMAtre), only daughter of the late Robert Brough (better 
 known as one of " the Brothers Brough "), the author, was born in 
 Paris and entered the dramatic profession in 1869, as a member 
 of Mr. Charles Calvert's company at the Prince's Theatre, Man- 
 chester. She remained at that theatre for two years, and during 
 the engagement played Ophelia (' Hamlet ') with considerable 
 success, Mr. Barry Sullivan acting the title rdle. Miss Fanny 
 Brough made her first appearance on the London stage at the St. 
 James's Theatre, Saturday, October 15, 1870, as Fernande, in 
 Sutherland Edwards's adaptation of V. Sardou's play of that 
 name, "playing with great intelligence and giving the character 
 much sweetness and gentleness" {Examiner, November 12, 1870). 
 During her engagement at St. James's Theatre Miss Brough 
 appeared as Fanny Parkhouse, the first performance of Albery's 
 ' Two Thorns,' and as the heroine in Mr. T. W. Robertson's 
 comedy entitled ' War,' first performed at the same theatre. She 
 also played in the several comedies revived by Mrs. John Wood 
 during the first period of that lady's management of St. James's 
 Theatre. She was engaged to play leading parts with Mr. R. 
 Younge's so-called ' Caste ' company of comedians ; and subse- 
 quently appeared at the Prince of Wales's Theatre, London, under 
 Mr. and Mrs. Bancroft's management, as Clara Douglas in ' Money' 
 on its first revival there. At the Gaiety Theatre, under Mr. J. 
 HoUingshead's management. Miss Brough has personated impor- 
 tant characters with Mr. Toole and the late Mr. C. Mathews, those 
 gentlemen acting the principal rSles. She has been a member of 
 Mr. L. J. Sefton's so-called ' Pygmalion and Galatea ' company, 
 and more recently (April 1878) of Mr. Duck's ' Our Boys ' company. 
 Miss Brough's most pleasing successes on the provincial stage 
 have been in the characters of Mary Melrose (' Our Boys ') and 
 Ethel Grainger (' Married in Haste '). She has recently (June 
 1879) been playing the part of Haidee Burnside in ' The Crisis ' in 
 the provinces, and has met with considerable favour. 
 
 BROUGH, LIONEL, was born at Pontypool, Monmouth, loth 
 of March, 1836. Son of Barnabas Brough, once well known as a 
 dramatic author of some, note, writing under the nom de plume 
 of "Barnard de Burgh"; and brother of the late WiUiam and 
 
62 THE DRAMA TIC LIST. 
 
 Robert Brough (known as "the Brothers Brough"), authors, and of 
 the late John C. Brough, some time Secretary of the London Insti- 
 tution, and a frequent contributor to scientific literature. Lionel 
 Brough began Ufe in the office of John Timbs, when that gentleman 
 was editor of the Illustrated London News, and when, among its 
 chief literary contributors, were included Douglas Jerrold, Albert 
 Smith, Angus Reach, Charles Dickens, W. M. Thackeray; and 
 among its artists John Leech and Sir J. Gilbert. He was, in the 
 earlier years of its existence, assistant publisher of the Daily 
 Telegraph. In that capacity Mr. Brough lays claim to having 
 originated the present system of selling newspapers in the streets, 
 having organized in London for the Daily Telegraph a staff of 240 
 boys for that purpose. He made his first appearance on any stage, 
 in December 1854, at the Lyceum Theatre, London, under the 
 management of Madame Vestris and Mr. Charles Mathews, in an 
 extravaganza by his brother, William Brough, entitled ' Prince 
 Pretty Pet,' and a farce, ' My Fellow Clerk.' Leaving the stage for 
 a time after the death of Madame Vestris, he returned to the 
 Lyceum in 1858, under the management of Mr, Edmund Falconer, 
 and in that year played in the ' Siege of Troy ' (burlesque by R. 
 B. Brough) under the pseudonym of " Lionel Porter," and in 
 Falconer's drama ' Francesca.' He retired from the stage for five 
 years, during which time Mr. Brough was on the staff of the 
 Morning Star, London daily newspaper, from the date of its first 
 publication until its fifth anniversary. Afterwards he gave an 
 entertainment in London, of which the piece de risistance was 
 ' Cinderella,' written by Byron, Leicester Buckingham, the Brothers 
 Brough, Frank Talfourd, Andrew Halliday, and others, and pre- 
 sented by the authors to Lionel Brough. Subsequently he was at 
 the Polytechnic Institution for a year, giving various entertain- 
 ments, and was the first who travelled the provinces with the 
 " Ghost" exhibition. y Lionel Brough played with the members of 
 the Savage Club before the Queen, Prince Consort, and Royal 
 Family in aid of the " Lancashire Famine Relief Fund," and after- 
 wards in Manchester and Liverpool for the same object. In 
 February 1864 he joined Mr. Alex. Henderson's company at the 
 Prince of Wales's Theatre, Liverpool, and remained a leading 
 member of that company for more than three years. Subsequently 
 he was at the Amphitheatre under the respective managements of 
 Copeland, and Henderson, and Byron, and then became associated 
 with Mr. Saker of the Alexandra Theatre in that town. In October 
 1867 Mr. Brough played Dard in ' The Double Marriage ' on the 
 occasion of the opening of the new Queen's Theatre in London, 
 being recognized as an actor of genuine ability, well deserving the 
 favourable reception he obtained. Lionel Brough's first important 
 London success was in the character of Ben Garner in Byron's 
 comedy, ' Dearer than Life,' first performed at the Queen's Theatre, 
 Long Acre, on 8th January, 1868, in which he made one of those 
 " hits " which mark a decided stride in the career of a rising actor. 
 " Next to the principal part, one of the most striking was that 
 assigned to Mr. Lionel Brough, who only wants fair opportunity to 
 
BROUGHAM, JOHN. 63 
 
 become one of the most successful comic or character actors of the 
 day. His impersonation of the drunken old sot, Ben Garner, was 
 marvellously worked out, and at the end of the first act, he more 
 than divided the applause with Mr. Toole. All throughout he 
 helped the piece by the individuality and the humorous force of 
 his impersonation." {Standard, January 9, 1868.) 
 
 Among noteworthy successes achieved by Lionel Brough about 
 this time the parts sustained by him in the following plays may 
 be selected for mention, viz. : In ' The Lancashire Lass,' ' Not 
 Guilty,' the burlesques ' La Vivandifere ' (Gilbert), ' Stranger ' 
 (Reece), and ' Foul Play' (Burnand). Under the auspices of Mr. 
 J. L. Toole, Lionel Brough travelled some time with the company 
 of which Henry Irving was a member. On March 29, 1869, he 
 commenced a series of engagements under Mrs. John Wood's 
 management, at the St. James's Theatre, performing the character 
 of Tony Lumpkin for a " run " of nearly 200 nights, and Paul Pry 
 for a run almost equally as long. Mr. Brough played in ' La Belle 
 Sauvage ' (burlesque) the part of Captain John Smith, and in ' My 
 Poll and My Partner Joe ' (burlesque) the part of Black Brandon, 
 each performed . with much success at th? St. James's Theatre. 
 Afterwards he joined Mr. Fell at the Holborn Theatre (now " the 
 Duke's "), where he played in ' La Vie Parisienne,' ' Petit Faust,' 
 and other pieces. In August 1872 Mr. Brough was selected by 
 Mr. Boucicault to be " first low comedian " and stage-manager of 
 Covent Garden Theatre on the production there of the stage spec- 
 tacle of ' Babil and Bijou.' He was subsequently engaged at the 
 Gaiety Theatre for a period of twelve months, playing in such 
 pieces as ' Bib and Tucker,' ' London Assurance,' &c., and in 
 various opera bouffes and burlesques produced there. Mr. 
 Brough then -became attached to the companies of the Globe and 
 Folly Theatres, playing Blwe Beard (over 300 nights), Robinson 
 Crusoe, 5fc. ; and on April 28, 1878, he concluded an engagement 
 at the New Royalty Theatre, afterwards, in September 1878, enter- 
 ing upon an engagement at the Folly Theatre. During this period 
 Mr. Brough played also in various morning performances at the 
 Crystal and Alexandra Palaces and at the Aquarium Theatre. At 
 the latter place of amusement he repeated his performance of Tony 
 Lumpkin, with Mrs, Stirling, Miss Litton, Mr. W. Farren, and Mr. 
 John Ryder in the cast. At the latter theatre, renamed, in April 
 1879, "The Imperial Theatre," he entered into an engagement, 
 as " first low comedian." On April 23, 1879, a new burlesque of 
 'The Lady of Lyons' (W. Younge) was produced, Miss Lydia 
 Thompson playing Pauline, Mr. Brough Clatide Melnotte. The 
 most successful scene in the piece was a pas de deux, in which 
 these two struck successive attitudes, interpreted alternately by the 
 two performers to the audience, partly in caricature of mythological 
 heroes, partly of political leaders of the d^y. 
 
 BROUGHAM, JOHN, was barn May 9, 1814, in Dublin, where 
 he was educated with the view of following medicine as a profession. 
 This intention, however, was not carried out. Mr. Bjrougham's 
 
64 THE DRAMATIC LIST. 
 
 tastes were jnore in the direction of the stage, on which he first 
 appeared in the year 1830. The place of his ddbut was the Queen's 
 Theatre, now the Prince of Wales's, in Tottenham Street, Totten- 
 ham Court Road, London, and the piece in which he first made his 
 appearance, Moncrieff's operatic extravaganza, 'Tom and Jerry.' 
 During Madame Vestris's management of the old Olympic Theatre 
 Mr. Brougham was a member of her " stock " company, and in 
 that position earned for himself considerable reputation. He was 
 afterwards a member of her company at the Theatre Royal, Covent 
 Garden. In 1840 he entered upon the management of the Lyceum 
 Theatre, and commenced in the same year his career as a dramatic 
 author by the production of an extravaganza entitled ' Life in the 
 Clouds,' first performed there. Two years later Mr. Brougham 
 went to the United States, where he subsequently took up his 
 residence, and followed his profession of dramatist and actor with 
 great success.* Returning to London in 1859, ^^ subsequently 
 joined the company of the Lyceum Theatre, under Mr. Charles 
 Fechter's management, and furnished that admirable actor with 
 two of his most popular plays, taken from the French, viz. ' The 
 Duke's Motto,' an adaptation of ' Le Bossu,' a romantic drama, by 
 Paul Feval, originally performed at the Porte St. Martin, and ' Bel 
 Demonio,' founded on a five-act drama called ' The Broken Vow ; a 
 Romance of the Times of Sixtus the Fifth,' which, in its turn, was 
 taken from ' L'Abbd de Castro.' The first was produced at the 
 Lyceum Theatre on Saturday, January 10, 1863 ; the second on 
 Saturday, October 31, of the same year. Mr. Brougham was in 
 the original cast of both these plays. In ' The Duke's Motto ' Mr. 
 Brougham played Carrickfergus, an Irish soldier of fortune ; in 
 'Bel Demonio' he acted the character of Cardinal Montalto. " As 
 a drama it (' Bel Demonio ') has this quality in common with ' The 
 Duke's Motto,' that it interests the audience more by the exhibi- 
 tion of a series of extraordinary adventures than by the develop- 
 ment of an idea or the delineation of character. . . . While ' The 
 Duke's Motto ' and ' Bel Demonio ' are dramas constructed on 
 precisely the same principles, the differences between them are not 
 in favour of the latter. The adventures of the first six tableaux are 
 exciting enough, but in his endeavours constantly to renew an 
 interest, the author has made the latter scenes of his play too long. 
 . . . Angelo is not nearly so good a part as Captain Lagardfere for 
 the display of Mr. Fechter. With the exception of a love scene in 
 the third tableau, played with all that ardour which is peculiar to 
 
 * "A class of important characters, the Sir Oliver Surfaces and other 
 uncles from India, the Sir Lucius O' 7\iggers and other gentlemen from 
 Ireland, are held at Wallack's Theatre [New York] by the gentle and 
 genial John Brougham. For more than thirty years the name of John 
 Brougham has held a high place in the play-bills of America, as author, or 
 actor, or manager, or as all three at once. When he made his first appear- 
 ance in New York in 1842 as the ' Irish Lion,' he was at once accepted as 
 the successor of the lamented Tyroner Power, who had been lost in the 
 steamer 'President' the year before." — Sctibner's Monthly, April 1879, 
 p. 781. (' Actors and AcLresses of New York,' by J. B. Matthews.) 
 
BRUCE, EDGAR. 65 
 
 this fascinating actor, and a few passages of patlios on the dis- 
 covery of Lena in the crypt, Angelo is rather a thread by which a 
 number of incidents are connected together than a character of 
 importance on his own account. Indeed, the Cardinal, excellently 
 made up and acted by Mr. John Brougham ; and Ranuccio, played 
 with bluff humour by Mr. Emery, are the only two marked cha- 
 racters in the play." {Times, November 2, 1863.) 
 
 Subsequently Mr. Brougham appeared at the Princess's Theatre, 
 and on the occasion of the first performance there, Wednesday, 
 March 22, 1865, of Boucica'ult's drama ' Arrah-na-Pogue,' he 
 played the part of Colonel Bagenal 0''Grady. Perhaps the most 
 favourable example of Mr. John Brougham's powers as a drama- 
 tist is found in his comedy ' Playing with Fire,' produced at the 
 Princess's Theatre on Saturday, September 28, 1861. Mr. Brougham 
 himself sustained the principal character, Dr. Savage. Enough 
 was known of the previous fortunes of the piece to awaken con- 
 siderable curiosity as to its merits. It had been produced with 
 great success in America, and though a New York theatre is 
 scarcely regarded as a passport office that will secure the hos- 
 pitable reception of a drama in ,the old country, this particular play 
 had been mentioned in such remarkably high terms that much was 
 expected of it. A subsequent performance in Manchester had 
 procured from a public claiming some authority in theatrical 
 matters a confirmation of the verdict pronounced in the United 
 States. ' Playing with Fire ' was in all respects a legitimate suc- 
 cess. Mr. Brougham was heartily welcomed, and made a most 
 favourable impression. 
 
 BRUCE, EDGAR, entered the dramatic profession in 1868, 
 making his first appearance at the Prince of Wales's Theatre, Liver- 
 pool, where he subsequently acted for a season. He made his ddbut 
 on the London stage August 30, 1869, at the Strand Theatre, as 
 Chateau Renaud, in a burlesque entitled ' The Pilgrim of Love.' 
 " After two years' hard work in the principal country theatres and 
 in London," Mr. Bruce became, in 1871 (August), a member of the 
 " Wyndham Comedy Company," performing in America, and played 
 leading parts in various theatres in the United States and Canada, 
 his most successful impersonations during this engagement being 
 D'Alroy and Haw tree, in 'Caste'; Mc A lister and Chalcot, in 
 'Ours'; and Lord Beaujoy, in 'School.' In March 1873 Mr. 
 Bruce joined the company of the Court Theatre, where he appeared 
 in the following among other plays : ' About Town,' ' Marriage 
 Lines,' 'Alone,' 'Wedding March,' &c., &c. In March 1875 he 
 was Sngaged at St. James's Theatre. The same year, in June, he 
 opened the Haymarket Theatre under his management for a season 
 of six weeks ; and on 21st February of the following year (1876) 
 the Globe Theatre, producing there a drama, founded on Charles 
 Dickens's novel ' Bleak House,' entitled ' Jo,' with Miss Jennie Lee 
 in the title rdle. At the same theatre during the following season 
 Mr. Bruce produced ' Cora,' with Mrs. Herman Vezin in the 
 leading character. During the early part of 1878 he acted the 
 
65 THE DRAMATIC LIST. 
 
 character of Greythorne (in succession to Mr. Wyndham) in ' Pink 
 Dominos' at the Criterion Theatre, and afterwards went on tour 
 with Mr. George Honey to play in Gilbert's comedy ' Engaged.' 
 In April 1879 Mr. Bruce entered on the management of the 
 Royalty Theatre, and " opened " on the 14th of that month with 
 "A Comedy of the Day, in three acts," entitled ' Crutch and Tooth- 
 pick,' adapted by Mr. Geo. R. Sims. The piece proved successful. 
 
 *BRUCE, EDITH, began her theatrical career in the provinces, 
 and made her first London appearante at Covent Garden Theatre, 
 August 29, 1872, as Wanda in ' Babil and Bijou.' She performed 
 at the Strand Theatre, for two seasons at Brighton, and afterwards 
 at the Criterion Theatre, at the latter of which she exhibited some 
 amusing qualities as Parker in 'The Great Divorce Case.'^ The 
 principal plays in which she has since appeared at the Criterion 
 Theatre are, ' Hot Water,' ' On Bail,' and ' The Pink Dominos.' At 
 the Crystal Palace she played the leading parts in some of the 
 pantomimes produced there, and also performed in several of the 
 plays presented there under the management of Mr. Charles Wynd- 
 ham. She was engaged by Miss Fanny Josephs for the Olympic, 
 and is now (October 1879) a member of the Gaiety Company. 
 
 BUCKSTONE, JOHN BALDWIN, was born at Hoxton, near 
 London, September 1802, and entered the dramatic profession in 
 the year 1821 as member of a travelling company of players, and 
 first appeared upon the stage at Wokingham, Berks. He made his 
 ddbut in the part of Gabriel in 'The Children of the Wood.' After- 
 wards he joined the " Faversham, Folkestone, and Hastings Cir- 
 cuit," and remained a member of that association for three years. 
 At the anniversary dinner of the Royal General Theatrical Fund in - 
 1855, Mr. Buckstone, in proposing the toast of the evening, gave 
 the following amusing account of his earlier struggles as an actor. 
 " I am enabled," said he, " truly to depict what performers endure, 
 because I was a country actor, and, amongst other vicissitudes, 
 once walked from Northampton to London — 72 miles — on i^^d. I 
 had a companion in the same plight, and on comparing our pecu- 
 niary resources we discovered ourselves masters of the sum oigd. — 
 4iif. each. As it may interest 5'ou, gentlemen, I will describe my 
 costume on that occasion, and how we got to London. My costume 
 consisted of a threadbare whity-blue coat, with tarnished metal 
 buttons, secured to the throat, because I wore underneath what we 
 term a flowered waistcoat, made of glazed chintz, and of a very 
 showy pattern, generally adopted when playing country boys and 
 singing comic songs, which at that time was my vocation. I»^vill 
 not attempt to describe my hat ; while my trousers must only be 
 delicately alluded to, as they were made of what was originally 
 white duck, but as they had been worn about six weeks, and having 
 myself been much in the fields, there was a refreshing tint of a 
 green and clay colour about them, which imparted to that portion 
 of my attire quite an agricultural appearance. I carried a small 
 bundle. I will not describe its entire contents, except that it held 
 
jJULJi STONE, JOHN BALDWIN. 67 
 
 a red wig and a pair of russet boots. Under my arm was a 
 portfolio, containing sketches from nature and some attempts 
 at love poetry ; while on my feet, to perform this distance of 72 
 miles, I wore a pair of dancing-pumps, tied up at the heels with 
 packthread. Thus equipped, I started with my companion from 
 Northampton, and before breakfast we accomplished 15 miles, 
 when we sat down to rest ourselves under a hedge by the roadside. 
 We felt very much disposed to partake of the meal I have alluded 
 to, but were rather puzzled how to provide it. Presently a cowboy 
 appeared, driving some lazy, zigzag-going cows, and carrying two 
 large tin cans containing skimmed milk. We purchased the con- 
 tents of one of the cans for one halfpenny. A cottage was close 
 at hand, where we applied for bread, and procured a very nice, 
 though rather stale, half-quartern home-baked loaf for one penny. 
 The cowboy sat by us on that roadside to wait for his can. The 
 cows seemed to regard us with a sleepy look of mingled pity and 
 indifference, while with the bottom crust of that loaf and three 
 pints of skimmed milk I assure you I enjoyed the roadside break- 
 fast of that summer morning more than I have enjoyed the sump- 
 tuous banquet of this evening. On the first day we walked 40 
 miles, in which my pumps and what they covered, as the Yankees 
 say, ' suffered some.' Our bed for the night was in one of those 
 wayside hostelries called ' a lodging-house for travellers,' for which 
 accommodation we disbursed twopence. Late in the evening of 
 the next day we completed the remaining 32 miles, and found 
 ourselves at the ' Mother Red Cap,' at Camden Town, with enough 
 in our pockets to procure half a pint of porter. Thus you see, 
 gentlemen, I have experienced some of the vicissitudes of a country 
 actor." Whilst strolling Mr. Buckstone made the acquaintance of 
 the late Edmund Kean, to whose encouragement he owed, in some 
 part, his early success as a comedian. His first appearance on the 
 London stage took place at the Surrey Theatre in' the year 1824, 
 in the part of Peter Smink in a play entitled ' The Armistice.' 
 Having shown considerable abihty in the line of low comedy at 
 that theatre Mr. Buckstone was offered various engagements in 
 London. He became connected with the company of the old 
 Adelphi Theatre in 1828, in the days of Frederick Yates and John 
 Reeve, and first appeared there as Bobby Trot in his own drama of 
 ' Luke the Labourer.' At this and a somewhat later period of his 
 career Mr. Buckstone devoted much of his time to writing and 
 adapting pieces for the stage, and especially for the Adelphi and 
 Haymarket Theatres. For the first-named he wrote two plays in 
 particular— ' The Green Bushes,' first performed at the Adelphi, 
 January 27,"! 845, and 'The Flowers of the Forest,' produced March 
 II, 1847 — which still remain important examples of popular English 
 melodrama. To these may be added a lengthy list of comedies, 
 dramas, and farces, some of which in their day attained consider- 
 able popularity. Among the number may be specially mentioned 
 a drama entitled ' The Wreck Ashore,' first performed at the last- 
 named theatre in October 1830. On the 5th of March, 1832, was 
 produced at the Adelphi a domestic drama entitled ' Forgery ; or, 
 
 F 2 
 
68 THE DRAMATIC LIST. 
 
 the Reading of the Will,' by J. B. Buckstone ; spoken of in 
 contemporary journals as " a good story with some powerful situa- 
 tions, well relieved by the broad comicalities of Mr. Buckstone." 
 In the year 1833 he produced at the same theatre a successful 
 three-act piece founded on Cooper's novel, ' The Bravo.' The same 
 year at the Haymarket he produced a drama entitled ' Ellen 
 Wareham '; the heroine acted by Mrs. Yates. Wednesday, July 17, 
 1833, he acted at the Haymarket in a piece by Douglas Jerrold— 
 then performed for the first time— entitled 'The Housekeeper ; or, 
 the White Rose,' described as " a love story, the hero and heroine 
 (Mr. F. Vining and Miss Taylor) being mixed up with a portion of 
 the poUtical intrigues of the early part of the reign of George the 
 First." Both Mr. Buckstone and Mr. Benjamin Webster were in 
 the original cast. 
 
 The following month Mr. Buckstone performed at the same theatre 
 with the late Mr. Charles Mathews, the younger, in one of many 
 plays written by that admirable comedian, entitled ' Pyramus 
 and Thisbe '; and in the following October in a piece from his own 
 mirth-provoking pen, entitled ' Uncle John.' Besides the author 
 himself, the elder Farren, Benjamin Webster, and Mrs. Glover 
 were in the cast. In the month of January 1834 was produced 
 " with complete success," at the Adelphi Theatre, a drama entitled 
 ' Thirty Years of a Woman's Life,' by J. B. Buckstone ; and the 
 same year at the Haymarket he produced the two following plays, 
 viz. ' Rural Felicity ' and ' Married Life.' In the latter Mr. Buck- 
 stone himself acted, together with Mrs. Faucit, Mrs. Glover, and 
 Mrs. Humby, and Messrs. Farren and F. Vining. In November 
 
 1834 Mr. Buckstone produced, at the Adelphi, a drama entitled 
 ' Agnes de Vere ; or, the Broken Heart,' adapted from the French, 
 in which he and Mrs. Keeley sustained the comic parts ; and the 
 following month, at the same theatre, a dramatization of ' The 
 Last Days of Pompeii.' Of this effort it is stated in a contemporary 
 journal, that " it was enthusiastically received, and will draw, no 
 doubt, plenty of money to the theatre." About this time Mr. 
 Buckstone was permanently enrolled a member of the company of 
 the Haymarket Theatre, as its principal low comedian, and con- 
 tinued to provide for that theatre farces " bearing the droll impress 
 of the broad Buckstonian stamp." In June 1835 he produced 
 there ' Good Husbands make Good Wives '; and in July 1835, 
 ' The Scholar,' an adaptation from the French. In November 
 
 1835 was performed for the first time, at the Adelphi Theatre, 
 ' The Dream at Sea,' an original three-act drama by J. B. Buckstone. 
 In January 1838 he produced two new farces in the same week; 
 viz., at the Olympic, ' Shocking Events,' and at Drary Lane, ' Our 
 Mary Anne.; In May 1838 was performed at the Haymarket, for 
 the first time, a clever little farce called ' The Irish Lion,' by J. B. 
 Buckstone—" a hit at the absurd fashion now prevalent of exhibiting 
 at soirhs and evening parties a literary Hon on all occasions." 
 
 In the year 1840 Mr. Buckstone fulfilled a farewell engagement 
 at the Haymarket Theatre, previous to visiting the United States 
 of America, whither he went in June of that year, and whence he 
 
BUCKSTONE, JOHN BALDWIN. 69 
 
 returned in the summer of the year 1842. His American tour was 
 but a partial success. 
 
 ■iir^i *^^i ^^y^^i'ket " Buckstone showed his comic phiz again on 
 Wednesday, after his long absence in America, and literally ' tipped 
 the wmk ' to the audience, who responded with a roar of laughter. 
 After playing Dove in his own grotesque piece, ' Married Life,' he 
 was called forward, and expressed, in a becoming and feeling 
 manner, his acknowledgments of the welcome." {Athencsum, 
 October 22, 1842.) 
 
 During the seasons 1842-3-4 Mr. Buckstone was playing at the 
 Haymarket in various French vaudeville pieces and dramas written 
 principally for Madame Celeste ; and in the latter year he played 
 Grumio in a revival of ' The Taming of the Shrew.' On June 18, 
 1844, the long anticipated prize comedy of Mrs. Gore, entitled 
 ' Quid pro Quo ; or, the Day of Dupes ' i^see Webster, Benjamin), 
 was produced at the Haymarket, Mr. Buckstone being in the 
 original cast. November 18, 1844, he played the "original" .5o(5, 
 first performance at the Haymarket of Dion Boucicault's play, 
 ' Old Heads and Young Hearts.' In September 1845 he played 
 the part oi Sir Peter Redwing, first performance at the Haymarket 
 " of an original comic drama by the author of ' Paul Pry.' " January 
 6, 1846, first performance of Benjamin Webster's dramatic version of 
 ' The Cricket on the Hearth,' he played the part of Tilly Slowboy ; 
 and, during the same year, Golightly, first performance of the 
 now well-known farce, ' Lend Me Five Shillings '; Dan, in a revival 
 of 'John Bull'; and Sir Andrew Aguecheek ("most effectively 
 played "), in a revival of ' Twelfth Night,' with the two Misses 
 Cushman as Viola and Olivia. 
 
 For many years the weight of the farces produced at the Hay- 
 market rested on the shoulders of Mr. Buckstone, and he was 
 constantly being received before the curtain and " greeted with 
 roars of laughter and shouts of applause." Thursday, February 4, 
 1847, he played The MacDunnicm of Dunnum, first performance 
 at this theatre of Dion Boucicault's comedy, ' A School for 
 Scheming.' After taking a farewell benefit at the Haymarket, 
 Wednesday, July 21, 1847, on which occasion he sustained the 
 part of Scrub in ' The Beaux' Stratagem ' (at that time one of Mr. 
 Buckstone's most famous impersonations), in the month of October 
 following he joined the company of the Lyceum Theatre, then 
 under the management of Madame Vestris and Mr. Charles 
 Mathews. Monday, Noveniber i, 1847, was produced there "an 
 amusing interlude" entitled ' Box and Cox,' by Mr. Morton, "with 
 the evident purpose of giving Mr. Buckstone and Mr. Harley some 
 special fun to enact." Tuesday, December 7, 1847, Mr. Buckstone 
 took a part, with all the eminent actors of the day, in the special 
 Shakespearian performances arranged for prpviding a fund for the 
 purchase of Shakespeare's house at Stratford-on-Avon. On that 
 occasion he played Speed (' Two Gentlemen of Verona,' act iii., 
 sc. i). In the season 1848-9 he had returned to the Haymarket 
 Theatre, and was there playing in the Shakespearian revivals 
 introduced during the temporary engagement of Mr. and Mrs. 
 
70 THE DRAMATIC LIST. 
 
 Charles Kean. Saturday, June 2, 1849, revival of ' Macbeth,' Mr. 
 Buckstone sustained the part of one of the Weird Sisters— be it 
 recorded, much to the amusement of the audience and to the no 
 little dismay of the principal performers concerned. Thursday, 
 July II, 1849, he produced at the Haymarket "one of the raciest 
 little dramas imaginable," under the title ' An Alarming Sacrifice,' 
 in which he himself performed the part of Bob Ticket. Tuesday, 
 October 30, 1849, '"'as performed for the first time at the Hay- 
 market ' The Serious Family,' adapted from the French ' Le Mari 
 k la Campagne,' in which Mr. Buckstone personated the character 
 oi Ammadab. Sleek with great success. 
 
 In January 1850 (Tuesday, the 15th), Mr. Buckstone produced 
 at the Haymarket a domestic drama, which was eminently success- 
 ful, entitled ' Leap Year.' In this play he himself acted, together with 
 Mr. and Mrs. Charles Kean. The same year he played (in April) 
 Moses, in Stirling Coyne's dramatic version of ' The Vicar of Wake- 
 field ' ; and (in May) Apple/ace, first performance of Douglas 
 Jerrold's comedy 'The Catspaw.' Saturday, February 12, 1853, 
 first performance at the Haymarket of Lord Lytton's play, ' Not So 
 Bad As We Seem,' Mr. Buckstone sustained the part of Shadowfy 
 Softhead. {See Webster, Benjamin.) " Mr. Buckstone abounded 
 in that rich and eccentric humour with which he usually vitalizes 
 absurdity, and which, in this instance, gave the effect of a full- 
 length portrait to a simple and meagre sketch." {Athenaum, 
 February 19, 1853.) In the year 1853 Mr. Buckstone entered 
 upon the lesseeship and management of the Theatre Royal, Hay- 
 market, on the retirement of Mr. Benjamin Webster, and from 
 that lime to the year 1876 devoted himself largely to managerial 
 duties. On Easter Monday, 1853, he opened the theatre with the 
 following company, viz. : Mr. Barry Sullivan, Mr. Compton, Mr. 
 Chippendale, 'Mr. Corri, Mr. Howe, Mr. Wm. Farren, junr., Mr. 
 Tilbury, Mr. Rogers, and Mr. Arthur Payne ; and Miss Reynolds, 
 Miss Louisa Howard, Mrs. Buckingham, Mrs. Poynter, Mrs. 
 Stanley, Miss A. Vernon, Miss E. Romer, Miss A. Vining, Mrs. 
 Caulfield, Miss E. Bromley, Miss Grace Leslie, and Miss Laidlaw. 
 The opening performances were ' The Rivals,' and a new and 
 original extravaganza by Planchd, entitled ' Buckstone's Ascent of 
 Mount Parnassus.' Mr. Buckstone expressed his intention of con- 
 fining the performances of the theatre as far as possible to comedy 
 and farce, which constituted its principal characteristics in former 
 periods. Saturday, May 20, 1854, in pursuance of this resolve, he 
 produced ' The Knights of the Round Table,' by J. R. Planchd 
 The piece had the advantage of admirable acting ; Mr. G. Vandenhoff 
 and Mr. Buckstone being selected for special praise. " Tom Tittler, 
 vi'ho combines the usually separate functions of ' funny man ' and 
 Deus ex machind, and who is in his latter capacity the natural foe 
 to the clever captain, is a most gallant little fellow in the hands of 
 Mr. Buckstone, and it should be observed that that grotesque style 
 which is so irresistibly droll in so many of the actor's comic parts 
 is here in a great measure suppressed. Mr. Buckstone crives us 
 a specimen of sound legitimate acting, in which the oddity of the 
 
BUCKSTONE, JOHN BALDWIN. 71 
 
 poor but valiant Tittler by no means obscures the chivalric founda- 
 tion of his character." {primes, May 22, 1855.) 
 
 Among noteworthy plays first performed at the Haymarket during 
 the period of nearly a quarter of a century Mr. Buckstone held the 
 reins of management, the following are entitled to mention, viz. 
 on Wednesday, July 8, 1857, a comedy entitled ' The Victims,' by 
 Mr. Tom Taylor; on Saturday, November 7, 1857, 'An Unequal 
 Match,' by Mr. Tom Taylor, in which Mr. Buckstone played the 
 part of Dr. Botcherby; on Saturday, April 2, 1859, a comedy by 
 Mr. Stirhng Coyne, entitled 'Everybody's Friend,' in which Mr. 
 Buckstone was the original Major Wellington de Boots; June 29, 
 1859, a comedy by Mr. Tom Taylor, entitled ' The Contested 
 Election,' in which Mr. Buckstone played Mr. Peckover ; on 
 Thursday, February 23, i860, ' The Overland Route,' by Mr. Tom 
 Taylor, in which Mr. Buckstone was the original Lovibond; on 
 Wednesday, May 9, i860, 'The Family Secret,' by Mr. Edmund 
 Falconer, Mr. Buckstone as Bubble; on Saturday, May 10, i860, 
 'The Babes in the Wood,' by Mr. Tom Taylor, Mr. Buckstone 
 performing the part of Beetle; Monday, April 22, 1861, a comedy 
 
 -entitled ' Black Sheep,' by Mr. Stirling Coyne, in which Mr. Buck- 
 stone played the character of Mr. Bunny ; on Monday, November 
 II, 1861, 'Our American Cousin,' a comedy- by Mr. Tom Taylor, 
 Mr. Buckstone as Asa Trenchard; on Monday, March 10, 1862, 
 ' The Wife's Portrait," by Dr. Westland Marston ; on Saturday, 
 November 14, 1863, a play entitled 'Silken Fetters,' by Mr. 
 Leicester Buckingham; on Saturday, April 30, 1864, 'David Gar- 
 rick,' by T. W. Robertson, in which Mr. Buckstone was the 
 original Squire Chevy; on Monday, June 13, 1864, 'Lord Dun- 
 dreary Married and Done For'; in May 1865, 'Brother Sam,' 
 in which Mr. Buckstone played Mr. Jonathan Rumbelow j on 
 Monday, April 2, 1866, Dr. Westland Marston's comedy 'The 
 Favourite of FortunCj' in which Mr. Buckstone sustained the part 
 of Tom Sutherland; on Saturday, March 14, 1868, ' A Hero of 
 Romance,' by Dr. Westland Marston, Mr. Buckstone playing Dr. 
 Lafltte; on Monday, October 25, 1869, 'New Men and Old Acres,' 
 by Mr. Tom Taylor, in which Mr. Buckstone was the original 
 Bunter; on Saturday, November 19, 1870, 'The Palace of Truth,' 
 by Mr. W. S. Gilbert; on Saturday, December 9, 1871, a comedy 
 entitled ' Pygmalion and Galatea,' by the same author ; on Satur- 
 day, January 4, 1873, ' The Wicked World,' by the same ; and on 
 Saturday, January 3, 1874, a play called ' Charity,' also by the 
 same author. 
 
 It may be said that Mr. Buckstone has played almost all the 
 principal low comfedy parts of the English Drama presented on the 
 London stage within living memory. His name will be inseparably 
 associated with some of the more amusing characters in the higher 
 range of old EngKsh comedy, such, for example, as Grumio, Speed, 
 
 ' Touchstone, Sir Andrew Aguecheek, Zekiel Homespun, Scrub, 
 Tony Lumpkin, and Bob Acres; and it may be added that the 
 varied attributes of those characters have invariably received at his 
 hand the happiest illustration. Since the year 1877 Mr. Buckstone 
 
72 THE DRAMATIC LIST. 
 
 has ceased to take any active part in the duties of his pro- 
 fession. In August 1879, through the generosity of Mr. J. S. 
 Clarlie, lessee of the Haymarket Theatre, a series of five benefit 
 performances were arranged at that house as a testimonial to Mr. 
 Buckstone. [Mr. Buckstone died on October 31, 1879, while this 
 edition was passing through the Press.] 
 
 BUCKSTONE, JOHN COPELAND, son of the above-named 
 J. B. Buckstone, was born December 9, 1858. He made his first 
 appearance on the stage at the Gaiety Theatre, Dublin, April \-], 
 1876, when a menjber of Mr. and Mrs. Chippendale's company, as 
 Bertie Fitzurse in ' New Men and Old Acres.' During two pro- 
 vincial tours with the same company he played walking gentleman 
 parts in old and modern comedy. His jiext engagement was with 
 Edward Terry, when he played Arthur Medwyn in Byron's 'Weak 
 Woman,' Frank Hardy, &c., at the Aquarium Theatre, West- 
 minster, and in the country. On June 11, 1877, he accompanied 
 his father on his farewell tour ; and on September 20 of the same 
 year sailed for India with Mr. George Anderson's company, where 
 he played a five months' season at the Corinthian Theatre, Cal- 
 cutta, appearing during that time in several well-known characters. 
 On his return to England he accompanied Mr. Chippendale on 
 his farewell tour, commencing at Birmingham, September 2, 1878, 
 and playing Master Trueworth, Charles Courtly, Sir Benjamin 
 Backbite, Sir Charles Cropland, &c. On his return to town he 
 was engaged by Mrs. Bernard-Beere for her series of matinees 
 at the Olympic Theatre, commencing January 25, 1879. After 
 playing for a short time at the Folly Theatre, he was engaged by 
 Mr. J. S. Clarke to sustain the part of Henry Moreland in ' The 
 Heir-at-Law ' during its run at the Haymarket Theatre, commenc- 
 ing August 25, 1879. Mr. J. C. Buckstone has also played at various 
 times at the Alexandra and Crystal Palaces Young Marlow in ' She 
 Stoops to Conquer,' the Hon. Augustus Adolphus in 'Extremes,' 
 and in other parts. 
 
 BUCKSTONE, LUCY ISABELLA, daughter of the above- 
 named J. B. Buckstone, was born in 1859. She made her first 
 appearance on any stage at the Croydon Theatre as Gertrude in 
 ' The Little Treasure,' and afterwards accompanied her father and 
 Mr. Sothern on a provincial tour, appearing at the Theatre Royal, 
 Dublin, in the following characters, viz. Florence Trenchard in 
 ' Our American Cousin '; Lucy Dorrison in ' Home '; and Ada 
 Ingot in ' David Garrick,' in which part she made her debut at 
 the Haymarket Theatre, on December 26, 1875. Miss Buckstone 
 subsequently accepted an engagement at the Lyceum Theatre, 
 where she played Annette in ' The Bells,' and, in a revival of 
 ' The Belle's Stratagem' in June 1876, the part of Lady F. Touch- 
 wood. During the same year she appeared at the Prince of Wales's 
 Theatre as Lucy Orniond in 'Peril.' On January 6, 1879, at St. 
 James's, Piccadilly, INliss Buckstone was married to Mr. H. E. 
 Smithes. 
 
SUFTON, ELEANOR. 73 
 
 BUFTON, ELEANOR (Mrs. Arthur Swanborough), was 
 born in Wales in 1840. She became connected with the stage at a 
 very early age, and made her professional dSut at Edinburgh as the 
 Servant in ' The Clandestine Marriage.' Shortly afterwards Miss 
 Bufton came to London, and made her first appearance on the 
 metropolitan boards at the St. James's Theatre. Subsequently she 
 became a member of the company of the Princess's Theatre, under 
 Mr. Charles Kean's management, and appeared in various Shake- 
 spearian plays produced there by that distinguished actor. In 
 A Journal of a London Playgoer, Henry Morley, p. 156, appears the 
 following entry: — "October 25, 1856. — The beautiful mounting of 
 the ' Midsummer Night's Dream ' at the Princess's Theatre attracts, 
 and will attract for a long time, crowded houses. The words of 
 the play are spoken agreeably, some of the sweetest passages 
 charmingly, and much of Shakespeare's delicate pleasantry is made 
 to tell with good effect upon its hearers. The ' Midsummer Night's 
 Dream' is full of passages that have only to be reasonably well 
 uttered to be enjoyed even by the dull; and with so fair a Hermia 
 as Miss Bufton, so whimsical a Bottom as Mr. Harley, who seems 
 to have no particular conception of the part, but, nevertheless, 
 makes it highly amusing — with a generally good delivery of words 
 and songs — the play speaks for itself in a great measure." 
 
 On Wednesday, July i, 1857, Miss Bufton played, at the Prin- 
 cess's Theatre, the part of Ferdinand— ^e first time this character 
 had ever been played on the London stage by a woman — in a 
 grand revival of ' The Tempest.' From the Princess's Miss Bufton 
 went to the Strand Theatre, where she was for along period one 
 of its leading and most popular actresses, appearing there in many 
 original parts in the numerous comedies and burlesques produced 
 under Mr. W. H. Swanborough's management. Among plays in 
 which Miss Bufton especially distinguished herself, the following 
 may be mentioned, viz. ' Christmas Boxes ' (Sutherland Edwards 
 and Augustus Mayhew), produced at the Strand in January i860 ; 
 'Observation and Flirtation' (Horace Wigan), produced in July of 
 the same year ; ' The Post Boy ' (Craven), first performed October 3 1 
 of the san-ie year; 'The Old Story' (H. J. Byron) ; and 'The 
 Idle 'Prentice' (Farnie). On Wednesday, April 4, 1866, at the St. 
 James's Theatre, Miss Bufton appeared as Hero, in a revival of 
 'Much Ado About Nothing'; and at the same theatre, in the 
 following month (May 1866), she appeared as Julia, in a revival 
 of ' The Rivals.' In the year following, on Saturday, February 9, 
 at the same theatre, she sustained the part of Sophia in a revival of 
 'The Road to Ruin.' On Saturday, February 5, 1870, at the 
 Strand Theatre, in a revival of the younger Colman's comedy of 
 ' The Heir-at-Law,' she played Cicely Homespun. On Wednesday, 
 January 25, 1871, on the occasion of the opening of the Royal 
 Court Theatre, Sloane Square, London, Miss Bufton played the 
 part of Miss Flamboys in the first performance of W. S. Gilbert's 
 comedy entitled ' Randall's Thumb ' ; and at the same theatre, m 
 May 1871, first performance of a dramatic version of Mr. Charles 
 Dickens's ' Great Expectations,' she sustained the character of 
 
74 1 THE DRAMA TIC LIST. 
 
 Estella. Shortly after the termination of her engagement at the 
 Court Theatre, Miss -Bufton had the misfortune to Bieet with a 
 severe railway accident, which incapacitated her from foUowmg her 
 profession for two years. Since 1876 she has appeared only at 
 intervals on the London stage ; in 1879, however, she was engaged 
 at the Lyceum Theatre, under Mr. Henry Irving's management, 
 appearing in a comedietta entitled ' Book the Third, Chapter the 
 First.' 
 
 BURNETT, MRS. See LEE, JENNIE. 
 
 BURNETTE, AMY, was born in London. Her first engage- 
 ment of importance was fulfilled in 1871 with Miss Thome's so- 
 caUed ' Palace of Truth ' company. Previous to this she had played 
 minor characters at some of the London theatres, viz. the Adelphi, 
 Olympic, and Holborn. In the autumn of 1871 Miss Burnette 
 joined Mr. Rice's company at the Theatre Royal, Bradford, and 
 played the parts of Ajny Robsart, Esmeralda, &c. On March 4, 
 1872, she was specially engaged by Mr. L. J. Sefton to perform the 
 character of Cynisca (^ VygrasMoxi and Galatea'), and remained a 
 member of his company until 1874. After fulfilling engagements at 
 Cheltenham and Liverpool, and again with Mr. Sefton's company, 
 in October 187; Miss Burnette joined the company of the New 
 Theatre Royal, Bristol, under Mr. Chute's jiianagement. She re- 
 mained at that theatre until 1876, and subsequently entered upon an 
 engagement at the Theatre Royal, Birmingham, where during the 
 season she appeared with success in the following leading characters, 
 viz. Lady Macbeth, Ophelia, Desdemona, Mrs. Haller, Pauline, 
 Clara Douglas, &c. Miss Burnette travelled on tour in the spring 
 of 1877, playing Claire Ffolliott in ' Shaughraun'; and in June of 
 the same year joined Miss Lee's so-called ' Jo ' company, being 
 specially engaged for the part of Lady Dedlock. Since 1877 Miss 
 Burnette has fulfilled engagenrents in London and Liverpool. 
 
 BURVILLE, ALICE, first attracted notice as a«singer in an 
 operetta by Supp<J, at the Theatre Royal, Drury Lane, December 3, 
 1874. In 1875 she performed at the Charing Cross Theatre in 
 ' Dagobert,' and afterwards at the Criterion Theatre in ' Fleur de 
 Thd,' taking the title role. Previous to going on a tour in the 
 provinces she sang in operetta at the Gaiety Theatre. Returning 
 to London, she appeared in ' Der Flcdermaus,' and in ' Orphde 
 aux Enfers' at the Alhambra Theatre; and after a short tour 
 m America with Miss Lydia Thompson, took the character of 
 GSnivtive de Brabant in Offenbach's opera at the Philharmonic 
 Theatre m January 1878. Miss Burville succeeded Miss How- 
 son, the original Josephine in ' H.M.S. Pinafore,' at the Opdra 
 Comique. *^ 
 
 BUTLER, MRS. FANNY. .S^^?^ Kemble, Frances Ann. 
 
BYRON, HENRY JAMES. 75 
 
 BYRON, HENRY JAMES, son of Henry Byron, Esq., of her 
 Majesty's Consular Service, was born in 1834. He had gained 
 reputation as a dramatist long previous to his appearance on the 
 stage as an actor. His merits in the first direction are, perhaps, 
 fairly summed up in the following criticism : — " Of our younger 
 dramatists Mr. Byron is the one to whom we should most readily 
 turn in expectation of receiving a contribution to genuine comedy. 
 He is destitute of invention, a deficiency he shares in common 
 with «very English dramatist of the last fifty years. He has wit, 
 however, dramatic perception, a certain power of character painting, 
 and a talent, quite unrivalled in England, of turning to fresh 
 account well-used materials. His defects are want of patience, and 
 an irresistible tendency to wander from the course he has chalked 
 out. Let him bestow upon one work the labour he now spends 
 over three, and let him restrain a vagrant fancy, and he might yet 
 give us good works Better still, perhaps, would it be for him to 
 associate himself with a collaborateur, whose steady pace would 
 check his erratic movements, and whose invention might strengthen 
 the singularly weak fabric of his plays." {Athenceum, No. 2362, 
 p. 156, Feb. I, 1873.) Mr. H. J. Byron's reputation as an actor rests 
 on his impersonation of -the part of Sir Simon Simple in his own 
 drama '-Not Such a Fool as He Looks,' in which he first appeared 
 on the London stage, at the Globe Theatre, Saturday, October 23, 
 1869. Although not an event without precedent, the announcement 
 that a well-known dramatic author would perform at a London 
 theatre -the principal part in a play of his own writing was remark- 
 able enough to draw a crowded audience to the theatre. The 
 drama, which had been performed for some months in provincial 
 cities, was entirely new to London. With regard to Mr. Byron 
 himself,- although he had once or twice taken a part in amateur 
 performances in London, and had sustained in Manchester and 
 Liverpool the same character of Sir Simon Simple, he, too, 
 was entirely unknown on London boards. Such a combination 
 of novel circumstances constituted a dramatic event, and suffi- 
 ciently explained the enthusiasm with which the audience of the 
 Globe greeted the rising of the curtain. Said the Daily News 
 (October 25, 1869) :" Mr, Byron's performance certainly needs 
 no apology on the ground of inexperience in the actor. Though a 
 little- weak in its effect in -the first act, it rose in the second to a 
 high degree of dramatic art. Nothing could be better than his 
 struggle between the desire to maintain a dutiful regard for his 
 new-found mother and his horror of her vulgarity and hypocrisy ; 
 nor would it be easy to name an actor who could render w^ith more 
 dramatic power the situations in which he makes the audience feel 
 that Sir Simon is, after all, ' not such a fool as he looks.' The 
 scene-in which he defies Murgatroyd, and breaks across his knee 
 the stick with which the bill-discounter has threatened him, is an 
 example."' ' Not Such a Fool as He Looks,' although in three acts, 
 is a drama essentially farcical in structure (according to the Daily 
 Telegraph of the date last quoted), making no pretension what- 
 
76 THE DRAMA TIC LIST. 
 
 ever to engage the attention by working out an intelligible story. 
 The sole object of the author seems to have been the contrivance 
 of situations which shall excite mirth by a whimsical defiance of 
 the laws of probability. An improbable plot is so treated that the 
 impossibility of anything taking place in the manner indicated 
 merely increases the enjoyment of the spectator as the play 
 proceeds ; and it is only because the absurdities of position are 
 not heightened at the end that a slight feeling of disappointment 
 is felt when the curtain falls. " The hero of ' Not Such a Fool as 
 He Looks ' has his attributes foreshadowed in the title of the 
 drama. His peculiarities, defined very clearly by Mr. Byron as 
 the author, are depicted very cleverly by Mr. Byron as the actor. 
 Sir Simon is a fair-haired young gentleman, quick in perceiving 
 the right thing to do, but so slow in finding the right thing to say 
 that he has come to be regarded as a simpleton. He wears an eye- 
 glass through weakness of vision, not for foppery, and his languid 
 manner and drawling tone are both plainly referable to his tardi- 
 ness of apprehension and not to his love of affectation. He is a 
 slow talker because he is a slow thinker, and the sound and the 
 sense of words get so confused in his speech that he makes, un- 
 consciously, the most desperate puns in the most deliberate manner. 
 This apparent stolidity is, however, but the veil thrown over a truly 
 
 generous nature The ability of Mr. Byron to give this 
 
 character the fullest expression was quickly recognized by the 
 audience, and in the repeated recalls and the protracted plaudits at 
 the end of the piece, the best assurance was afforded of the double 
 triumph gained." Mr. Byron represented the character of Sir 
 Simon Simple again in the following year (February 1870) at the 
 Adelphi Theatre in a revival of the play. 
 
 On March 23, 1870, at the Adelphi, first performance of his four- 
 act drama entitled ' The Prompter's Box,' Mr. Byron sustained the 
 leading r6le^ Fitzaltamont, an unfortunate provincial comedian, 
 who is always bewailing his own miseries with the most ludicrous 
 sorrow, and who, having long been an object of universal pity, 
 astonishes the world by becoming, when heroism is required, a hero. 
 The character was original in conception, and Mr. Byron's acting 
 in it was considered the best histrionic representation he had yet 
 given. 
 
 Two years later, in October 1872, at the Strand Theatre, Mr. 
 Byron played the same part in the same piece, slightly altered, and 
 with the changed title ' Two Stars ; or, the Footlights and the 
 Fireside.' In January 1873 he produced a new three-act comic 
 drama, entitled ' Old Soldiers,' at the Strand Theatre, in which 
 he sustained the part of Lionel Leveret with decided success, the 
 ingenious author having once more fitted himself with one of those 
 peculiar characters whom it had lately been his study to create and 
 elaborate. Lionel Leveret is a young country gentleman, resident 
 in Devonshire, who having a reputation for dullness and indecision, 
 is therefore the object of the attack of the " old soldiers," but who, 
 like his predecessor. Sir Simon Simple, is not such a fool as he 
 looks. Mr. Byron acted with admirable repose, delivering smart 
 
BYRON, HENRY JAMES. 77 
 
 repartees with a quiet, unconscious air which, contributing to their 
 effectiveness, softened sometimes their rudeness and occasionally 
 helped to atone for their extravagance. 
 
 On Saturday, March 2:, 1874, Mr. Byron produced his coniedy, 
 ' An American Lady,' at the Criterion Theatre, Piccadilly, on the 
 occasion of its first opening, and played the part of Harold 
 Trivass. On Saturday, October 2, 1875, his comedy, 'Married in 
 Haste,' was performed for the first time at the Theatre Royal, Hay- 
 market, Mr. Byron himself sustaining the part of Gibson Greene. 
 Concerning this play the Daily News (October 4, 1875) indulged in 
 the following reflections : — 
 
 " The story of Mr. Byron's comedy, it must be confessed, is not 
 remarkable for originality or for dramatic qualities of a robust kind. 
 It is, in fact, only the old theme of a young couple who part on a 
 misunderstanding, or at least upon very slender grounds, and who 
 are subsequently brought together again by rather obvious devices. 
 How often this notion has served the dramatist's turn, or even how 
 many times Mr. Byron himself has in this way involved hero and 
 heroine in troubles too manifestly predestined to be only of a tem- 
 porary nature to excite serious apprehensions in the breast of the 
 spectator, it would be hard to tell. But it is now rather late in the 
 day to expect from Mr. Byron either boldness of design or vigorous 
 handling of old elements of dramatic story-telling. Strictly speak- 
 ing, there is in his pieces scarcely any construction at all. His 
 scenes are clever ; his characters, though not profoundly conceived, 
 are sketched with true humour, and some observation of life, and 
 no one who is in the habit of going to theatres need be told that 
 his dialogue is a perpetual feast of entertainment. But of the art 
 of laying out a story and of giving to its parts that ^coherence and 
 inter-dependence which are the secret of the success of so many 
 plays, not remarkable for other qualities, he has hitherto exhibited 
 scarcely a token. From the title of ' Married in Haste,' it may be 
 inferred that the author's original notion was to show in action the 
 truth of the proverb that those who join hands for life without due 
 reflection are destined to long repentance ; but his first act provides 
 no basis for a moral of this kind. His hero is not only a very well- 
 favoured, but a very honourable, indeed a chivalrous, young gentle- 
 man. ... In brief, Mr. Byron's incidents, instead of standing to 
 the foundation of his story in the relation of effect to cause, are 
 more like a series of ' happy thoughts ' by which, while invention 
 holds, his piece might be continued through as many acts as the 
 patience of audiences would allow. Meanwhile, what is presumably 
 the fundamental notion of the piece is allowed to evaporate ; and 
 finally, instead of showing how those who ' marry in haste ' are 
 doomed to ' repent at leisure,' Mr. Byron enforces no moral at all, 
 unless it be that a hasty marriage ought not to be repented of in a 
 hurry. 
 
 " We have thought it worth while, in the interest of dramatic art, 
 to offer these observations upon Mr. Byron's plots generally ; but 
 it is really ungracious to make complaint of a gentleman who 
 is able to amuse us by so many legitimate ways. Following his 
 
78 THE DRAMATIC LIST. 
 
 established fashion, he has imagined for himself a character which, 
 though only loosely connected with the story, is never without 
 reasonable excuse for presenting himself and saying those clever ' 
 things which, in or out of season, rarely in Mr. Byron's mouth miss 
 their effect. Mr. Gibson Greene is the latest name of this not unwel- 
 come intruder. His hair, since we met him first, has become 
 slightly dashed with grey ; he is described as ' a mature man about 
 town,' and he is, on this occasion, not a mere visitor or hanger-on, 
 but a gentleman, who, by his kind-hearted devices and his ready 
 wit, renders substantial aid to the hero and heroine, and thus may 
 be said to keep the story always in his own hands. But it is as 
 impossible to fail in recognizing him as to be blind to the fact that 
 the real cause of his frequent appearance is his irresistible passion 
 for saying good things. In point of acting there is little to say for 
 these personages ; Mr. Byron has never acquired either perfect ease 
 on the stage, nor that variety of tone, movement, and expression 
 which are the triumph of the finished actor. But then he rarely 
 takes to himself a part connected with the serious action of his 
 pieces, and he is apparently ambitious of success chiefly in the art 
 of quietly dropping those witty and whimsical observations in the 
 invention of which his powers have certainly undergone no dete- 
 rioration." 
 
 On Monday, September i6, 1878, in a comedy-drama from 
 his own pen, entitled ' Conscience Money,' then first performed at 
 the Hay market Theatre, he acted the part of Dick Simpson, "a. 
 character such as he has frequently presented." This play proved 
 unattractive. 
 
 In a record of Mr. Byron's dramatic services extending to the 
 present time {1879), although that record does not profess to take 
 account either of his innumerable contributions to periodical and 
 dramatic literature or of his services as a dramatic author, it seems 
 only proper that note should be made of the extraordinary success 
 attained by his comedy, ' Our Boys.' That play was originally pro- 
 duced at the Vaudeville Theatre, London, on Saturday, January 16, 
 1875, and its last performance took place at the same theatre on 
 Friday, April 18, 1879 — an unbroken "run" in the metropolis of 
 over four years and a quarter. It has been played by a travelling 
 company of comedians for over 1200 nights, and is still (June 1879) 
 being played by the same company in the provinces. It has been 
 successfully produced in the principal American and colonial cities 
 and towns, and has been adapted or translated and played in 
 Norway, Denmark, Switzerland, Holland, Bavaria, and France. 
 Such a career is unparalleled in the history of the drama. 
 
CHl^tlAI^M, S'lANISLAUS. 79 
 
 CALHAEM, STANISLAUS, became early connected with the 
 stage, having in his fifth year played the part of Young Norval at 
 the Queen's Theatre, Liverpool. During the ensuing seven years 
 young Calhaem, under the sobriquet of the " Infant Roscius," per- 
 formed the parts of Hamlet, Shylock, Richard III., Rolla, Sir 
 Giles Overreach, in various parts of the country. He then left the 
 dramatic profession for a time, but in August 1846 rejoined it, 
 appearing at the Liver Theatre, Liverpool, under Mr. C. F, Mar- 
 shall's management, as Hamlet, in a drama by C. H, Somerset 
 entitled ' Garrick, the King's Jester ; or, the Early Days of Hamlet.' 
 Thence Mr. Calhaem went to Belfast, Carlisle, &c., and was for 
 some time a member of the York Circuit and of Samuel Roxby's 
 company. From 1853 to 1855 he was stage-manager and principal 
 comedian of the T. R. Sheffield, during which period was produced 
 , there ' Slavery,' a successful stage version of ' Uncle Tom's Cabin,' 
 in which Mr. Calhaem personated the triple parts Sam (a nigger), 
 Phineas Fletcher, and St. Clair. At the opening of the " Queen's 
 Theatre and Opera House," Edinburgh, under Mr. Black's manage- 
 ment, in December 1855, he performed the rdle of St. Lo in ' Love's 
 Sacrifice.' Mr. Calhaem made his dibut on the London stage at 
 the Lyceum Theatre, under Charles Dillon's management, Septem- 
 ber IS, 1856, as Leontes in the burlesque of ' Perdita,' and con- 
 tinued a member of the Lyceum company for two seasons, appearing 
 chiefly in burlesque and farce. During a subsequent engagement 
 at the same theatre, commencing Easter Monday, i860, Mr. 
 Calhaem acted the character of Morgiana in the " Savage Club " 
 burlesque of ' The Forty Thieves.' In the two following years he 
 was stage-manager to Mrs. E. Glover at the Prince's Theatre, 
 Glasgow, and T. R. Greenock, and subsequently, in 1862-3-4, was 
 acting on the metropolitan stage, at Drury Lane and Astley's. 
 
 In 1864 Mr. Charles Reade's drama ' It's Never Too Late to 
 Mend ' was first performed at Leeds Theatre Royal, Mr. Calhaem 
 appearing in the original cast as Jacky. On October 4, 1865, the 
 play was produced in London at the Princess's Theatre, under Mr. 
 Vining's management, Mr. Calhaem being selected to sustain the 
 same character. It was generally admitted that his was the most 
 remarkable performance in the play. " We have seldom seen," re- 
 marked the Times, October 5, 1865, "a more sterling piece of 
 acting, or a piece in which the talent of the actor so completely 
 fleshed and clothed the author's skeleton idea. Jacky is one of 
 those embodiments which are sufficient to make the reputation of 
 any actor, and Mr. Calhaem's performance will be talked about for 
 some time to come." It was the marked success of the evening; 
 and it would hardly be an injustice to the distinguished author of 
 the drama to say that the ability displayed by Mr. Calhaem con- 
 
So THE DRAMATIC LIST. 
 
 duced in no slight degree to the success of ' Never Too Late to 
 Mend ' on the occasion of its first representation in London. Pro- 
 bably no play met with a more equivocal reception than did Mr. 
 Reade's on the first night of its performance at the Princess's 
 Theatre. A considerable section of the audience denounced the 
 second part of the drama (" Prison Life ") in the strongest possible 
 manner. Not only were loud cries of " Shame, shame," " Off, off," 
 "Disgusting," "Degrading," and "Disgraceful" made use of; 
 but several gentlemen got up in the stalls and called upon Mr. 
 Vining to come forward and apologize for introducing such scenes 
 upon the stage.* The expression and contest of opinion ultimately 
 became so strong that the performance was for a time suspended ; 
 and Mr. Vining came forward, and, having with difficulty obtained 
 a hearing, declared that he had produced the play " on a high 
 principle, coinciding, we {Morning Advertiser) presume, with Mr. 
 Reade's notions as to the treatment of criminals. An altercation 
 thereupon took place, and we are free to confess that we ourselves 
 denounced the introduction of so complex a question as prison 
 discipline into a melodrama, especially backed up as it is by such 
 dismal and revolting representations of horrors. The unnecessary 
 introduction of a clergyman into the piece, and of the most serious 
 discussions as to religion and morality, also added to the disgust 
 which many of the audience felt."t This interruption served as a 
 test, after all, of the powerful attraction of the piece, inasmuch as 
 the succeeding act entirely restored the equanimity of the audience, 
 and the curtain fell, at length, "to the most warm and decided 
 testimonies of success." In this, the third act, Jacky (Mr. Calhaem) 
 " gave one of the most perfect examples ever seen of a peculiar 
 class of acting." 
 
 During Mr. Calhaem's engagement at the Princess's Theatre he 
 played, November 12, 1866, Sinioti Tappertit in a version of 
 ' Barnaby Rudge ' (Watts Phillips and Vining), which was un- 
 successful. In the last season of Mr. Fechter's management of the 
 Lyceum Theatre, Mr. Calhaem became a member of his company, 
 and played Glavis in ' The Lady of Lyons,' in succession to Mr. H. 
 Widdicombe, who was a very excellent " low comedian " in his day. 
 Subsequently Mr. Calhaem joined Mr. John Coleman on the York 
 " Circuit,'' and played Jacky in the provinces. In 1871 he joined 
 the company of the T. R. Adelphi, and appeared as Solomon in 
 'The Hidden Treasure'; in 1872-3-4 he was at the Princess's, and 
 played in ' Haunted Houses,' H. J. Byron ; ' Griselda,' Miss 
 Braddon ; ' Puss in Boots,' R. Reece ; ' Mary Stuart,' W. G. Wills. 
 On September 28, 1874, he "reopened" at the Adelphi Theatre as 
 Ezekiel Homespun, after which date he was connected with the 
 
 * Standard, October 5, 1865. See also Daily Telegraph of same date ; 
 Tinus (ibid) ; Weekly Dispatch, October 7, 1865. 
 
 t Morning Advertiser, October 5, 1865. See also Sunday Times, 
 October 8, 1865. " The nauseous second act of Mr. Charles Reade's new 
 <kama ' It's Never Too Late to Mend ' was freed from a few of its most 
 intensely revolting features last evening, when the piece was played for a 
 second time." — Morning Star, October 6,- 1865. 
 
CAMERON, VIOLET. 8i 
 
 Adelphi, Princess's, and Drury Lane Theatres under Mr. Chat- 
 terton's management. On December 36, 1878, in a revival at the 
 Princess's Theatre of ' Never Too Late to Mend,' Mr. Calhaem 
 played his " original " part of Jacky, " with the familiar effect, and 
 acted with a quiet humour and a degree of unaffected pathos that 
 could not easily be surpassed." 
 
 CALTHROP, JOHN ALFRED CLAYTON. See CLAYTON, 
 John. 
 
 CAMERON, VIOLET, an actress who has fair claim to the 
 distinction of " prima donna " in comic opera and burlesque, first 
 appeared on the stage Easter, 1870, at the Princess's Theatre, 
 London, in the character of Karl in ' Faust and Marguerite.' 
 She played as a child in pantomime at Drury Lane and the Adelphi 
 Theatres 1 871-1874; and in 1875 was acting at the Globe Theatre. 
 At the Criterion Theatre in February of the following year 
 " created " the r6le of Joconde in Farnie's burlesque of ' Piff-Paff.' 
 In September of the same year, at Alexandra Theatre, Liverpool, 
 Miss Cameron acted the part of Perdita in 'A Winter's Tale' 
 with gracefulness, intelligence, and feeling. From 1876 to 1878 
 she was engaged at the Folly Theatre, playing in burlesque and 
 comic opera, as to which the following will suffice as examples : 
 ' Robinson Crusoe ' (Farnie), as Polly Hopkins; ' Sea Nymphs ' 
 (Lecocq), Pearlina; ' La Creole ' (Offenbach), Antoinette j ' Les 
 Cloches de Corneville ' (Planquette), Germaine : this latter character 
 Miss Cameron performed with more than ordinary excellence. 
 "The young actress sang charmingly, and acted with a delicacy and 
 grace very rarely found in the heroine of a comic opera" {Standard, 
 February 1878). In the same year (October) she acted in ' Nemesis ' 
 (Farnie) at the Strand Theatre ; and in .^pril 1879 at the same 
 theatre sustained the rSle of Suzamie, first performance there of 
 'Madame Favart' (Offenbach). 
 
 CARTER-EDWARDS, JAMES (EDWARDS, jAMES), was born 
 at Birmingham, and claims descent on his father's side " from ' Old 
 Edwards,' Keeper of the Crown Jewels at the time of Colonel 
 Blood's attempt to steal them." He first appeared on the stage 
 September 17, 1859, at the Garrick Theatre, under the management 
 of his brother George Henry Edwards, as Leonardo Gonzago in 
 'The Wife.' In July 1861 he adopted the stage as a profession, 
 accepting an engagement at the Queen's Theatre, Hull. During 
 his first season Mr. Carter-Edwards acted with Mr. and Mrs. 
 Charles Kean, who were passing through the town on a starring 
 tour. Subsequently he went to Aberdeen, and remained there for 
 four years under McNeill's management, and "acquired a very high 
 reputation there, chiefly in heavy parts, and was a great favourite." 
 Was for two years under George Hodson, the Irish comedian, and 
 during this engagement played Shylock to Miss A. Sedgwick's 
 
 G 
 
83 THE DRAMATIC LIST. 
 
 Portia." Mr. Edwards was for a short season at the Theatre 
 Royal, Birmingham (where he acted with Miss Helen Faucit), 
 and afterwards joined Mr. Coleman's company at Theatre Royal, 
 Hull, and New Theatre, Leeds, 'Hamlet' being the "opening" 
 play, in which Mr. Edwards acted the Ghost. At the latter theatre 
 Charles Reade's dramas ' Fovd Play' and 'Put Yourself in His 
 Place' were first produced (1868-70). In the first-named Mr. 
 Edwards was the "original" Arthur Wardlaw, in the last-men- 
 tioned the original Mr. Coventry. He then " went to Edinburgh 
 Theatre Royal for 'leading business,' and played there original 
 parts in the Scott Centenary plays — Fergus Mclver, Balfour of 
 Burley, and Varney — also as Rashleigh in ' Rob Roy.' Remained 
 at this theatre over two years, and made a capital reputation as a 
 Scotch and English reader at St. George's Hall." In 1873 he was 
 engaged by the late Mdlle. Beatrice for her company of comedians, 
 of which Mr. Carter- Edwards still (July 1879) remains a member. 
 During his long connection with Mdlle. Beatrice's company he has 
 played the following among other "original" parts with success, 
 viz. Arthur Lejardie in the Enghsh version of 'The Sphinx'; 
 John Jasper in ' John Jasper's Wife ' ; Appiaiii in ' A Woman of 
 the People '; Sir Harold Penireath in ' Married, not Mated.' 
 
 CARTON, R. C. (a no77t de theatre; RICHARD CLAUDE Crit- 
 CHETT). Born in London, and made his first appearance on any 
 stage at the New Theatre Royal, Bristol, Monday, March 29, 1875, 
 as George de Laval in 'The Sea of Ice.' On June 19, 1875, he 
 made his dtlbut on the London stage at the Lyceum Theatre in 
 the character of Osric, in a revival of ' Hamlet ' by Mr. Ii-ving, 
 and afterwards, during the same year, accepted an engagement 
 under Mr. Sefton Parry's management at the Theatre Royal, Hull. 
 Returning to London he reappeared at the Lyceum as Osri'c, and 
 subsequently as Courtenay, first performance of Tennyson's ' Queen 
 Mary.' In the summer of 1876 Mr. Carton appeared at the "Alex- 
 andra Theatre, Liverpool, to support Mr. G. H. Brooke, and played 
 a round of characters in the Shakespearian drama, and in the 
 autumn of the same year accompanied Mr. Irving on his first pro- 
 vincial ' Hamlet ' tour. In July 1877, at the Amphitheatre, Liver- 
 pool, he created the part of the Rev. Alfred Lonsdale in the 
 drama of ' Liz,' and " opened " in this character on the production 
 of the play in London. In November 1877 Mr. Carton accepted 
 an engagement at the Royal Aquarium Theatre, and played Sir 
 Benjamin Backbite in ' The School for Scandal ' for a run of six 
 
 * " My first really great success was here. I played Shylock to Mi-:s 
 Sedgwick's Portia, and the night is well remembered by me for the 
 startling success I made ; indeed, I seemed to have been like one of those 
 who had suddenly woke up to find myself famous. I played the who]e 
 leading business during this engagement, and was stage-manager during 
 the second year, acting with James Anderson, Neil Warner, Miss A. 
 Sedgwick, Belle Boyd (' The Confederate Heroine'), Mrs. G. V. Brooke 
 (Avonia Jones), Menken, H. Talbot, Charles Harrison, the Keans, and 
 Toole." — Letter from Mr. Carter- Edwards to the Editor. 
 
CATHCART, MAUD. 83 
 
 weeks. In February 1878 he appeared at the Court Theatre in 
 ' New Men and Old Acres ' ; and in April following played the 
 part of Johiiiiy Fosbrooke, first. performance of ' Such is the Law' 
 (Taylor and Meritt) at St. James's Theatre. He remained a 
 member of the company of the same theatre until the end of the 
 season, and for the following (the winter) season, 1878, was engaged 
 by Mr, Henderson. 
 
 CATHCART, MAUD, daughter of the under-mentioned Rowley 
 Cathcart, entered the dramatic profession at the Royal Court 
 Theatre March 30, 1878, on which date she appeared as Polly 
 Flamborough in Wills's play of ' Olivia,' Miss Cathcart continued 
 to play the part during the successful " run " of the piece. She was 
 re-engaged by Mr. Hare for the season 1878-9, and reappeared at 
 the Court Theatre as Mary Sullivaii in ' A Quiet Rubber.' 
 
 CATHCART, ROWLEY, born at Chichester, January 15, 1832, 
 and entered the dramatic profession when a child, playing boys' 
 parts under his father's instruction at various theatres in the pro- 
 vinces. In the year 1845 he first appeared in a part of importance, 
 playing at Glasgow, Franco in ' Guy Mannering,' with Mackay 
 and John Alexander in the cast. In 1847 he was engaged at 
 Liverpool, and thence went on tour with his father to perform at 
 Bristol, Bath, Manchester, Brighton, &c. In 1850 the. late Charles 
 Kean enrolled Mr. Cathcart as a member of the company of the 
 Princess's Theatre. He continued to act at that theatre during the 
 whole of Charles Kean's management and that of his immediate 
 successors, Augustus Harris and George Vining. In 1868 Mr. 
 Cathcart joined the so-called ' Caste ' company in the provinces, 
 and, returning to London, in the following years fulfilled engage- 
 ments at the Globe, Olympic, Queen's, Royalty, Prince of Wales's, 
 and Royal Court Theatres. Among important characters sustained 
 by him during his long career on the stage, the following may be 
 selected as deserving honourable mention: — The Prince of Morocco, 
 ' Merchant of Venice,' at the Princess's Theatre in 1858; Tremor oso 
 in 'Jack the Giant Killei:' at the same theatre, 1859-60; Latmcelot 
 Gobbo in 'Merchant of Venice' at the same theatre, 1863; Grtcmio 
 in 'Taming of the Shrew' at the Globe Theatre, 1870; The Old 
 Fiddler in 'Amos Clark' at the Queen's Theatre, 1872 ; Rowley in 
 'The School for Scandal' at the Prince of Wales's Theatre, 1874; 
 and Farmer Flamborough in Wills's play of ' Olivia ' at the Royal 
 Court Theatre, 1878. 
 
 CAVENDISH, ADA, first attracted attention in London as an 
 actress in burlesque, at the Royalty Theatre, under the manage- 
 ment of the Misses Pelham, where, in May 1865, she first appeared 
 in a leading part, that of Hippodamia, in a burlesque by F. C. 
 Burnand, entitled ' Pirithous, the son of Ixion.' On Thursday, 
 February 15, 1866, she acted for the first time at the Haymarket 
 Theatre, in a comedietta entitled 'A Romantic Attachment,' and 
 met with an extremely favourable reception. At the same theatre, 
 
 2 
 
84 THE DRAMATIC LIST. 
 
 on Thursday; January 14, 1869, first performance of Mr. T. W. 
 Robertson's comedy of ' Home,' she sustained the character of Mrs. 
 Pinchbeck, in which she may be said to have first earned reputation. 
 In 1870, Saturday, April 16, on the occasion of the opening night 
 of the Vaudeville Theatre, Strand, under Messrs. Montague, James, 
 and Thome's management. Miss Cavendish appeared in a comedy 
 by Andrew Halliday, entitled ' For Love or Money.' At the Globe 
 Theatre the same year, on Saturday, October 8, she played the part 
 of the Marchesa San Pietro, in a revival of Palgrave Simpson's 
 'Marco Spada'; and on Monday, September 11, 1871, in a revival 
 at the Gaiety Theatre of Westland Marston's drama of ' Donna 
 Diana,' Miss Cavendish sustained the title rdle, the piece going 
 admirably — a fact for which _the acting of Miss Ada Cavendish was 
 largely responsible. " In dignity and grace of bearing Miss Caven- 
 dish has no superior. Her presentation of the haughty princess 
 whom no prayers can move had singular beauty and refinement. 
 In the early scenes pride of conscious superiority was well worn, 
 and in the later the strife with nascent tenderness was cleverly 
 revealed." {Athe}tcsum, April 16, 1871.) On Monday, March 25, 
 1872, at the same theatre, she performed the part of Julia in ' The 
 Hunchback,' deservedly gaining the approval of a very numerous 
 audience ; and shortly afterwards, at the Court Theatre, first perform- 
 ance of Dr. Westland Marston's and Mr. W. G. Wills's play 
 ' Broken Spells,' she undertook-Jhe character of Estelle. At the 
 V Olympjc Theatre, in May (873j5first performance of Mr. Wilkie 
 Tlollms's play ' The New Magaslen,,^Mlss_CaAfradis]l^usiain£djli£_ 
 leading part of Mercy Merrick. ."There 'is considerable merLt ijo 
 -Mr. Wilkie Collins'sj ' New Magdalen,"'| remarked the Exapiiner 
 (May 2i^'i873), "though it may be doubted whetlier, apart from its 
 dramatic power, it can bear the test of criticism. The story is a 
 simple one. . . . Mr. Wilkie Collins has ingeniously managed to 
 enlist the sympathies of the audience not with the victim of fraud 
 but with the impostor : and the moral of the ' Neat— MapdaJen,' 
 _££pears to be that a young woman may stray from virt ue's path. 
 and~lie and steal and "cheatj but if she repents in the e ndj she is 
 sure not only to be forgiven but to be glorified as_a_saint,_and^_ 
 married to a clergyman of the Church of England., ._^_.__The_ 
 reception of the piece by a very crowded house could^ no t fail to 
 be flattering to the author, who Was' twice called belbre^the curtain 
 on the occasion of the first performance ; but we are bound to say 
 that this success was mainly attributable to the admirable acting 
 of Miss Cavendish and Mr. Archer. High as we rate the talents of 
 Miss Cavendish, we were startled by the power no less than the 
 versatility of her acting in the part of Mercy Merrick. The transi- 
 tion from security to doubt and fear ; the struggle between pride 
 and her newly-awakened conscience ; the grandeur of her scorn and 
 rage when goaded by the insults of her victim into renouncing her 
 intentions of making confession and restitution ; and, finally, the 
 deep pathos of her honest repentance and self-sacrifice, make up a 
 finished piece of acting such as in these days is rarely seen upon 
 the English stage." 
 
CECIL, ARTHUR. 85 
 
 On Friday, September 26, 1873, at the Olympic Theatre, on the 
 occasion of her benefit, Miss Cavendish appeared for the first time 
 in London as Juliet, m Shakespeare's tragedy. "Her performance 
 of the part was creditable in the extreme ; she showed the greatest 
 intelligence in the delivery of the language, there was manifestly 
 intention in every word she spoke, and the scenes which most 
 require strength of expression were given with a force scarcely to 
 be expected from an actress to whom tragedy presents a world 
 entirely new." {Times, September 29, 1873.) In March 1874, first 
 performance at the Olympic of Mr. Tom Taylor's play ' Lady Clan- 
 carty ; or, Wedded and Wooed,' Miss Ada Cavendish performed 
 the part of the heroine. At the Gaiety Theatre, in April 1875, 
 for the first time she sustained the character of ^(?ai'r/(r^ in a revival 
 of 'Much Ado About Nothing'; and in 1876, at Easter, at the 
 Globe Theatre, first performance in London of Wilkie Collins's 
 ' Miss Gwilt ' (the play was originally produced in Liverpool), Miss 
 Ada Cavendish performed the character r$le, playing it throughout 
 " with deliberation in the calmer scenes, and in the more passionate 
 passages with an impetuosity and dramatic fire which met with 
 sincere appreciation. There are scenes in the play taken with such 
 a firm grasp that hope may well be held out that the career of this 
 young actress is likely to be as ambitious as it cannot fail to be 
 successful." {Daily Telegraph, April 18, 1876.) 
 
 On Saturday, January 13, 1877, at the Olympic, first performance 
 of a comedy-drama, in four acts, entitled ' The Queen of Con- 
 naught,' she played the heroine. At various times Miss Cavendish 
 has undertaken for brief periods in London the lesseeship of the 
 Olympic, St. James's, and other theatres. She has performed with 
 much success in the provinces, and in August 1878 went to the 
 United States. -She made her d^but at the Broadway Theatre, 
 New York, in the following month in the character of Mercy 
 Merrick ('The New Magdalen'), and was received with much 
 favour. Afterwards she made . a " starring " tour through the 
 country, visiting, among other cities, San Francisco, Chicago, 
 St. Louis, appearing as Rosalind, Juliet, Lady Teazle, Miss 
 Gwilt, &c. 
 
 CECIL, ARTHUR (a nom de thedtre; ARTHUR CECIL Blunt). 
 Born near London in 1843, and first appeared on the stage, as an 
 amateur, at the Richmond (Surrey) Theatre Royal, in the parts of 
 the young King Charles in ' Faint Heart Never Won Fair Lady,' 
 and Bundle in the musical farce of •' The Waterman.' He made his 
 professional ^/fc/ in London, Easter Monday, 1869, at the " Gallery 
 of Illustration," with Mrs. German Reed's company, as Mr. 
 Churchmouse in ' No Cards,' by W. S. Gilbert, and Bo:^ in the 
 musical version of ' Box and Cox,' by Messrs. Burnand and A. 
 Sullivan. In 1874 he joined the company of the Globe Theatre, and 
 appeared there during that year as Jonathan Wagstaff, in W. S. 
 Gilbert's comedy ' Committed for Trial,' and as Mr. Jitstice Jones 
 in Albery's comedy 'Wig and Gown.' In the same year, on 
 December 19, at the Gaiety Theatre, in a revival of 'The Merry 
 
S6 THE DRAMATIC LIST. 
 
 Wives of Windsor,' Mr. Cecil played the part of Dr. Caiusj and 
 the following year (1875), February, at the Opdra Comique, in a 
 revival of Shakespeare's ' As You Like It,' he played Touchstone. 
 At the Gaiety Theatre, during the same year, he appeared as Duke 
 Anatole in ' The Island of Bachelors,' by Messrs. Reece and 
 Lecocq, and as Charles in ' Oil and Vinegar,' by H. J. Byron. 
 January 1876, at the same theatre, on the occasion of his benefit, 
 Mr. Arthur Cecil played Monsieur Jaqiies in the musical piece of 
 that title, and Sir Harcourt Courtly in a revival of ' London 
 Assurance.' " Mr. Cecil's performances for his benefit of Monsieur 
 Jaques in the musical comedy of that name, and Sir Harcourt 
 Courtly in 'London Assurance' {^Athenceum, January ■2.2, 1876), 
 show how admirably careful and artistic he is in his style, and 
 maintain his reputation at the high point it has reached. He is 
 still wanting in breadth, and his voice is at times scarcely audible. 
 When he acquires more force, his position in light comedy will be 
 little short of the highest." The part of Tourbillon in ' To Parents 
 and Guardians,' a character of which Mr. Alfred Wigan was the 
 original exponent, is one which deserves to be included in any 
 notice of the principal services on the London stage of Mr. Arthur 
 Cecil. The Saturday Review speaks of his acting in this part as 
 being little short of "marvellous," which, doubtless, means that in 
 this particular character Mr. Cecil has shown himself superior to 
 the majority of actors who have undertaken it. 
 
 At the Globe Theatre, Easter Monday, 1876, first performance 
 of Wilkie Collins's play of ' Miss Gwilt,' adapted from his novel 
 of ' Armadale,' Mr. Cecil sustained the part of Dr. Downward. 
 On Saturday, February 5, 1876, first perfoimiance at the Hay- 
 market Theatre of 'Anne Boleyn,' by Tom Taylor, he played 
 Chapuis with great force and originality ; and the same year 
 at the Prince of Wales's Theatre, in ' Peril,' adapted by Messrs. 
 Savile Rowe and Bolton Rowe from M. Sardou's 'Nos Intimes,' 
 the part of Sir Woodbine Grafton, which in the -hands of Mr. 
 Arthur Cecil was presented as a very highly-finished piece of 
 miniature painting — one of those delicate little bits of character 
 which Mr. Cecil knows so well how to treat. " He is as good 
 as he can be in the first act ; but as the play proceeds there 
 peeps out here and there a glimpse of something we have seen 
 before, and Sir Woodbine Grafton is once or twice very nearly 
 giving place to Dr. Downward. In this particular school of acting, 
 * ' character acting,' as it is called, to avoid any repetition and 
 carefully define each successive character must be a task of more 
 than ordinary difficulty — it would seem, indeed, to be a task of 
 great difficulty in many other schools of acting where this excuse 
 cannot be offered — and the difficulty is of course much enhanced 
 by a protracted representation of one particular character. It is a 
 mistake, however, to be avoided by all means, and more, perhaps, 
 in this style of acting than in any other. Mr. Cecil indeed was, 
 considering what we so often see, a very slight offender, and in 
 saying what we have said we do not wish for a moment to detract 
 from his performance, which was very amusing and very clever." 
 
CELESTE, MADAME. 87 
 
 (Times, October 3, 1876.) In April 1877, at the same theatre, first 
 performance of ' The Vicarage,' by Savile Rowe, Mr. Cecil under- 
 took the part of the Rev. Noel Haygarthj and in the following 
 year (1B78}, January 12, first peiformance of ' Diplomacy ' (Messrs. 
 Savile Rowe and Bolton Rowe), the part of Baron Stein, " Mr. 
 Cecil's rare talents for disguise of speech, manner, and appearance 
 being shown in their fullest significance in the small but highly 
 finished part of the Russian agent " {Times, January 21, 1878). In 
 a revival of ' Caste' at the Prince of Wales's Theatre in January 
 1879 (continuing to May of the same year), Mr. Cecil played the 
 part of Sam Gerridge, originally sustained by Mr. Hare ; and in a 
 subsequent reyival, in June 1879, of Buckstone's comic drama ' Good 
 for Nothing,' the part of Tim Dibbles was acted by him. 
 
 CELESTE, MADAME (CELESTE ELLIOTT), was born in Paris, 
 August 16, 1 8 14. Entered the classes of the Academy of Music 
 in that city as a child, and at the age of fifteen commenced an 
 engagement in the United States, where she subsequently married 
 Mr. Elliott. She first appeared on the English stage, in 1830, at 
 Liverpool, as Fenella in ' Masaniello,' and the same year appeared 
 at Drury Lane Theatre in the ballet of ' La Bayadere.' Madame 
 Celeste made her professional d^but in London, at Drury Lane 
 Theatre, in the year 1837 (October), as Maurice, the dumb boy, 
 in Planchd 's ' Child of the Wreck.' " The whole weight of the 
 drama rested on Madame Celeste, whose ' dumb show,' unlike that 
 of Shakespeare, is anything but inexplicable. She expressed by 
 her varied and appropriate action, and by her swiftly changing 
 features, the various passions of love, despair, indignation, and 
 joy, with touching fidelity. She was much applauded." {Times, 
 October 9, 1837.) The same month of the same year she appeared 
 at Drury Lane Theatre as the heroine in a piece entitled ' The 
 Indian Girl.' From time to time during the years 1838-9 and 
 1840-1, Madame Celeste performed at the Haymarket Theatre, and 
 for the most part in characters involving only mute action. On 
 May 30, 1 841, at that theatre, she appeared in a melodrama 
 entitled ' Marie Ducange,' written expressly for her by Mr. Bernard. 
 In November of the same year she performed at the same theatre 
 in a piece entitled ' The Quadroon Slave.' In the following year 
 she returned to the United States for a brief period, reappearing 
 at the Haymarket Theatre on December 7, 1842, in a one-act piece 
 from the French, entitled 'The Bastille.' On June 3, 1843, at the 
 Haymarket, Madame Celeste played a principal part with Mr. 
 Benjamin Webster in ' Louison,' a version of ' The Angel of the 
 Attic ' (then being performed at the Princess's Theatre) ; and sub- 
 sequently, at the same theatre, with the same actor, the heroine in 
 ' Victor and Hortense,' another French vaudeville. In 1844, in con- 
 junction with Mr. Benjamin Webster, she entered upon the manage- 
 ment of the old Adelphi Theatre, and may be said to have been the 
 originator of. the success which for so many years attended the 
 production of so-called domestic drama at that theatre. Madame 
 Celeste was the creator of leading parts in many well-known 
 
H 
 
 THE DRAMA TIC LIST. 
 
 ■A4flelphi dramas, in not the least noteworthy of which, 'The Green 
 Bushes,' by J. B. Buclistone, first performed January 27, 1845, she 
 was the original Miami — a character which she invariably acted 
 with uncommon vigour and pathos. This play is so intimately 
 associated with the history of the " Old Adelphi " that we may be 
 pardoned for giving the subjoined outline of its plot, together with 
 the names of those who were in the original cast : — 
 
 " The scene of the first act of ' The Green Bushes ' is Ireland — 
 the coast of Galway; the time 1745. Connor O'Kennedy (Selby), 
 an Irish gentleman, is obliged to fly his country for political 
 reasons. He continues to linger as long as he can near his wife, 
 Geraldine (Mrs. Yates), and his home. His younger brother, 
 George (Mr. Hudson), anxious to gain possession of the family 
 estates, eagerly counsels flight, trusting that Connor once away will 
 never return. Wild Murtoch (Mr. O. Smith), a rascally horse- 
 stealer, is the accomplice of the younger brother in his nefarious 
 schemes. Traitor, however, to all, he tries to surprise and take 
 Connor with the view of obtaining the reward offered by Govern- 
 ment for his apprehension ; but the plot fails ; the soldiers, when 
 they make their appearance at the moment of the fugitive's em- 
 barkation, are overpowered by the peasantry, and Connor escapes 
 to America, leaving his wife and infant child under the protection 
 of the former's foster-sister, Nelly O'Neil (Mrs. Fitzwilliam). These 
 matters, interspersed with an Irish row, and some pretty Irish 
 singing by Mrs. Fitzwilliam and Mr. Hudson, form the somewhat 
 barren materials of the first act. With the second the real interest 
 of the piece commences. Two years have elapsed, and we find 
 ourselves in America, near a log cabin by the Mississippi. Here 
 Connor dwells ; but, alas ! not alone. He iias_been unfaithful, and_ 
 lives with Miami (Madame Celeste), the ' Huntress of the Missis-_ 
 sippi,' assort of wild woman of Qie' woods, half Indian, h^FFrench, 
 but, withal, a very pretty specimeiTof a coquette of the'wilderness, 
 as skilled, too, in the rifle as she is witching in her sweertooks "and 
 untutored words. But Connor is not happy ; he yearns for his 
 forsaken wife and his oWn land. He treasures as a holy prize the 
 only letter which has reached him from her, cons it over every 
 moment he is alone, and has enough to do to allay the suspicions 
 and rising jealousy of his half savage partner. At length comes a 
 catastrophe, in the shape of the deserted wife. She has arrived 
 in America to trace her husband. The meeting scene is well 
 managed ; but while she is still half fainting in his arms, Miami 
 appears behind. In a moment all her savage blood is roused. 
 Half-a-dozen times is the rifle carried to her shoulder, and as often 
 is the point let fall. Geraldine, weary and footsore, faints; her 
 husband carries her to a neighbouring spring ; Miami follows the 
 pair. At length, unable to control her fierce jealousy and passion, 
 she fires, and Connor is shot through the heart. His wife frantic- 
 ally flies for assistance, and unknowing whence the fatal blow has 
 been struck, supplicates on her knees the aid of her husband's 
 assassin. The last scene in the act represents Connor's death. 
 His wife flings herself distractedly over the body. Miami stands 
 
CELESTE, MADAME. 89 ■ 
 
 by unmoved, the ' stoic of the woods.' With his last breath Connisu: 
 entreats the murderer of the husband to protect the wife. He dies. 
 Miami leaps madly into the river, and the drop falls upon the 
 scene of her rescue by a party of French soldiers proceeding down 
 the stream on a raft. We ought to mention that the tragic part 
 of the act is relieved by the vagaries of Master Grinnidge (Wright), 
 and Jack Gong (Paul Bedford), a showman and his factotum, who 
 have arrived in America in search of a wild Indian, to clap into 
 their caravan of curiosities at home ; unfortunately, however, 
 getting caught by the Indians instead of catching any themselves. 
 
 "The third act, and we are in Ireland again; two years more 
 have elapsed ; George, the younger brother, is in possession of the 
 family estates. The daughter of Connor, confided, when his wife 
 went to America, to the care of Nelly O'Neil, has been stolen from 
 her by the agency of George and Wild Murtoch, still his worthy 
 accomplice ; the child is placed under the care of a village black- 
 smith. An accident happening to a passing carriage introduces 
 a stately lady beneath the smith's roof, but who, wonderful to tell, 
 is no other than Miami, the mocassined, rifle-bearing huntress, 
 however, sunk in the brocaded and polished French lady of quality. 
 Saved by French soldiers, and brought home to her fatherland, she 
 has claimed and obtained her heritage, and then proceeded to 
 Ireland to make what atonement she could to the surviving child 
 of her murdered lover. In the little girl in the blacksmith's shop 
 she believes she recognizes the object of her search, and brings the 
 child with her. Meantime, poor Nelly O'Neil is wandering dis- 
 consolately about searching for the stolen girl, and continually 
 singing an old Irish song which she had taught the child, the 
 burden of which touches certain ' Green Bushes,' the only link, by 
 the way, between the piece and its name. 
 
 " George, meanwhile, hopes, by means of Miami, whose arrival 
 he has heard of, to obtain more authentic accounts than he has 
 yet had of his brother's death. Pending an interview, which is 
 arranged, Geraldine, the widow of Connor, arrives, and falls in with 
 Nelly O'Neil. George and Miami meet. The child is present. In 
 the course of the interview Nelly sings ' Green Bushes ' outside ; the 
 little girl recognizes the voice, flies to the window, and is as suddenly 
 recognized by the wandering minstrel. Much of what remains can 
 easily be conceived. The mother rejoins her daughter, and Miami, 
 the murderer of her father, having accomplished her work of atone- 
 ment in endowing the child with all her possessions, suddenly dies 
 — we could not exactly make out how or why ; and so the curtain 
 falls upon ' Green Bushes.' In all this there is, of course, plenty of 
 extravagance and improbability ; but the energy of some of the 
 scenes, and the effect of some of the situations tell well, and carried 
 off the piece triumphantly. It was generally extremely well acted. 
 Celeste played with great energy and spirit, interpreting the wild 
 love of the Indian girl with feeling and effect." {Morning Chronicle, 
 January 29, 1845.) 
 
 On March 11, 1847, Madame Celeste played the part of Cynthia, 
 first performance at the Adelphi of Buckstone's ' Flowers of the 
 
90 THE DRAMATIC LIST. 
 
 Forest.' " ' The Flowers of the Forest ' is a perfect Adelphi melo- 
 drama," renrarked the Examiner (March '20, 1847), "in which the 
 exact strength and resources of the company are exquisitely- 
 measured. There is picturesque power for Madame Celeste and 
 Mr. O. Smith; laughter and pathos for Mrs. Fitzwilliam; the 
 broadest drollery for Messrs. Wright and Bedford; and a part for 
 Miss Woolgar which gives admirable scope to her cleverness and 
 versatihty. She plays a gipsy lad, on whose murder of one of the 
 characters (under provocation of a horse-whip) the interest turns. 
 The murder is seen by an Italian gipsy, who, with his daughter, 
 has joined the English tribe, and in his hatred to the white race, 
 not only screens the culprit, but diverts suspicion to an innocent 
 man. But this purpose is foiled by his daughter, who sacrifices 
 herself to bring justice home. The English gipsy girl, who protects 
 the poor Italian whose sense of right had deprived her of her own 
 lover, is a very pretty notion; and though Miss Woolgar is a 
 somewhat young lover for the now (alas 1 that we should say it) 
 elderly Mrs. Fitzwilliam, the acting of both is delightfully natural." 
 
 In 1853 Madame Celeste was at the height of her popularity at 
 the Adelphi Theatre, acting "with that high finish that elevates 
 even melodramatic acting to the dignity of histrionic art." In 
 June of that year, at the Adelphi, she personated the heroine in the 
 first performance of Dion Boucicault's drama 'Gdndvi^ve; or, the 
 Reign of Terror.' The drama, which embraced all the strength 
 of the company, was acted to perfection. Mr. Webster, as the 
 noble-hearted, generous Sorin ; Mr. Wigan, as the subtle, vin- 
 dictive Dismer ; and Mr. Leigh Murray, as the impetuous, ardent 
 Maurice, were all that might be expected from such artists — while 
 Madame Celeste, as the sorrowing, heart-broken Genevieve, gave 
 all possible pathos to the part. Mr. and Mrs. Keeley were also in 
 the original cast. 
 
 On Monday, March 20, 1854, at the Adelphi, Madame Celeste 
 played the original Ruth Ravejisear, first performance of Messrs. 
 Tom Taylor's and Charles Reade's drama ' Two Loves and a Life.' 
 The Examiner (March 25, 1854),* alluding to the play, said : 
 Madame Celeste never displayed more energy and spirit, more 
 power of depicting half-untutored passion than in the part which she 
 here sustains. 
 
 On Monday, May 20, 1854, she performed the character oi Mdlle. 
 Marco, first performance at the Adelphi of ' The Marble Heart,' 
 adapted from ' Les Filles de Marbre ' (Barri^-e and Theboust), 
 by Mr. Selby. " Madame Celeste was admirable as the callous 
 woman of the world, spurning all human feeling in the insatiate 
 pursuit of wealth." (Daily Keivs, May 24, 1854.) On Monday, 
 February 5, 1855, first performance at the Adelphi of ' Janet Pride' 
 (Boucicault), Madame Celeste played the title r^/^y and on Wednes- 
 day, June 20, 1855, first performance at the Adelphi Theatre of 
 'Helping Hands,' by Tom Taylor, she sustained the character 
 of Margaret Hartmann. In the Christmas pantomime of the 
 
 * Compare with Journal of a LonSon Flayt;ccr, Henry Morley, p. 82. 
 
CELESTE, MADAME. 91 
 
 same year ('Jack and the ]5eanstalk'), at the same theatre, she 
 played Harlequin. In 1858, Monday, January 18, she was the 
 original Marie Leroux, first performance of Watts Phillips's ' Pour 
 Strollers,' likewise at the Adelphi Theatre. 
 
 In the following year, 1859, Madame Celeste entered upon an 
 engagement at the Lyceum Theatre, and " opened " there, Monday, 
 January 3, as the heroine, Marion de L'Orme, in the drama of that 
 title, translated from M. Emile de la Roche's play. In the follow- 
 ing November she became the lessee of the Lyceum Theatre, and 
 inaugurated her management, on the 28th of that month, with a 
 piece entitled 'Paris and Pleasure ; or. Home and Happiness.' At 
 the same theatre she produced, on Monday, January 30, i860, 
 a play founded on Charles Dickens's ' Tale of Two Cities,' and 
 sustained in it the character of Madame Defarge. On Monday, 
 March 19 of the same year, at the Lyceum, she performed the 
 part of the Abb6 Vaudreuil (afterwards a favourite character with 
 Madame Celeste) in a play of that title by the late Colonel 
 Addison; and on Monday, November 12 of the same year, 
 Adrienne de Beaupr^, in a drama entitled 'Adrienne; or, the 
 Secret of a Life,' which proved the most successful piece which 
 Madame Celeste had brought out since her accession to managerial 
 power. "The incidents are not, perhaps, always original, but they 
 are so cleverly arranged with a view to effect, and the story is 
 developed with so much artistic management, that the interest 
 awakened almost immediately after the curtain rises is pretty 
 
 evenly sustained until it falls The piece was admirably 
 
 played throughout. Madame Celeste, in Adrienne, has one of 
 those parts in which she appears to the utmost advantage ; and 
 Mrs. Keeley, as the Italian serving-maid, cast in an English 
 mould, was fitted to a nicety, and played with infinite animation 
 and humour." {Daily Telegraph, November 13, i860.) 
 
 On Monday, February 11, t86i, was produced at the Lyceum 
 'The House on the- Bridge of Notre Dame' (translated from the 
 French of MM. T. Barri&re and H. de Kock), in which Madame 
 Celeste sustained the part of Ernest de la Garde, which sub- 
 sequently became one of her most famous impersonations. 
 
 In 1863 Madame Celeste -embarked on a lengthened foreign tour, 
 and did not appear again on the London stage until 1868, in which 
 year, on Easter Monday (April 13), she inaugurated a series of 
 twelve farewell performances at the St. James's Theatre with a 
 representation of the character of Rudiga in Stirling Coyne's 
 drama of 'The Woman in Red.' The year 1868 did not, however, 
 bring Madame Celeste's long professional career to an end. In 
 May 1869, at the Princess's Theatre, she played Josephine Diibosc, 
 first performance of Dion Boucicault's drama ' Presumptive Evi- 
 dence ' ; and in the following year, on Saturday, October 22, 1870, 
 at the Adelphi Theatre, in a revival of 'The Green Bushes,' her 
 original character of Miami, a part which, perhaps, more than any 
 other contributed to establish her popularity as an actress. " Of 
 Madame Celeste's last representation," said th.e Athenaum (October 
 29j 1870), "it may safely be said that it can scarcely be told from the 
 
9' THE DRAMATIC LIST. 
 
 earliest. When the actress crossed the familiar bridge behind the 
 log cabin, her appearance was precisely that of former years, and 
 neither voice, accent, nor bearing dispelled the illusion created." 
 On Saturday, December 17, 1870, Madame Celeste again made 
 her appearance on the Adelphi boards for her " farewell benefit." 
 The characters she selected to represent on the occasion were the 
 Abbe Vmidreuil and Miami. "Amidst the warmest wishes for her 
 welfare that a very crowded, exceedingly enthusiastic, and a most 
 sympathetic audience could express, Madame Celeste closed on 
 Saturday night, with a farewell benefit, a long professional career, 
 associated with a host of pleasurable recollections. Some forty 
 years have passed away since the actress who came on Saturday 
 evening before the public for the last time made her debut on the 
 Drury Lane boards as a dancer who had then scarcely numbered 
 fifteen summers. During this interval the reputation of the artist 
 has steadily advanced, and, despite the difficulty, which was ap- 
 parently insuperable, of the Parisian girl effectually mastering the 
 English accent, few performers have ever become more closely 
 identified with a long series of dramatic successes on the London 
 stage. The remarkable power of pantomimic expression which 
 was evinced at a very early stage of her histrionic progress 
 suggested the construction of a number of dramas expressly de- 
 signed to give employment to this special talent. What Mdlle. 
 Celeste could accomplish as an intelligent interpreter of the mys- 
 teries of the ballet was sufficiently manifested in her performance 
 of the dumb girl Fenella in the opera of ' Masaniel^ o,' her graceful 
 evolutions as Zejica in_the„opera of 'Maid QfL£asE5iere,'~Ker^ 
 earnestness of manner in the famous Covent Garden spectacle of_ 
 'The Revolt of the Harem,' arid her lively action" as the leader of 
 the ' Danse des Folies ' in the opera of ' Gustavus the Third.' 
 Dramatists, however, soon recognized the advantage of turning 
 these capabilities to greater account ; and in such pieces as ' The 
 Arab Boy,' ' The French Spy,' ' Prince Le Boo,' and ' The Child 
 of the Wreck,' Mdlle. Celeste not only became a great favourite in 
 this country, but obtained a repute which enabled her to acquire a 
 large fortune and a widely extended fame in the United States. 
 
 " At the old Adelphi, with which her later triumphs have been 
 more intimately connected, her histrionic powers have been much 
 further developed ; and in ' St. Mary's Eve,' ' Marie Ducange,' 
 '■ Two Loves and a Life,' ' Janet Pride,' and ' Tartuffe,' her abilities 
 as an actress have been conspicuously displayed ; whilst as Miami 
 in ' The Green Bushes,' and Cynthia in ' The Flowers of the 
 Forest,' her valuable assistance has been so distinctly felt that 
 these dramas could never be revived without a reference to the 
 accomplished actress who had originally given them their early 
 popularity. Recalling these and many other such memories of a 
 lorightly-illuminated theatrical past, elder playgoers mingled on 
 Saturday night with those of the present generation, and shared 
 together sympathies, regrets, and congratulations. 
 
 " That Madame Celeste now retires from us in full possession 
 of all her powers was sufficiently evinced by her admirable 
 
CHALLIS, EDITH. 
 
 93 
 
 performance of the Abbi Vaudreuil in the fantastic drama of that 
 name, which, adapted from the French by Colonel Addison,* was 
 brought out at the Lyceum about ten years since, when the theatre 
 was under her management. The encored minuet, danced with 
 Miss Furtado, afforded a substantial proof at least that no ex- 
 perience of physical deficiencies had enforced retirement from the 
 stage. As Miami in ' The Green Bushes ' Madame Celeste, more- 
 over, again showed that the Indian huntress still retained all the 
 brilliancy of eye and force of expression which had long rendered 
 this assumption one of the most noted in the repertory of the bdiU- 
 ficiaire. The second act was alone performed, but it need hardly be 
 stated that in this portion of the drama the very fullest demand is 
 made on the powers of the actress. At the termination of each 
 piece Madame Celeste was enthusiastically recalled, and greeted 
 with prolonged plaudits." {Daily Telegraph, December 19, 1870.) 
 Madame Celeste appeared subsequently at the Adelphi Theatre, in 
 September 1872, for twelve nights ; in November 1873 for eleven 
 nights ; and in October 1874 for twelve nights. On each occasion 
 Miami in ' The Green Bushes ' was the character in which she was 
 advertised to appear. Madame Celeste has now finally retired 
 from the stage, and resides in Paris. 
 
 CHALLIS, EDITH, first appeared at Niblo's Garden, New 
 York, in ' After Dark ' ; subsequently coming to London she took 
 the part of Mrs. Seabright in 'The Overland Route' at the Hay- 
 market. Having revisited America, and appeared in ' The Two 
 Roses,' ' Lalla Rookh,' ' Money,' and other plays in New York, 
 Philadelphia, &c.. Miss Challis returned to London, where she 
 appeared at the Court Theatre in ' Brighton.' She also played 
 in the ' Danischeffs ' at the St. James's Theatre, in 'The Widow 
 Hunt' with Mr. J. S. Clarke at the Haymarket, in 'The Vicar of 
 Wakefield ' at the Aquarium Theatre, in ' The American Cousin ' at 
 the Haymarket, with Mr. Sothern, and in ' Family Honour' at the 
 Aquarium Theatre. 
 
 CHAMBERS, EMMA, first attracted notice in the dramatic 
 profession by her spirited performance of the part of Harry 
 Halyard in ' Poll and My Partner Joe ' at St. James's Theatre in 
 May 1 87 1. The following Christmas at the Alexandra Theatre she 
 played the title role in the pantomime of ' Jack the Giant Killer,' 
 and afterwards was engaged at the Strand and Olympic Theatres ; 
 at the latter she was in the original cast of ' Sour Grapes ' (H. J. 
 Byron), and created a favourable impression by her realistic im- 
 personation of a young country girl. In 1875 Miss Chambers 
 accepted a three years' engagement from the directors of the 
 Royal Alhambra Theatre. She played there in various operas, and 
 at the expiration of her Alhariibra engagement appeared at the 
 
 * Steatite. Madame Celeste informs me that this play was the "ori- 
 ginal " work of Colonel Addison, and not an adaptation from the French. 
 —Ed. 
 
94 THE DRAMA TIC LIST. 
 
 Philharmonic Theatre as the Diredrice of the Convent, her ori- 
 ginal part, in ' Le Petit Due' Upon the withdrawal of ' Le Petit 
 Due,' she was engaged by Mr. Alexander Henderson to play 
 Serpolette in ' Les Cloches de Corneville ' at the Globe Theatre. 
 Christmas 1878 she appeared at the Prince's Theatre, Manchester, 
 and is at present (July 1879) engaged at the Alhambra Theatre, 
 acting in the operatic spectacle entitled ' Venice.' 
 
 CHIPPENDALE, WILLIAM HENRY, born in London in 
 1 801. He was partly educated at the High School of Edinburgh, 
 and was designed by his father (an actor of the Haymarket 
 Theatre) for a printer. Young Chippendale was placed in James 
 Ballantyne's office, and here he read ' Waverley ' for the press, 
 and thus attracted the notice of Sir Walter Scott, who treated 
 the lad on all occasions with much kindly notice as a " chip of the 
 old block," the elder Chippendale being well known to Sir Walter. 
 In the printing office young Chippendale became ill, and was 
 removed and apprenticed to John Ballantyne, the celebrated pub- 
 lisher and literary auctioneer, in whose sale rooms he became 
 familiar with many distinguished authors and literary men of the 
 day, notably Wilson, Lockhart, Patrick Robertson, James Hogg, 
 and other" characters in the 'Noctes Ambrosianae,' and contributors 
 to ' Blackwood.' He afterwards entered the service of a com- 
 mercial firm, which failed, and thereupon became an actor. Prior 
 to this the younger Chippendale had played under the auspices of 
 his father at the Haymarket Theatre, in various children's parts to 
 several members of the Kemble family. He entered the dramatic 
 profession proper in 1819, appearing at Montrose as David in 
 ' The Rivals.' In the year following, Mr. Chippendale became a 
 member of Mr. Alexander's company in Scotland, playing in 
 Glasgow, Carlisle, Whitehaven, and other towns of his " circuit " 
 up to the year 1836. He was principal comedian in the Lincoln, 
 York, and Worcester Circuits, and in Edinburgh, Bristol, and Bath, 
 where he met Edmund Kean, the elder Mathews, Mr. Macready, 
 Miss Duncan, Kitty Stephens, and a host of celebrities. He 
 worked in his early days with many actors with whom he was 
 associated in later life, Mr. Compton, Messrs. Clark, Cullenford, 
 &c., of the Theatre Royal, Haymarket. In the year last mentioned, 
 having accepted an offer from Mr. Stephen Price, of the Old Park 
 Theatre, New York, Mr. Chippendale went to the United States, 
 where he remained for seventeen years, occupying at the Park 
 Theatre very much the same position which the elder Farren at 
 that time did in London. Returning to England in 1853 on Easter. 
 Monday, March 28 of that year, Mr. Chippendale made his debut 
 on the London stage at the Haymarket Theatre as Sir Anthony 
 Absolute in ' The Rivals.' " It was a careful, measured, predeter- 
 mined piece of acting. The passion was in no degree exaggerated, 
 nor did it seem to fall short of the natural expression. But the 
 character did not secure that marked prominence amono- the 
 dramatis personce which we have seen it assume with our greater 
 English actors." {Athenceuni, April 2, 1853.) 
 
CHIPPENDALE, WILLIAM HENRY. 95 
 
 For a period of twenty years Mr. Chippendale worked con- 
 tinuously at the Haymarket Theatre, playing all the characters in 
 his own line of business, and fulfilling, for a part of the time, the 
 duties of stage-manager. The following, among other leading 
 parts played by him during his long engagement at the Hay- 
 market, are deserving of being mentioned, viz. Lord Bettertoii, 
 in ' Elopements in High Life,' first performed at the Haymarket 
 Theatre, Thursday, April 7, 1853; Sir Francis Gripe, in Mrs. 
 Centlivre's comedy ' The ISusybody,' " revived " at that theatre 
 in July 1855; Sullen, in 'The Beaux' Stratagem,' "revived" 
 January 5, 1856 ; Hill Cooley, Esq., in Mr. B. Bernard's comedy 
 ' The Evil Genius,' first performed at the Haymarket, Saturday, 
 March 8, 1856 ; Malvolio, in a revival of Shakespeare's ' Twelfth 
 Night,' July of the same year; Old Adam, in a revival of ' As You 
 Like It,' at the same theatre, September 4, 1856 ; Old Mirabel, in 
 a revival of ' The Inconstant,' September 20, 1856 ; and Honeyhcn, 
 in ' The Contested Election,' by Tom Taylor, first performed at 
 the Haymarket Theatre, June 29, 1859. In i860, on Thursday, 
 February 23, first performance of Tom Taylor's comedy ' The 
 Overland Route,' Mr. Chippendale sustained the character of Com- 
 missioner Colepepper. He played the part oi .Ingot, first perform- 
 ance at the Haymarket of ' David Garrick,' Saturday, April 30, 
 1864 ; and Mr. Fox Bromley, first performance at the same 
 theatre, Monday, April 2, i865, of Westland Marston's play 'The 
 Favourite of Fortune.' In October of the same year, in a revival 
 of the younger Colman's ' The Heir-at-Law ' at the Haymarket, 
 Mr. Chippendale played Lord Duberly. January 1867, first per- 
 formance of Tom Taylor's comedy ' A Lesson for Life,' he sus- 
 tained the part of Dr. Vivian. March 1868, first performance of 
 *A Hero of Romance' (Westland Marston), he performed the 
 character of M. Dumont. Monday, October 25, 1869, first per- 
 formance at the Haymarket Theatre of Mr. Tom Taylor's comedy 
 ' New Men and Old Acres,' Mr. Chippendale sustained the part of 
 Mr. Vavasour. 
 
 In 1871, Monday, October 16, he appeared at the Haymarket in 
 his old impersonation of Sir Anthony Absolute, upon the merits of 
 which the AthencBum of the ensuing week made the following 
 remarks : " The best impersonation in the entire performance is, 
 however, the Sir Anthony of Mr. Chippendale. A little stiffness 
 and formality which distinguished Mr. Chippendale's early repre- 
 sentations has worn off. His general style has mellowed, and he 
 is now one of the best of the very few actors we possess who can 
 play the characters of old comedy. His laugh at his own jokes 
 is quiet, undemonstrative, and unforced, and the whole repre- 
 sentation has the courtliness without which a character such as 
 this is apt to grow unpleasant." Perhaps the most important and 
 best appreciated impersonations of Mr. Chippendale in " classic " 
 comedy have been, in addition to the character already mentioned. 
 Sir Peter Teazle, Sir Harcourt Courtly, and Mr. Hardcastle. 
 During the long run of 'Hamlet' at the Lyceum Theatre (Sep- 
 tember 1874-June 1875), Mr. Chippendale played the part of 
 
96 THE DRAMA TIC LIST. 
 
 Poloiiius. Since that time he has appeared on various occasions 
 at London and provincial theatres. In August 1878 he organized 
 the " Chippendale Comedy Company " for a series of performances, 
 in the provinces, of those plays in which his reputation was first 
 made, " previous to his retirement from the stage." At the com- 
 mencement of Mr. Irving's season 1878-9 at the Lyceum Mr. 
 Chippendale played Polonius in the revival of ' Hamlet.' On 
 Monday, February 24, 1879, he made his farewell of the stage at 
 the same theatre in the same character (Mr. Irving acting Hamlet), 
 the total receipts of the evening's performance, through Mr. Irving's 
 generosity, being reserved to the veteran actor, who spoke a few 
 words of farewell at the end of the play. It may be interesting 
 to note, that in the course of his long career Mr. Chippendale has, 
 in the character of Polonius, supported Edmund Kean, Charles 
 Kemble, Charles Young, Harry Johnson, Macready, John Vanden- 
 hoff, Charles Kean, Barry Sullivan, Edwin Forrest, Booth, Cres- 
 wick, and, finally, Henry Irving. 
 
 CHIPPENDALE, MARY J. {nie SnOWDON), wife of the 
 above-named, was born at Salisbury. She entered the dramatic 
 profession in 1855 as member of a company of comedians perform- 
 ing in a small circuit of towns in the north of England, after- 
 wards joining the Theatre Royal, Dublin, and continuing a member 
 of the company there for two years. She made her professional 
 ddbut on the Manchester stage, in the name of " Seaman," in the 
 autumn of 1859, appearing as Mrs. Major de Boots, in Stirling 
 Coyne's comedietta ' Everybody's Friend.' In 1863, in the name 
 of Snowdon, her first appearance on the London stage was made 
 at the Haymarket Theatre in the part of Mrs. Malaproj) in ' The 
 Rivals.' In 1866 Miss Snowdon was married to Mr. Chippendale 
 of the same theatre. Mrs. Chippendale continued to play at the 
 Haymarket Theatre from 1865 to 1874 in the various original 
 pieces and revivals of the older comedies produced during that 
 period under the superintendence of Mr. J. B. Buckstone. In 1875 
 she fulfilled an engagement at the Court Theatre; and subse- 
 quently, in 1878, joined the company of the Lyceum Theatre, where 
 she performed the character of Martha (wife of Marcel) in a 
 revival of ' Louis XL' Two of the most important of Mrs. Chip- 
 pendale's impersonations are Mrs. Candour (' The School for 
 Scandal ') and Mrs. Malaprop (' The Rivals '). 
 
 CLARKE, JOHN S., was born in Baltimore, Maryland, 
 United States of America, in 1834, of' EngHsh extraction; his 
 mother was a grand-daughter of John King, who held an official 
 position under the East India Company, and his grandfather, 
 Stephen Clarke, was a London merchant. Mr. Clarke was educated 
 with a view of practising law in the United States ; but in 1852 
 adopted the stage as a profession. In that year, August 28, he 
 made his professional d^but at the Old Chestnut Street Theatre, 
 Philadelphia, in the part of Soto, in a revival of Cibber's play ' She 
 Would and She Would Not,' Subsequently he became leading 
 
comedian of the Front Street Theatre in that city ; and afterwards, 
 until 1861, joint lessee with Mr. Wheatley of the Arch Street 
 Theatre. In that year Mr. J. S. Clarke appeared with considerable 
 success in New York at the Winter Garden Theatre, of which he 
 subsequently became joint lessee, and so continued until 1867, 
 when the theatre was destroyed by fire. In 1865, in conjunction 
 with his brother-in-law, Edwin Booth, he purchased the Walnut 
 Street Theatre, Philadelphia, and in 1866 became joint lessee of 
 the Boston Theatre for a brief period. In October 1867 Mr. J. S. 
 Clarke made his iirst appearance on the London stage at the St. 
 James's, Theatre as Major Wellington de Boots (a very eccentric 
 part, originally sustained by Mr. Buckstone) in Stirling Coyne's 
 comedietta ' Everybody's Friend,' altered to the title of ' A Widow 
 Hunt.' Mr. Coyne had remodelled the play and strengthened the 
 part especially for Mr. Clarke. Although originally sustained by 
 Mr. Bupkstone, the character was not certainly considered, at the 
 period of its first introduction to the Haymarket, in April 1859, 
 remarkable as being the central figure of the drama. In America 
 it had, however, grown up apparently into a figure of overshadowing 
 magnitude, which, as in the case of Lord Dundreary in 'Our American 
 Cousin,' completely overwhelmed the other personages of the play. 
 Mr. J. S. Clarke had manifestly made the attributes of the really 
 timorous, but professedly valiant, militia major the subject of earnest 
 study. By a free use of flexible and humorously-expressive features, 
 abundantly employing illustrative gesture, and filling up the action 
 with a multitude of small details, which, if occasionally extravagant, 
 were invariably funny, he established the character in a higher 
 position than it had hitherto held in London. " The affected 
 swagger, with the consciousness of cowardice, and the domineering 
 manner controlled by the sense of marital subjection, could hardly 
 have found more emphatic expression. To the constant laughter 
 created among the audience the actor may confidently refer in evi- 
 dence of his complete success." {Daily Telegraph, October 17, 1867.) 
 In February 1868, at the Princess's Theatre, Mr. Clarke played 
 the part of Salem Scudder in a revival of 'The Octoroon'; sub- 
 sequently, in the same year, he appeared at various towns in the 
 provinces, and afterwards returned to the Strand Theatre, where he 
 acted Young Gosling in a piece entitled ' Fox versus Goose.' "Jack 
 Gosling, as executed by Mr. J^ S. Clarke, is a most remarkably 
 specimen of grotesque humour. Silly good humour and unreason- 
 able irascibility alternate with each other, and when the unfortunate 
 youth is left alone, thoroughly ' done over,' his drollery becomes 
 irresistible. There is genius in every patch of colour. ... It is 
 wonderful how the comic genius of Mr. J. S. Clarke breaks through 
 difficulties when its manifestation is least expected. Sometimes 
 the influence of cumbrous matter threatens to make all dramatic 
 peculiarity fade out, and its sudden reappearance is almost startling. 
 In the scene of the duel. Gosling, whose sole object it is to make 
 mortal combat impossible, objects to the rifles, which he himself 
 has previously selected. He is asked what weapons he would 
 prefer. ' Cannons,' he thunders forth, astounded at the brilliancy 
 
 H 
 
98 THE DRAMATIC LIST. 
 
 of his own notion. His adversary sneeringly suggests that he 
 would not even fight with ' pop-guns,' whereupon he vehemently 
 declares that he would. The pop-gun is even better than the 
 cannon, and the avidity with which he jumps at the new means of 
 escape is surprisingly droll." On Monday, July 26, 1869, at the same 
 theatre, he appeared in a leading ydle {Bdbington Jones), in a 
 comedy by John Brougham, entitled 'Among the Breakers.' Wrote 
 \!ae. Athenceum (July 31, 1869) : — " Mr. J. S. Clarke played his part 
 in a very laughable fashion. His facial play is always droll, and 
 his manner of bearing his unmerited misfortunes was as funny as it 
 could be. Mr. Clarke has a curious power of changing rapidly his 
 expression, which he often employs. His mouth widens, his eyes 
 distend, and his whole face is expressive of unrestrained merriment. 
 Suddenly, with a sort of self-rebuke, as though he had committed 
 himself, he assumes the preternaturally grave countenance of a wag 
 who had forgotten himself and made a joke at a funeral. The 
 effect of this is very comic." 
 
 Afterwards, at the same theatre during the same year, he played 
 Toadies (one of his favourite and best known characters) in the 
 farcical Comedy entitled ' The Toodles.' On Saturday, February 5, 
 1870, he sustained the part of Dr. Pangloss, in a revival, at the 
 Strand, of the younger Colman's comedy of 'The Heir-at-Law.' As 
 to this performance the Daily News (February 7, 1870) remarked- : — 
 " The success of the comedy, which was produced for the first time 
 in 1797, at the Haymarket, is sufficiently explained by the original 
 cast, which included such stars as Snett, Palmer (whether John or 
 Robert we know not), Fawcett, Charles Kemble, and Munden ; but 
 it is remarkable that the original Pangloss, whose character is the 
 very pivot of the play, was not regarded as satisfactory, the best • 
 critics considering John Bannister, Fa.wcett's successor in the part, 
 as superior in that 'stiff solemnity and slowness of utterance' 
 appropriate to the obsequious tutor. Mr. J. S. Clarke's Pangloss 
 is probably different in numerous points from either of those 
 originals. It is full of those abrupt transitions from slow utterance 
 to quick, from a low tone to a high, from repose to activity, which 
 are only saved from degenerating into mere mannerisms by the 
 real comic genius of the actor. In his peculiar roll of the eyes, his 
 smiles suddenly checked at full height, his eccentric inflections of 
 voice, and grotesque exits, it is, indeed, easy enough to recognize, 
 even under the quaint wig and Georgian clerical costume, our old 
 friends Wellington de Boots and Timothy Toodles j but there are 
 still abundance of touches in his performance — ^like his sudden and 
 serious contemplation of the old chandler's countenance to watch 
 the effect of his magnificent Latin and Greek quotations — which 
 are really artistic and new." Said the Times of the same date :— 
 "Those who associate this mirthful little theatre with entertain- 
 ments of the lightest class will be surprised to learn that the old 
 Standard comedy, 'The Heir-at-Law,' of the younger Colman, 
 decidedly the best work of an indifferent school, attained a most 
 decided success when revived in three acts on Saturday night. 
 Folks are in the habit of laughing loudly at the Strand, but never 
 
CLARKE, JOHN S. 99 
 
 did they laugh more loudly than at this ' legitimate ' farce. Let us 
 remark, by the way, that certain obstacles to mirth which occur in 
 the five-act play, and which were apparently relished by our fathers, 
 are removed in the compressed version. The purpose of the 
 revival is obviously to furnish Mr. John S. Clarke, the American 
 comedian, with a new part of strongly marked character. He plays 
 Dr. PaHgloss, and takes a view of that model tutor which is 
 perfectly consistent with the text, and which affords occasion for 
 the display of the broadest humour. According to Mr. Clarke, 
 Pangloss IS riot a dry pedant, but a genial swindler with pedantic 
 embellishments, who has the greatest difficulty in conceding the 
 delight afforded by the triumphant success of his own dishonesty. 
 An urbane man, too ! He chuckles inwardly at the cacology of his 
 noble patron, but he corrects his mistakes with the utmost delicacy^ 
 rather suggesting than demanding an amendment, the embodied 
 spirit of insinuation. On one occasion only is he thoroughly grave, 
 and that is when he is cotripelied by Dick Dowlas to dance in the 
 streets, and he sees in that dance the ruin of his prospects. The 
 legs partially move, but the face is sad." 
 
 Mr. Clarke reappeared with considerable dclatm. New York on 
 April 17, 1870, and subsequently performed with much success 
 during the same year at the various principal cities in the United 
 States. In Jiily 187 1 he returned to England, and on the 29th of 
 that month " opened " at the Strand Theatre as Dr. Pangloss, 
 which character he sustained for a " run " of one hundred and fifty 
 nights. His next appearance in London was at the same theatre 
 on Saturday, ■ March 9, 1872, as Dr. Ollapod, in the younger 
 Colman's comedy of ' The Poor Gentleman.' 
 
 The great success of ' The Heir-at-Law,' in which Mr. Clarke's 
 Pangloss will be long remembered, had probably suggested to 
 the management to revive another comedy of George Colman's. 
 " FrOm Pangloss to Ollapod is an easy transition. Until lately 
 these two stage figures, once so familiar in the eyes of English 
 playgoers, had become somewhat indistinct, for the Haymarket, 
 which may be said to have been the last home of the old comedies, 
 has, of late years, consigned the plays of George Colman to a sort 
 of hohburable superannuation. No one, however, who witnessed 
 the performance of ' The Heir-at-Law ' at the Strand will be dis- 
 posed to deny that there are qualities in these pieces which not 
 only explain their old popularity, but are quite sufficient. to give 
 them new life when they are put upon the stage with tolerable care. 
 Ollapod, it must be confessed, is a character neither so amusing 
 in itself nor so completely worked out as the part of the obsequiouis 
 tutor. ' Neither character has the slightest pretence to depth. The 
 country apothecary and cornet of volunteers and the time-serving 
 pedantic private tutor are both rather compounds of oddity than 
 studies from life. Their eccentricities, however, are at least con., 
 ceivable ; and it would be a great mistake to condemn them simply 
 because they are artificial creations. The fact is, that our capacity 
 for enjoying the inventions of the novelist's or the dramatist's brain 
 is by no means strictly limited to the probable, much less to average 
 
 H 2 
 
loo THE DRAMATIC LIST. 
 
 types'of men. Some of the most successful of stage characters — ■ 
 Paul Pry and Lord Dundreary for example — are personages 
 certainly not to be found off the stage. Yet they could hardly be 
 called characters of farce, for their attributes are rather humorous 
 than broadly comic, and their elements, if strangely mixed, are not 
 entirely remote from human traits. Thus the toadying and pliant 
 ' bear-leader ' of old times is, after all, the foundation of Pangloss, 
 as is the country apothecary of Colman's days, with his narrow 
 views of life, his bland servility and fussy patriotism, the foundation 
 of Ollapod. The queer habits and sayings with which they are in- 
 vested are the mannerisms of the author, whose thorough know- 
 ledge of the essentials of stage success saved him from going too 
 far in this way, while his hearty relish for odd people and quaint 
 dialogue is manifested in the overflowing drollery of the scenes. 
 
 " Mr. J. S. Clarke is a mannerist, as nine comic actors out of ten 
 have ever been, and this is, to a certain degree, a disadvantage 
 when performing in succession two characters having so many 
 superficial points of resemblance as Pangloss and Ollapod. When 
 he stops abruptly with the frequent exclamation, ' Thank you, good 
 sir, I owe you one,' the spectator cannot fail to be reminded of 
 Pangloss's abrupt mention of the names of the authors whom he 
 delights to quote ; and, as all Mr. Clarke's admirers will understand, 
 the same constrained walk, and frequent chuckle, and self-admiring 
 smile, and frequent roll of the eye which were conspicuous in 
 Pangloss and Wellington de Boots flourish again in the case of the 
 eccentric apothecary. But all these things are very droll in them- 
 selves, and the ungainly attitudes of the proprietor of the Galen's 
 head when in his full regimentals — including the traditional large 
 brass helmet— are irresistibly comic. Mr. Clarke received from 
 a crowded audience an enthusiastic welcome." {Daily News, 
 March ii, 1872.) 
 
 On Thursday, June 27, 1872, at the Strand, he performed the 
 part of Paul Pry in Poole's well-known comedy ; and, subse- 
 quently, Robert Tyke in ' The School of Reform,' exhibiting in 
 the part "a remarkable mastery of the Yorkshire dialect and a 
 power of expressing strong emotional feelings, which prove his 
 range to be by no means limited to eccentric comedy." During 
 the several seasons Mr. Clarke has played in London he has taken 
 up, one after the other, most of the leading characters of broad 
 comedy. His representations, depending largely upon facial play, 
 have a generic likeness, and it is rather by aid of such accessories 
 as costume than by means of any special portrayal of character 
 that the spectator distinguishes one from the other. The imper- 
 sonation of Paul Pry, the hero of Poole's well-known comedy, has 
 much in common with his Dr. Ollapod and Dr. Pangloss. In 
 absolute extravagance of drollery Mr. Clarke approaches nearer 
 Listen perhaps than any subsequent interpreter of the character 
 first named. 
 
 In November 1872 he opened the Charing Cross Theatre under 
 his management, and produced ' The Rivals,' in which he sustained 
 the part of Bob Acres. Since the above date Mr. Clarke has 
 
CLAYTON, JOHN. loi 
 
 appeared from tirhe to time in London in the round of characters 
 already specified. In April 1874 he appeared at the Holbom 
 Theatre as Phineas Pettiephogge in a five-act melodrama by 
 H. J. Byron, entitled ' The Thumbscrew.' In the autumn of 1878 
 he assumed the lesseeship and direction of the Haymarket Theatre. 
 On Monday, December 1, 1878, he produced there 'The Crisis' (a 
 version of M. Emile Augier's ' Les Fourchambault '), by Mr. James 
 Albery. The principal players in the piece were Messrs. Charles 
 Kelly, Terriss, and Howe, and Mesdames John Wood, Eastlake, 
 and Louise Moodie. The acting was in some instances exception- 
 ally good, and the play was a success. On Easter Monday, 
 April 14, 1879, Mr. Clarke produced an original "comedy-drama," 
 in five acts, by W. G. Wills, entitled ' Ellen ; or. Love's Cunning.' 
 Though one or two of the scenes of this play were excellent (notably 
 those in which Thomas Pye (Charles Kelly) and Lady Breezy 
 (Miss B. Henri) bore a principal part), considered as a whole it 
 was a conspicuous failure, and was removed from the bills after a 
 week's performance, giving place to 'The Rivals,' in which Mr. 
 J. S. Clarke resumed his old part of Bob Acres. Subsequently, 
 in May, 'The Crisis ' was revived; and on Thursday, June 12, 
 1879, 'Brag' (W. G. Wills), an amended version of the same 
 author's 'Ellen.' This piece, like its predecessor, was unsuccessful. 
 The summer season 1879 ended Tuesday, June 24, and with it Mr. 
 Clarke's lesseeship of the Haymarket Theatre, which was transferred 
 to Mr. and Mrs. Bancroft. 
 
 CLAYTON, JOHN (a nom dethi&trej John Alfred Clayton 
 Calthrop), was born at Gosberton, Lincolnshire, February 14, 
 1845, and made his first appearance upon any stage, February 27, 
 1866, at St. James's Theatre, London, in the character of Hastings 
 in ' She Stoops to Conquer.' In the following year (in August), 
 at the Olympic Theatre, Mr. Clayton appeared in a comedietta 
 entitled ' Six Months Ago,' in which his acting was favourably com- 
 mented on. The same month of 1867, at the same theatre, he 
 played the part of Laudvy Barbeau in ' The Grasshopper,' a 
 dramatization of Madame Dudevant's story ' La Petite Fadette.' 
 The piece had already been presented in America. On March 27, 
 1869, first performance of T. W. Robertson's comedy ' Dreams,' 
 he played the part of Earl Mount Forrestcourtj and at the 
 Gaiety Theatre in the July following, first performance of W. S. 
 Gilbert's comedy ' An Old Score,' the part of young Calthorpe. 
 The same year, Monday, October 11, at the same theatre, first per- 
 formance of 'A Life Chase' (by Messrs. Oxenford and H. Wigan), 
 Mr. Clayton played Vaubert. In December of the same year, at 
 the Gaiety, he was the original Joe Lennard, first performance of 
 ' Uncle Dick's Darling.' In February 1876, at the Princess's, he 
 played Nigel in a revival of ' The King o' Scots ' ; in May of the 
 same year, at the Court Theatre, in a. dramatic version of ' Great 
 Expectations,' the part of J aggers j and in the ensuing November 
 the part of Mr. Jormell, first performance at the same theatre 
 of H. T. Craven's comedy ' Coals of Fire.' In July 1872, at the 
 
102 THE DRAMATIC LIST. 
 
 Vaudeville Theatre, in a revival of ' The School for Scandal,' Mr. 
 Clayton played the part of Joseph. Surface. The piece was per- 
 formed for four hundred and twelve consecutive nigits, being the 
 longest " run " Sheridan's comedy has yet obtained. In a second 
 adaptation of ' Marcel ' (MM. Sandeau and Decourcelle), entitled 
 ' Awaking,' first performed at the Gaiety Theatre, December 14, 
 1872, Mr. Clayton sustained the leading rSle with great povwer. 
 " Though his [Mr. Clayton's] voice was wanting in that quality at 
 once grave and tender, which, as we have already said, would be 
 necessary to give due effect to the part, and he seemed, unfortu- 
 nately, unable to shake off some mannerisms — a peculiar roUing 
 gait, for example — in many passages he fairly surmounted all dis- 
 2>dvantages. The fine gradations of the father's return to reason, 
 and his horror at the imaginary picture of the child lying dead at 
 his feet, were depicted by him with much subtlety and power ; but 
 the most touching part of his performance was in the closing scene, 
 when a simple exclamation indicates both his return to reason and 
 his perception of the fact that the little child before him is another 
 son born to him in the early days of his insanity, and now destined 
 to fill the place of his lost brother in his affections." {Daily News, 
 December 17, 1872.) In 1873, on Saturday, September 27, in a 
 revival at the Lyceum Theatre of ' Richelieu,' Mr. Irving in the 
 title role, Mr. Clayton sustained the part of Louis XIII. The 
 following year (1874), on Saturday, February 7, in a new drama 
 produced on that date at the Lyceum Theatre, entitled ' Philip 
 (Hamilton Aide), he played Juan de Miraflore. On Saturday, 
 March 13, 1875, the opening night of the Court Theatre under Mr. 
 Hare's management, in a new comedy by Mr. Charles Coghlan, 
 entitled ' Lady Flora,' Mr. Clayton sustained the part of George de 
 Cl/avannes. The same year, on Monday, October 18, at the 
 Mirror Theatre, London, first performance of 'All for Her ' (Messrs. 
 Palgrave Simpson and Herman Merivale), he sustained the part of 
 Hugh Trevor. Mr. Clayton's presentation of the character was so 
 successful that he afterwards performed it in London and the pro- 
 vinces for a period of nearly two years. The Daily Telegraph 
 (October 20, 1875) thus remarked on the performance : — " Mr. 
 Herman Merivale, cordially assisted by his friend, Mr. J. Palgrave 
 Simpson, has once more enriched the literature of our modern 
 stage with a play glowing with the rich warmth of poetical feeling 
 and of serious dramatic value. Once more has a young actor 
 come boldly to the front, and shown himself not only capable of 
 appreciating the high intention of his authors, but of interpreting it 
 to the complete satisfaction of his audience. The actor is Mr. 
 John Clayton, who has won his position by intense application and 
 rafe industry, and has secured his success by one of those impul- 
 sive bounds which are as surprising to the public as they are 
 delightful to all who make the drama their special study. It will 
 be needless, we trust, to waste many words upon steady play- 
 goers in urging particular attention to this new play, ' AH for Her.' 
 It will be superfluous, we believe, to demand healthy and hearty 
 criticism upon an art-study so meritorious as the Hugh Trevor of 
 
CLAYTON, JOHN. 103 
 
 Mr, Clayton. But there are tirties when it appears to be the duty 
 of the critic to abandon the dull office of chronicler, and to lead a 
 cheerful chorus of congratulation. All who know Mr. Merivale's 
 work, and appreciate the value of such an author, will lose no oppor- 
 tunity of seeing the new play." And the Times (January 13, 1876), 
 noticing the same play after it had been before the public for some 
 weeks, expressed the following opinion upon its merits and Mr. 
 Clayton's acting : — " ' All for Her ' is certainly the niost powerfully 
 written play which has bpen on the English stage for some years. 
 . . . . ' All for Her ' was well played in Holborn, but it is still 
 better playe4 in St. James's. It does not often fall to the'lot of an 
 actor to have such a part as that of Httgh Trevor assigned to him ; 
 but, on the other hand, it is not eiyeryone wlip cg^n grasp his oppor- 
 tunity when it is- before him. Thjs Mr. Clayton has done. It 
 would have been easy to make Trevor, the poor, reckless, good-for- 
 nothing drunkardj a very repulsive person ; but this Mr. Clayton 
 has not done. Philip, drunk or sober, is still a gentleman, an^ 
 from first to last this fact is kept before us with exceptional art. S9 
 skilfully managed, too, both by author and actor, is the birth and 
 growth of Trevor's hopeless love for the woman who is to be his 
 brother's wife, that the burning of thf only proof of his legitiniacy, 
 and the last great sacrifice at the close of the play, seem to us, 
 while we fully recognize their nobility, hardly more than a man 
 placed in Trevor's position would havg dpne. We are pleased, too^ 
 to note another point, and no common one, in Mr. Clayton's 
 acting. Snch a part, depianding the exercise of physical as well as 
 other powers, wh,en played nigh,t after night, is terribly susceptiblf, 
 as we have many p;'pofs, of exaggeration : but we can discover no 
 sign of this at the St. James's any more than was to be seen at the 
 Mirror. On the contrary, it seenas tp us that Mr. Clayton lias 
 modified on? or two littlf trifling Excesses of voice and gesture 
 which yiss^ apparent in the earlier representations." 
 
 On Saturday, January 6, 1877, first performance at St. James'? 
 Theatre of the English version of ' The Danischejfs,' Mr. Clayton 
 sustained the character of Osi^. Va. 1878, January 12, first perform- 
 ance at the Prince of Wales's of ' Diplomacy,' he played the part 
 of Henry Beauc^rf. "The two great scenes in this play are the 
 second and third acts. On these f:ested the fan^ie of the French 
 piece, which, in other respects, yt^as considered to be occasionally 
 too diffuse and slightly deficient in vitality. The first of tfiesp 
 scenes, however, has acquired a distinction unusual even ainong' 
 the great traditions of the French stage, and the corresponding 
 scene in the English piece may vcell attain an equal honour in the 
 annals of our own stage. In this, the husband learns on his 
 wedding day, from the lips of a friend ignorant of the marriage, 
 that he has taken to wife a tj-aitr«ss axid a. spy. The friend, learning 
 top late the indiscretion of which he has been guilty, would retract 
 his words, but h^ is forced tp speak, and estabhshes what caii- 
 npt but seem cpnclusive proof of the truth of what he has said. 
 The husband refusing to believe, and yet scarcely daring to dis- 
 believe, what he has heard, spares no effort to establish his wife's 
 
I04 THE DRAMATIC LIST. 
 
 innocence ; but the secret enemy at work is too strong for him, and 
 all his efforts unfortunately tend to establish but too clearly her 
 guilt. Then ensues the second of the famous scenes where the 
 husband and wife, after mutual apologies, offers of forgiveness, and 
 recrimination, alternately advanced and withheld, part to meet, they 
 vow, no more. The closing act is occupied with the restoration of 
 the wife's innocence and the conviction of the real criminal — a 
 Russian Countess in the pay of the Russian police, whose rejected 
 love for the husband has led her to take this terrible vengeance 
 on the wife and through her on him. The means by which 
 a happy conclusion is attained, though somewhat weak in art, 
 and apt, perhaps, to strike the spectator as more ingenious 
 than ingenuous, are skilfully contrived to further those ends of 
 justice which the stage of comedy requires. In the first of the 
 great scenes, the acting of Mr. Bancroft, Mr. Kendal, and Mr. 
 Clayton, respectively impersonating the friend, the husband, and 
 the brother, could not well be bettered. The situation is, in itself, 
 very striking, and presented as it is by these three gentlemen, it 
 brought down from a,ll quarters of the house such applause as is 
 seldom heard in this theatre, where satisfaction is wont to be 
 expressed after a somewhat languidly decorous fashion. \See also 
 Bancroft, S. B.} . . . On Mr. Clayton's shoulders devolved, 
 perhaps, the hardeist share of the scene, for he has much to do but 
 scarcely a word to say. It is his business to watch and control his 
 brother, to soften the severity of the blow, and to temper indignation 
 with reason. In this he is assisted but little by the authors, his 
 words are of the fewest and the simplest, his manner and his action 
 are his own, and both are marked with true and natural propriety 
 of expression. Mr. Clayton's performance, indeed, is throughout 
 one of the soundest and most consistent among so many good ones, 
 and the only exception we could probably take to him would be in 
 the closing scene, where we doubt whether he might not soften his 
 manner towards the wretched woman from whom his craft has 
 drawn a full confession of her crime. Here, however, his conduct 
 is, we suppose, more directly indicated by the text." (Times, 
 January 21, 1878.) 
 
 On Saturday, January 11, 1879, in a revival of 'Caste 'at the 
 Prince of Wales's Theatre, Mr. Clayton played George D'Alroy 
 (his predecessors in the part being Frederick Younge, H. J. 
 Montague, and Charles Coghlan) ; and on Saturday, May 31 of 
 the same year, at the same theatre, he played in a revival of W. S. 
 Gilbert's ' Sweethearts.' It is understood that at the end of the 
 summer season 1879 Mr. Clayton joins Mr. Boucicault's company 
 at Booth's Theatre, New York. 
 
 CLEMENTS, FRANK, was born in Aberdeen, July 8, 1844. 
 He studied for the Church of Scotland at King's College, Aberdeen, 
 for some tinie ; but, finally, in 1 86 1 left that University and entered 
 the dramatic profession. In the same year he appeared on the 
 stage for the first time at the New Theatre, Birmingham, and 
 afterwards entered upon engagements at various theatres in the 
 
CLIFFORD, EDWIN. 105 
 
 provinces. His first appearance as "leading actor" was at the 
 Theatre Royal, Birmingham, where Mr. Clements remained during 
 two years, performing from time to time in the following parts, viz. 
 Macbeth, lago, Claude Melnoite, Master Walter, Romeo, Richard 
 HI., &c. He undertook in 1869 the management and leading 
 business at the Theatre Royal, Nottingham, for one year. In 1870 
 he returned to the Theatre Royal, Birmingham, as " leading 
 actor," and remained a member of the company of that theatre 
 until December 1873, afterwards joining Mr. Sefton's travelling 
 company to play leading parts in 'Pygmalion and Galatea ' and 
 ' The Palace of Truth.' In July 1874 Mr. Clements made his first 
 appearance in London at the Lyceum Theatre as Lord Moray in 
 'Charles I.' In March 1875 he commenced a "starring" tour in 
 the provinces, which continued until July 1877, during which time 
 Mr. Clements visited the principal towns and cities of the United 
 Kingdom, playing nearly every leading legitimate and Shakespearian 
 character. The Liverpool Dadly Post noticed his performance of 
 Macbeth as follows ; — " Mr. Clements played Macbeth with an in- 
 tellectual power and dignity far above the average, and with an 
 absence of staginess which cannot be too highly commended." 
 Mr. Clements rejoined the Lyceum company on its provincial tour 
 in 1877 ; and in 1878 in London sustained the part of Philip ck 
 Commines in the revival of ' Louis XL' at the Lyceum Theatre. 
 
 CLIFFORD, FDWIN, was born at King's Clifie, North- 
 amptonshire, and entered the dramatic profession in 1867, He 
 accepted an engagement for three successive seasons at the TTheatre 
 Royal, Dundee, and subsequently passed into the company -of Mr. 
 Wilson Barrett. He made his first appearance in London at the 
 Victoria Theatre, September 24, 1876, in the character of Ishmael 
 the Zingaro, in a romantic drama entitled ' The Shadow of Death.' 
 Mr. Clifford has devoted himself chiefly to the impersonation of 
 the characters of Shakespearian tragedy, and his performances of 
 Hamlet, Macbeth, Othello, and other leading rdles have been 
 appreciated in a large circle of provincial towns. 
 
 CLIFTON, FREDERIC, was born May 29, 1844, and entered 
 the dramatic profession in 1861, making his first appearance at the 
 Theatre Royal, Reading. After a varied experience in almost every 
 line of theatrical business, he accepted an engagement in 1865 as 
 musical lecturer and entertainer at the Royal Polytechnic Institu- 
 tion. Subsequently he fulfilled an engagement of a Uke character 
 at the Crystal Palace. In 1868 Mr. Clifton appeared in London 
 as the English original Krakwitz in Offenbach's ' Last of the 
 Paladins.' Since then he has sustained original parts in various 
 operas and opera bouffes, &c., at the Criterion Theatre, the 
 Egyptian Hall, the Royalty, Alhambra, and Gaiety Theatres, and 
 at the Crystal Palace. He has been from the commencement of 
 Mr. D'Oyley Carte's management (November 1877), and is still 
 (July 1879), engaged at the Opdra Comique, Lindon, performing 
 in Messrs. Gilbert and Sullivan's, successful comic operas. Mr, 
 
io6 THE DRAMATIC LIST. 
 
 Clifton was in the original cast of ' H.M.S. Pinafore,' by the same 
 author and composer, produced at that theatre Saturday, May 25, 
 1878, as Bill Bobstay (boatswain's mate). He is the author of ' A 
 Theory of Harmony,' published by Boosey and Co., and has com- 
 posed the incidental music for several works favourably noticed by 
 the London press. 
 
 COBB, RICHARD. See TeMPLK, RICHARD. 
 
 ■^COGHLAN, CHARLES F. A leading actor of considerable 
 merit in modern comedy, whose most noteworthy appearances on 
 the London stage are associated with the period of his engage- 
 ments at the Prince of Wales's Theatre, 1870-6. Previous to the 
 year first named he had acted in London, with more or less success, 
 at the Olympic, St. James's, Lyceum, and Holborn Theatres. In 
 1870, on Saturday, April 23, at the Prince of Wales's Theatre, first 
 performance of ' M.P.' (T. W. Robertson), Mr. Coghlan acted the 
 part of Chudleigh Dunscombe. The same year, November 26, at 
 the same theatre, he played, in a revival of ' Ours,' Angiis McAlister, 
 the part originally taken by Mr. Bancroft ; and in the following 
 year, in a revival of ' Caste,' George UAlroy, his predecessors in 
 this character being Mr. F. Younge and Mr. Montague, both 
 deceased. In May 1872, in a revival of ' Money,' and dLring the 
 " run " of the play at the Prince of Wales's Theatre, he sustained 
 the part oi Alfred Evelyn, and " succeeded well in giving life to that 
 very difficult character. To speak naturally some of the stilted 
 speeches put into Evelyn's mouth is beyond the powers of mortal 
 man, and it is most creditable to Mr. Coghlan's art that the 
 discursive philosophy is rarely tedious, and sometimes even inter- 
 esting." In April 1874, in a revival at the same theatre of 'The 
 School for Scandal,' Mr. Coghlan performed the part of Charles 
 Surface, as to which the Daily News (April 6, 1874) remarked :^- 
 " Mr. Coghlan's Charles comes perhaps nearest of all the male 
 parts to the ideal of the character. His high spirits and frank 
 insouciance had a genuine tone about them, heightened, however-^- 
 as they ought to be — by that dramatic colouring in which some of 
 the minor characters were sadly wanting. A few performances 
 before real audiences will doubtless add a completeness to the 
 representation, which even the careful rehearsals bestowed on all 
 pieces brought out at this theatre are sometimes powerless to give.'.' 
 " Of Mr. Coghlan's Charles Surface there cannot be two opinions. 
 He is easy, elegant, buoyant, gentleman-like, without any of the 
 coarseness which frequently disfigures him ; and his smallest 
 touches indicate a profound conception accompanied by facility of 
 execution. Had ' The School for Scandal ' been performed in the 
 old instead of the new fashion, there is no doubt that Mr. Coghlan 
 would still have shown his pre-eminence." {Times, April 9, 1874.) 
 In November of the same year, first performance at the Prince of 
 Wales's of an "original dramatic contrast," written by W. S. 
 Gilbert, entitled ' Sweethearts,' Mr. Coghlan performed the part of 
 Harry Spreadbrow, Mrs. Bancroft as Jenny Northcote. In April 
 
COGHLAN, ROSE. 107 
 
 ' 1875, at the same theatre, he acted the part of Sky lock in a revival 
 of ' The Merchant of Venice,' which was a failure, though placed 
 on the stage in the most sumptuous 'manner. " With the success 
 of the revival Mr. Coghlan's Shylock will have little or nothing to 
 do. It is a failure, not through lack of intelligence, but in con- 
 sequence of the application of an unsound theory. In a house 
 where Mr. Robertson's name so long predominated, and where the 
 grand object has been an imitation of the manners of modern hfe, 
 Mr. Coghlan has evidently formed the opinion that the style of 
 acting suitable to Robertsonian comedy would equally fit the 
 stormiest creations of the Elizabethan era. He deliberately avoided 
 not only traditional points, but all point whatgyer, and when 
 emphasis was naturally suggested it seemed that he purposely 
 shunned it. Sometimes one was inclined to hope that, like Signor 
 Salyini, he was holding his forces in reserve, and would break out 
 4t an unexpected moment, but the moment never came. The 
 suppressed rage at ShylocWs final exit showed that the actor 
 perfectly understood the meaning of the situation, hut his theory 
 forbade him to give it effect. And in the soft, but not less crushing 
 embraces of the same theory were nearly all the performers held, 
 exciting less mirth, less grief, less terror, than could be produced 
 by persons of far inferior attainments acting under ordinary cir- 
 cumstances.'' {Times, April 19, 1875.) "^^ same year, in August, 
 at the Princess's Theatre, Mr. Coghlan sustained the part of 
 Claude Melnotte to Miss Ellen Terry's Pauline in ' The Lady 
 of Lyons.' This impersonation calls for no special comment. It 
 was not very successful. Mr. Coghlan left for the United States 
 in the year foUbwingj and after a career there of unusual success 
 returned to London in July 1879. He has some reputation as a. 
 dramatist, having written ' Lady Flora ' and ' Brothers,' and a 
 clever little version of ' La Partie de Piquet,' entitled ' A Quiet 
 Rubber,' all produced at the Court Theatre under Mr. Harems 
 management in 1875-6. Mr. Coghlaji also completed and revised 
 for die stage Lord Lytton's play ' The House of Darnley,' first 
 performed at the same theatre. 
 
 * COGHLAN, ROSE, first attracted notice on the London 
 stage by her excellent acting of the part of Lady Marsden in 
 Messrs. Palgrave Simpson and Herman Merivale's three-act drama 
 'AH for Her,' first performed at the Mirror (Holborn) Theatre, 
 Monday, October 18, 1875. " ' All for Her ' was received on the first 
 night with acclamations of more than ordinary warmth, and the 
 authors were enthusiastically summoned to appear before the 
 curtain. Mr. Merivale was not present, but Mr. Palgrave Simpson 
 responded to the call, and in the course of a few remarks said that 
 but for the excellence of the acting the success of the piece would 
 not have been so gre^t. In this he only rendered justice to Miss 
 Coghlan and Mr. Clayton, the full measure of whose deserts, it 
 may be confidently asserted, have never been known until now. 
 Miss Goghlan's Lady Marsden is remarkable for vigour of concep- 
 tion, forcible expression of totally distinct feehngs, earnestness of 
 
io8 THE DRAMA TIC LIST. 
 
 purpose, and natural dignity of demeanour. Her treatment of the 
 scene with Hugh in the second act is characterized by much 
 dehcacy, and it was difficult' to believe that the actress who had 
 • appeared to advantage in the light-comedy scene with Colonel 
 Damer could display such power as is witnessed when, at the end 
 of the second act, she hears that Hugh has been playing a part 
 in order to capture her lover. Her pathos and tenderness in the 
 last act, too, created a perceptible effect upon the audience." 
 {Times, October 22, 1875.) Since the last-mentioned year Miss 
 Rose Coghlan has been engaged on the American stage. 
 
 COLLETTE, CHARLES, was born in London, July 29, 1842. 
 He was educated for the Army, and held a commission for seven 
 years in the 3rd (Prince of Wales's) Dragoon Guards. Having 
 retired from the service in 1866, two years afterwards (November 
 1868) he entered the dramatic profession, and made his first 
 appearance in London the same year at the Prince of Wales's 
 Theatre in Edmund Yates's comedy 'Tame Cats.' Among im- 
 portant impersonations sustained by Mr. CoUette, subsequently, at 
 that theatre, the following, in the "revivals" and productions of the 
 several plays to which each character relates, are deserving of 
 being mentioned, viz. Colonel Berners, Sir Oliver Surface, Old 
 Sowerberry, Chillichutney, C Sullivan (in 'Society'), Sir John 
 Vesey, and Serjeant Jones (in ' Ours '). As Sir Patrick Lundie, in 
 a revival of Mr. Wilkie CoUins's play of ' Man and Wife,' Mr. 
 Collette has also attracted favourable notice. In addition to the 
 Prince of Wales's, this actor has appeared at the following London 
 theatres in leading parts, viz. at Drury Lane, Strand, Gaiety, 
 Olympic, Vaudeville, Alhambra, Surrey, Royal Park, Princess's, 
 Opdra Comique, and at the principal theatres in the provinces. 
 He has attracted favourable notice for his acting as Sir Fretful 
 Plagiary and Puff m 'The Critic'; Old Tom in 'After Dark'; 
 Micawberm 'Little Em'ly'; Felix Featherstone in 'The Snowball'; 
 and Professor Lobelia in ' Love Wins.' Mr. Collette is the author 
 of a farce entitled ' Cryptoconchoidsyphonostomata,' the princip^ 
 character in which {Plantagenet Smith) is a stage-creation of his, 
 and, it may be added, one in which he has secured well-merited 
 popularity, 
 
 COMPTON, EDWARD,, son of the weU-known comedian, the 
 late Henry Compton, of the Theatre Royal, Haymarket, and 
 brother of the under-mentioned Katherine Compton, was born in 
 London. He first appeared on the stage at the New Theatre Royal, 
 Bristol, September 22, 1873, in a subordinate part {Long Ned:) in a 
 play entitled 'Old London,' and remained six months at that 
 theatre. In AprU 1874 he went on tour in Mr. Francis Fairlie's 
 company, "ostensibly for 'walking gentlemen,' but playino- such 
 mixed ' business ' as Richard Hare and Earl Uountseverii\' East 
 Lynne '), Dr. Brown (' Progress '), Crabtree and Careless (' School 
 for Scandal')." At the Bristol Theatre Royal, on the occasion of a 
 
COMPTON, EDWARD. lo^ 
 
 benefit performance, lie appeared in the part of Mdlvolio {' Twelfth 
 Night '), Mr. Henry Compton, Mr. Chute, and Mrs. Kendal being 
 in the cast. After playing many leading parts in the legitimate 
 drama at Blackpool, Newcastle-on-Tyne, and elsewhere, going 
 through what the subject of this record in a letter describes as 
 " awful work," but which, doubtless, represents only the common 
 experience of all actors at the outset of their career, Mr. Compton 
 entered upon a long engagement with Mr. Glover at Glasgow and 
 Kilmarnock. At these places he became extremely popular, and 
 largely increased his knowledge of stage art by the opportunities 
 which were presented him of supporting well-known players in 
 their "starring" engagements. On March 6, 1876, Mr. Compton 
 " opened " at the Prince of Wales's Theatre, Liverpool ; and in 
 the following September at Theatre Royal, Birmingham, as " lead- 
 ing gentleman." On the occasion of a Benefit to Mr. Henry 
 Compton at Drury Lane Theatre, March i, 1877 — in all respects 
 one of the most remarkable ever tendered to an actor* — Mr. 
 Edward Compton played the character of Evelyn in the first 
 act of Lord Lytton's ' Money.' Following the termination of the 
 season at Birmingham he entered upon a long engagement with 
 Mr. H. J. Byron to play in ' Cyril's Success ' (Cyril) and other of 
 his plays. On October 22, 1877, at Prince's Theatre, Manchester, 
 he appeared for twelve nights in support of Miss Wallis in 
 Shakespearian parts, Romeo, Orlando, &c., with considerable 
 success, after which he went on tour with the same lady, and 
 appeared in the following among other characters, viz. Romeo, 
 Benedick, Charles Surface, Claude Melnotte, St. Lo, Master 
 Wildrake, and Ingomar. In the presentation of these Mr. Comp- 
 ton was equally successful. September 28, 1878, in a revival of 
 the ' Winter's Tale ' at Drury Lane Theatre, he enacted the part 
 of Florizel. In other Shakespearian revivals that followed at the 
 same theatre in the same year Mr. Compton appeared as Cassio 
 {' Othello '), Malcolm (' Macbeth '), Leonatus (' Cymbeline '), Romeo 
 ('Romeo and Juliet'), &c. In the summer season 1879 Mr. 
 Compton joined the company of the Theatre Royal, Adelphi, 
 where he appeared as Sir Benjamin Backbite in a revival of ' The 
 School for Scandal.' He is the author of a modern comedy in 
 three acts, entitled ' A Strange iRelation,' first performed at the 
 Prince of Wales's Theatre, Liverpool, May 22, 1876, and of a 
 comedietta in one act, entitled ' A Mutual Separation,' produced at 
 the Princess's Theatre, Edinburgh, December 7, 1877, the leading 
 parts being played by the author and Miss Wallis. In conjunction 
 with his brother he published in May 1879 a biography of the late 
 Mr. Henry Compton. 
 
 * The Treasurer of the Committee entrusted with the general arrange- 
 ments of the performances stated from the stage on the day of the Benefit 
 that no less a sum than 4250/. had been realized in London and Man- 
 chester. This amount was considerably increased afterwards by private 
 subscriptions. Hardly a name of note on the English stage was absent 
 from the programme of the occasion. 
 
no THE DRAMATIC LIST. 
 
 COMPtON, KATHERINE MACKENZIE (Katherine MAC- 
 KENZIE Critchett), sister of the afore-named, and daughter 
 of the well-known comedian, the late Henry Compton, was born 
 in London. She made her first appearance on any stage October 
 1874, at the New Theatre Royal, Bristol, as Maria, in 'The 
 School for Scandal.' Miss Compton remained at Bristol playing 
 a round of characters until April 1875, and in the following month 
 accepted an engagement in Mr. Wybert Reeve's travelling company 
 of comedians. October 18, 1875, under Mr. Sefton Parry's manage- 
 ment, at the Theatre Royal, Hull, she played the Dauphin 
 (' Louis XL"), Mr. Charles Dillon in the title rdlej and in July of 
 the same year, at the Theatre Royal, Manchester, sustained the 
 character of Emily Worthingion in a revival of the comedy of 
 'The Poor Gentleman,' for her father's benefit. Miss Compton 
 made her first appearance on the London stage at the Gaiety 
 Theatre, May 3, 1877, as Julia ('The Rivals'), on the occasion of 
 a benefit performance for Mrs. Chippendale. During the same 
 year she played at the Globe and Aquarium Theatres : at the last- 
 named, the character of Maria (' The School for Scandal ") for a 
 run of six weeks ; and on April 20, 1878, at the St. James's 
 Theatre, created the part of Lucy Merivale, in the drama of ' Such 
 is the Law' (Taylor and Meritt), being thoroughly successful. 
 The part was played by Miss Compton until the termination of the 
 season. 
 
 CONQUEST, GEORGE (the Elder), was born in London, 
 and first appeared on the stage at the Grecian Theatre in panto- 
 mime " about twenty-five years ago." Has attracted notice by 
 his clever acrobatic performances, having at various times per- 
 sonated with equal success " an octopus, a crab, a bat, a porcu- 
 pine," and last, not least, "a tree," and being possessed of the 
 most marvellous facilities for changing " instantaneously from a 
 dwarf to a full-grown man, &c." From the foregoing it will be at 
 once admitted that Mr, Conquest's a:bilities as a pantomimist are 
 of no mean order ; and to judge from contemporary journals his 
 remarkable illustrations of animal and still life have been greatly 
 relished by the playgoing public. 
 
 CONQUEST, GEORGE (the Younger), son of the above- 
 named, first appeared on the stage at the age of eight years in 
 the pantomime of ' Robinson Crusoe,' in which he sustained the 
 part of " The Dog " with admirable abihty. Mr, Conquest has 
 acted in various pantomimes with his father, and generally " in 
 acrobatic parts," and, like him, has attained a considerable repu- 
 tation by his skilful performances in that direction. 
 
 * CONWAY, H. B. (a nom de thidtre; H. B. Coulson), was 
 born in 1850, and educated at Rossall School and the University 
 of Berlin. He made his first appearance on the stage at the 
 Olympic Theatre in November 1872 in the part of Bernard, in 
 Dubourg's play 'Without Love.' Subsequently he sustained the 
 part of David Copperfield in a revival of ' Little Em'ly.' In 1873, 
 
COOPER, F. Ill 
 
 September 27, in a revival of ' Richelieu ' at the Lyceum Theatre, 
 Mr. Gonviray acted the part of Francois. At the same theatre, 
 during subsequent seasons^ he appeared in the following parts, 
 viz. Christian, in ' The Bells ' (Leopold Lewis) ; Lord Moray, in 
 ' Charles the First' (Wills) ; Comte de Flamarens, in ' Philip ' 
 (Hamilton Aidd) ; and as Osric, during the long " run " of 
 ' Hamlet.' In August 1875 he joined the company of the Hay- 
 market Theatre, and " opened " there as Dick Dowlas, in a version 
 of the younger Colman's comedy ' The Heir-at-Law.' On Monday, 
 January 17, 1876; he sustained the part of Romeo, in a revival of 
 Shakespeare's tragedy at the same theatre, a performance which, 
 in the opinion of the Athenaum (January 22, 1876), might " be 
 considered the first effort in imaginative art of a young actor who 
 has shown, hitherto, few qualifications beyond youth and good looks, 
 with a moderation of style whichj if not ascribable to timidity, is a 
 sign of intelligence. As such it was a creditable impersonation. 
 Mr. Conway's bearing is gallant, his speech is not wanting in 
 passion, and his general rendering, except in the scene in the 
 Friar's cell — one of the most difficult in the drama-^was effective." 
 At the Haymarket Theatre Mr. Conway has at various times acted 
 the following parts: — Orlando, in 'As You Like It'; Lucio, in 
 ' Measure for Measure ' ; Lord Tinsel, in ' The Hunchback ' ; 
 Sebastian, in ' Twelfth Night,' in addition to various characters in 
 less important pieces. In 1876 he joined the company of the Royal 
 Court Theatre, and, on November 2, played there the part of Fred 
 Meredith in a piece entitled ' The Brothers.' His careful acting of 
 this character received favourable notice. In August 1878 Mr. 
 Conway joined the company of the Prince of Wales's Theatre for 
 "juvenile lead." He has since that date appeared there as Julian 
 Beauclerc in ' Diplomacy' ; and on Saturday, May 31, 1879, in a 
 revival of Mr. Buckstone's comic drama ' Good for Nothing,' Mr. 
 Conway played the part of Charlie, and in Palgrave Simpson's 
 farce ' Heads or Tails,' Harold Dyecaster. 
 
 * COOPER, F., son of the under-mentioned Thomas Cooper, 
 is a member of the Lyceum company, and has appeared in sub- 
 ordinate parts in the series of dramas and tragedies brought out 
 under Mr. Henry Irving's management during 1879. 
 
 * COOPER, HARWOOD, son of Mr. Fox Cooper, made his first 
 appearance on the London boards at the City of London Theatre, 
 May 5, 1845. He was at the Olympic Theatre for a long period, 
 when Mr. Robson was playing there with Mr. Alfred Wigan as 
 manager. Mr. Cooper has generally appeared in small character 
 parts, in the rendering of which he has shown himself a competent 
 actor. He has been for some years connected with the Adelphi 
 Theatre. 
 
 COOPER, THOMAS CLIFFORD, was born in London, and 
 is the son of a pianoforte manufacturer, who, being kiUed by the 
 overturning of a stage coach, left a large family, unprovided for. 
 
112 THE DRAMATIC LIST. 
 
 Mr. T. C. Cooper, having a predilection in that direction, thereupon 
 turned his attention to the stage for a means of liveUhood, and 
 joined a dramatic club of which the late Leigh Murray, W. H. 
 Eburne, J. Kinloch, and others were some time members. After, 
 wards he entered the dramatic profession proper, and passing 
 through " the usual struggles and vicissitudes incidentail to a 
 country actor's life," was engaged by Mrs. Warner at the Majy- 
 lebone Theatre, of which that lady had the management during 
 1847-8. Mrs. Warner, it may be remarked, was one of the most 
 distinguished and respected of our actresses, who for years main- 
 tained her family by her exertions in the highest departments of 
 dramatic art. Professor Henry Morley, in his Journal of a London 
 Playgoer, relates a very touching incident, showing the esteem in 
 which Mrs. Warner was held by those who knew her and had the 
 privilege of witnessing her admirable acting some thirty years ago. 
 When Mrs. Warner relinquished the management of the little 
 theatre off the Edgware Road, Mr. Cooper became a member of 
 the company of her successor, Mr. Watts, and subsequently was 
 engaged by Madame Vestris and Charles Mathews when they 
 leased the Lyceum Theatre in 185 1. For some years Mr. Cooper 
 undertook the responsibilities of a provincial manager, and in such 
 capacity introduced Italian opera (and one of its most admirable 
 exponents, Mdlle. Piccolomini) to the notice of the playgoers of 
 Hull and other large towns in the north of England. He was for 
 twelve years a member of the stock company of the Theatre Royal, 
 Manchester, and " in the off season conducted the little theatre at 
 Oxford." At Manchester Mr. Cooper became very popular. Among 
 original parts sustained by him in recent years the following are 
 entitled to notice, viz. Colonel Challite, in a play entitled ' Alone ' ; 
 Colonel O'Fipp, in ' Tom Cobb,' a role played by him with much 
 care and humour; Moriiboy, in 'Ready-Money Mortiboy' ; Cobham 
 Brown, in ' Tottles,' &c. Mr. Cooper has been recently engaged 
 at the Lyceum Theatre under Mr. Irving's management, and has 
 appeared during the season of 1879 ^s Polonius, in 'Hamlet'; 
 Parson Meadows, in ' Eugene Aram' ; Joseph, in 'Richelieu,' &c. 
 
 CORNOCK, J. R. See Crauford, J. R. 
 
 COULSON, H. B, See Conway, H. B, 
 
 COVENEY, HARRIET (Mrs. JECKS), was born in London, 
 and is the youngest of thirteen children, all of whom have 
 appeared on the stage ; Miss Coveney's parents having been for 
 many years connected with the Theatre Royal, Haymarket. She 
 made her first appearance on the stage, at the age of seven, at the 
 Adelphi Theatre, Edinburgh, as Zoe,\TL 'The Pet of the Petticoats'; 
 and continued to play children's parts there and at other theatres in. 
 Scotland for some time, making a decided success at the Theatre 
 Royal, Glasgow, in the character of Oliver Twist. She became a 
 very proficient dancer under the instruction of Leclercq. Miss 
 Coveney made her dibut on the London stage at the Victoria 
 
CRAUFORD, J. R. ir3 
 
 Theatre, where she gained' considerable reputation as a spirited 
 character dancer, vocalist, and performer of children's parts. After 
 playing^ in the provinces, she. " opened " at the Adelphi Theatre 
 on " Boxing Night " (Christmas),' 1849, as. Princess Agatha, in 
 the burlesque of ' Frankenstein,' by the Brothers Brough ; and 
 in 1850-5J-52, and later, appeared at the Surrey and at Drury Lane 
 Theatres in pantomime, in which Miss Ha^rriet Coveney has always 
 excelled. Among her impersonations of more recent )fears, the 
 following are- entitled to mention as having secured special recog- 
 nition for their artistic excellence, viz. Mother Shipton, in E. L. 
 Blanchard's pantomime ' The Dragon of Wantley,' performed at 
 Drury. Lane Theatre, 1 870-1 ; Polly Mittens, la 'The Water 
 Witches,' played at the Globe Theatre, May 1871 ; the page 
 Adolphe, in ' Palsacappa,' an English version of Offenbach's ' Les 
 Brigands '; the title role in R. H. Edgar's extravagwza of ' Crichton,' 
 produced at the Charing Cross Theatre in August rS/i ;. Sunbeam, 
 in E. L. Blanchard's ' Legend of Spring ; or, the Victory of the 
 Sunbeam,' performed at the Crystal Palace, Sydenham, Easter, 1872. 
 In the autumn of 1872, at the Opfra Comique, Miss Harriet 
 Coveney played the part of the Marquise in. ' L*CEil Cr^ve.' 
 " Miss Harriet Coveney's part of the mysterious Marchioness is 
 altogether dramatic, or perhaps we- ought to say melbdramatic. The 
 wonderful thing about it is the manner in which it is played, the 
 performance being, in its way, as good as Rachel's PhSdre or 
 Histories Medfea — as gpod, that is to say, as can be imagined. Any 
 sort of liberty is, by convention, allowed to a burlesque actress, 
 but the mysterious Marchioness never steps beyond the strictest 
 limits of her part, which she renders with a burlesque-tragic feeling 
 almost poetical from its intensity."' {Pall Mall Gazette, October 24, 
 1872.) Miss Coveney is an artist of considerable versatility. For a 
 number of years she has been altaost indispensable at. Drury Lane 
 in the Christmas pantomime. She has been^recejitly acting the part 
 of Flibbertigibbet 'va. a revival of Andrew HalUday's drama 'Amy 
 Robsart,' at the Adelphi Theatre, London. 
 
 CRABBB, MRS. Se^ Herbert, LomsA. 
 
 CRAUFORD, J. R. (a nam de thMtrej CoRNOCK), first appeared 
 on the stage at the Princess's Theatre, Edinburgh, and played 
 through the "stock" season of 1873-4. Various country engage- 
 ments followed. He made his dibut in London at . the Mirror 
 Theatre, Holborn, when it was under the management of Mr. 
 Horace Wigan, and subsequently appeared at St. James's, Princess's, 
 Gaiety, Olympic, and Globe Theatres. For the " stock " season of 
 1866-7 he played at the Corinthian Theatre, Calcutta. He has 
 been on several provincial tours with theatrical " stars " ; and in 
 1879 was engaged to support Mr. E. A. Sothern. Mr. Crauford is 
 the author of some successful farces. 
 
 CRAUFORD, MRS. J. R. See Ingram, Alice. 
 
JH THE DRAMATIC LIST. 
 
 CRAVEN, HENRY T., dramatist and actor, was born in 
 Londbn, February 26, 1821, and entered the dramatic profession in 
 1840, making his dibut on the London stage in 1850 at Drury Lane 
 Theatre, on which occasion he played Orlando in a revival of 
 ' As You Like It,' Mrs. Nesbitt sustaining the part of Rosalind. 
 The year following he appeared at the Strand Theatre in an operetta 
 which attained some success, and of which he was the authoir, 
 entitled 'The Village Nightingale.' In 1854 Mr. Craven went to 
 Australia, where he remained until 1859. In the year following 
 he appeared at the St. James's Theatre in a little one-act comic 
 drama, 'A Border Marriage,' first performed at the Adelphi 
 Theatre. "The piece in itself is trifling, and it secures the 
 suffrages of the public by the spirit with which it is acted ; and 
 certainly on its revival the authors have no ground of complaint 
 against the executants, for every one engaged in the piece enters 
 con amore into his or her part, and the result is that ' A Border 
 Marriage' amuses the audience. The plot of the piece simplyturns 
 upon a widow being entrapped into a marriage with one of six 
 needy cavaliers, who, after the battle of Worcester, find themselves 
 in the castle of one of their number without a maravedi in their 
 pockets ;• and the chief interest is gained by the after-marriage 
 wooings of the hero and heroine, which pass through changes vary- 
 ing from stormy to fair, and terminate, finally, at ' set fair.' . . . 
 Mr. Craven, as the hero, embodies the character with great vivacity; 
 he is the genial cavalier with his jolly companions, and alternately 
 a playful and an impassioned lover when in the presence of his wife. 
 . . . Judging from the manner in which the piece was received last 
 night, ' A Border Marriage ' seems likely to keep its place on the 
 bills of the St. James's Theatre for some time to come." {Standard, 
 February i, i860.) 
 
 Mr. Craven had decided upon retiring from the stage in this 
 year; but the death of Mr. Robson, for whom he had prepared 
 the character of ' Milky White,' induced him later to reconsider 
 his decision. Already he had won reputation as the author of 
 three plays which had attained considerable popularity. — 'The 
 Post Boy,' produced at the Strand Theatre, October 31, i860; 
 ' The Chimney Corner,' first performed at the Olympic, February 
 21, 1 861; and 'Miriam's Crime,' first performed at the Strand 
 Theatre, October 9, 1863. In 1864, on Wednesday, September 28, 
 a new two-act play from his pen, entitled ' Milky White,' was pro- 
 duced at the Strand, in which Mr. Craven himself undertook the 
 rdle that he had intended for Mr. Robson. The piece obtained 
 a decided and deserved success. "The author," remarked the 
 Daily Telegraph (September 29, 1864), "has not only to be con- 
 gratulated on the literary power and constructive skill with which 
 he has worked out an exceedingly original idea, but he has also 
 to be complimented on the cleverness with which he has embodied 
 the effective character who is the hero of the story so happily 
 imagined. Already well known as a dramatist who has furnished 
 the stage, in ' The Chimney Corner ' and ' The Post Boy,' with two 
 excellent specimens of this class of composition, his histrionic 
 
CRESWICK, WILLIAM. 115 
 
 achievements have, in this country at least, scarcely been con- 
 sidered as prominently associated with his name. As an actor 
 as well as an author Mr. Craven wiU henceforth find himself well 
 remembered by the puWic. It would be difficult to name any 
 comedian who could have more thoroughly realized the part. . . . 
 The ingenuity with which the piece is constructed can only be 
 faintly suggested by an outline of the story ; but equally touching 
 the sympathies and rousing the mirth of the audience, it secures 
 their interest and amusement to the very last. The writing abounds 
 in quaint turns of expression, some of them so daringly tipped with 
 verbal flippancies that the serious situations are occasionally en- 
 dangered by their utterance. . . . Mr. Craven has rendered ' Milky 
 White' one of the most original and effective stage portraitures 
 of real life which has been ever included in the theatrical gallery." 
 
 This play had a " run," not only in London, but in the provinces, 
 and was revived at the Strand Theatre, with Mr. Craven in his 
 original character, in the following year. On April 17, 1865, he 
 produced at the Strand a new drama entitled ' One Tree HiU,' 
 in which he sustained the part of Jack Salt. On Monday, June 4, 
 1866, Mr. Henderson, of the Prince of Wales's Theatre, Liverpool, 
 tested the merits of a five-act comedy called ' The Needful,' after- 
 wards transferred to the St. James's, London ; the author, Mr. H. 
 T. Craven, in both instances playing the character of Abraham 
 Store. On October 17, 1866, Mr. Craven produced at the Royalty 
 Theatre a new play entitled ' Meg's Diversion,' in which he ap- 
 peared as Jasper. ' Philomel,' a romantic drama by him, was 
 first represented at the Globe Theatre, February 10, 1870, and 
 ' Barwise's Book ' likewise written by Mr. Craven), at the Hay- 
 market, April 20, 1870. On Monday, November 20, 1871, at 
 the Court Theatre, he produced ' Coals of Fire,' in which he 
 sustained the character of J06 Ricketts, His latest dramatic pro- 
 duction was an historical play called ' Too True ! ' at the Puke's 
 Theatre, January 22, 1876. Mr. Craven is a genuine humorist, 
 and contrives to blend the pathetic and comic sides of human 
 nature in a manner that places him in the front rank of living 
 actors. Since Mr. Robson, whose style Mr. Craven recalls, no 
 English actor has equalled him in presenting beneath a droll ex- 
 terior underlying touches of subtle pathos. He is the author of a 
 novel entitled ' Old Time,' published in 1876. 
 
 CRESWICK, WILLIAM, was born in 1813, and made his first 
 appearance on the London stage in 1835 at the Queen's Theatre 
 (now the Prince of Wales's), at that date under Mrs. Nesbitt's 
 management. He played the part of Horace Meredith in a piece 
 of Douglas Jerrold's called ' The Schoolfellows.' In 1836 there was 
 a so-called theatre in Magdalen Street, Oxford, open when there 
 were none but townfolk to go to it. In this unpretending building 
 Mr. Creswick and Mr. H. Marston were accustomed at times to 
 perform Macbeth and Banguo together, and those who wished to 
 see the performance from the boxes were directed to go through 
 " the door adjoining Mr. R. Stevens's, Fruiterer's, No. 9, Magdalen 
 
 12 
 
n6 The dramatic list. 
 
 Street." Thus early did Mr. Creswick essay Shakespearian chai 
 racter, in the presentation of which he became, in a few years, one 
 of the most proficient of English actors. After playing in Mr. 
 Downe's company on the York, Leeds, and Hull "Circuit," he 
 visited the United States and Canada, where he remained about 
 three years. On his return to England he undertook the " leading 
 business" successively at Newcastle-on-Tynie, Liverpool, and Bir- 
 mingham. He first appeared on the London stage, in Shake- 
 spearian drama, July 25, 1846, at Sadler's Wells Theatre, during 
 the third season of Mr. S. Phelps's management, in the part of 
 Hotspur, Shakespeare's 'Henry IV.' "The appearance of this 
 gentleman (Mr. Creswick) on the London stage had excited com 
 siderable interest in the theatrical profession ; and the expectations 
 formed of him have not been disappointed. He seized the chivalric 
 and poetic in the character with an enthusiastic readiness fuU of 
 promise. With his qualifications there can be little doubt that Mr. 
 Creswick will become a highly popular actor; and to the theatre 
 where he has now made his dibut he is unquestionably an im- 
 portant acquisition.'' {Athenccum, August i, 1846.) On the second 
 occasion of Mr. Creswick's appearance at the same theatre he 
 sustained the character oi Master Walter in 'The Hunchback.' 
 In 1847, Monday, April 26, at the Princess's Theatre, he performed 
 the same part with remarkable success, on the night of Mrs. 
 Butler's (Fanny Kemble) reappearance on the London stage after 
 her long absence in America. At, the same theatre, during the 
 following month, he performed the part of St. Pierre, in Sheridan 
 Knowles's theii popular play ' A Tale of Mantua.' In July of the 
 same year Mr. Creswick accepted a three years' engagement at the 
 Haymarket Theatre, under Mr. Benjamin Webster's management, 
 and " opened " the season by playing Claude Melnotte (with Miss 
 Helen Faucit) in 'The Lady of Lyons,' and subsequently True- 
 worth in 'The Love Chase.' October 4, 1847, first performance 
 of Westland Marston's drama 'The Heart of the World,' at 
 the Haymarket, Mr. Creswick sustained the character of Vivian 
 Temple, Miss Helen Faucit acting the part of Florence Delmar. 
 The following year, at the same theatre, Monday, October 23, in a 
 revival of 'The Patrician's Daughter' (Westland Marston), he 
 played the part of Mordaunt. Thursday, December 14, 1848, at 
 the Princess's Theatre, Mr. Creswick played Proteus, in a revival 
 of ' The Two Gentlemen of Verona ' ; and subsequently The Ghost 
 in 'Hamlet,' and Cassia, and other important characters in the 
 various Shakespearian revivals produced during the year 1848 by 
 Mr. Charles Kean at that theatre. In 1849 Mr. Creswick entered 
 upon the management of the Surrey Theatre in conjunction with 
 Mr. R. Shepherd, and on the opening night of his first season, 
 Monday, September 17, sustained the character of Alasco, in 
 Sheridan Knowles's ' Rose of Arragon.' On Monday, September 24 
 of the same year, he played Virginius in the drama of that 
 title, followed by The Stranger, and justified his " character of a 
 meritorious and well-informed actor." In the same year, in 
 October, at the Surrey Theatre, he placed ' Richelieu ' upon the 
 
QRESWICK, WILLIAM. 1 17 
 
 stage, restoring to that drama "those poetic passages that, from 
 its first presentation to its last, had always been omitted .... the 
 result to be recorded is that these restorations are among the 
 passages most applauded — that the poet's sympathies had all along 
 been right, and the actor's conventional prejudices wrong." Mr. 
 Creswick's Richelieu \% one of the best of his assumptions. It has 
 many fine points, and is marked throughout by steady execution 
 and clear characterization. 
 
 On Monday, October 12, 1849, Mr. Creswick played Hamlet 
 with great success. In the following year, at the Surrey Theatre, 
 in a new play entitled 'Old Love and New Fortune' (H. F. 
 Chorley), performed for the first time February 18, he sustained 
 the part of La Rogue. Among noteworthy plays produced by Mr. 
 Creswick during his management, and in which he played a leading 
 part, the following are entitled to mention, viz. a dramatization of 
 ' David Copperfield,' first performed Wednesday, November 13, 
 1850; 'The Woman of Colour; or. Slavery in Freedom,' first 
 performed in November 1853; 'Dred' (F. Phillips), produced in 
 October 1856; 'Cromwell,' a tragedy by the same author, based 
 on Victor Hugo's play of that title, first performed in February 
 1859; 'The Changed Heart,' founded on a French drama, 'Le 
 Comtesse de Noailles,' first performed in January i860; a revival 
 of the tragedy of ' Damon and Pythias,' produced February 7, i860 
 (Mr. Creswick in the first-named character) ; a dramatic version of 
 George EUot's 'Adam Bede,' first performed February 28, 1862, 
 Mr. Creswick playing the title rSlej and a drama in four acts, 
 entitled ' The Four Stages of Life,' first performed in April of the 
 same year. In September 1862 Mr. Creswick retired from the 
 management of the Surrey Theatre in favour of Mr. Shepherd, and 
 for a time devoted himself to " starring " in London and the pro- 
 vinces. In this way he became one of the established favourites 
 of the Standard Theatre in London, always drawing a fuU house 
 whenever his name was announced on the bills. On Thursday, 
 November 6, 1862, on the occasion of a farewell performance of 
 Mr. S. Phelps, " previous to his retirement from the manage- 
 ment of Sadler's Wells Theatre," Mr. Creswick played Cassius to 
 the Brutus of that accomplished player. During the Falconer- 
 Chatterton management of Drury Lane, on September 24, 1864, 
 Mr. Creswick appeared as Hotspur in a revival of ' Henry the 
 Fourth ' at that theatre ; and subsequently, during the same 
 engagement, as Othello, lago, Macbeth, Macduff, and lachimo. 
 In 1865 he fulfilled a successful " star " engagement at the City 
 of London Theatre ; and in the following year, in conjunction 
 with Mr. Shepherd, once more entered upon the management 
 of the Surrey. On the opening night, September 8, 1866, was 
 produced " the T. P. Cooke's Prize Drama," by Mr. Slous, entitled 
 ' True to the Core,' in which Mr. Creswick " created " the part 
 of Martin Truegold. This drama was a great success. The 
 year following _it was performed with the original cast at the 
 Princess's Theatre. Since 1B68 Mr. Creswick has fulfilled various 
 engagements, and appeared in many " revivals " of Shakespeare's 
 
ii8 -^ THE DRAMATIC LIST. 
 
 plays, and of the legitimate and poetic drama in London and the 
 provinces. In 1871 he made his second visit to the United States, 
 making his first appearance in the part of Joe, in ' Nobody's 
 Child'; and afterwards, in conjunction with Charlotte Cushman 
 and Edwin Booth, acted in ' Henry VIII.' and 'Julius Cassar,' and 
 several other standard plays. In May 1877 he left England for 
 Australia, and opened at Melbourne as Virginius in the following 
 August. Since then he has played at Sydney, Adelaide, Hobart 
 Town, &c. 
 
 CRITCHETT, KATHERINE MACKENZIE. See Compton, 
 Katherine Mackenzie, 
 
 CRITCHETT, RICHARD CLAUDE. See Carton, RICHARD 
 Claude. 
 
 CROWE, MRS. See Bateman, Kate Josephine. ; 
 
DIETZ, LINDA. itg 
 
 DALLAS, MRS. E. S. See Glyn, Isabel. 
 
 DE FIVAS, SIDNEY. See Glover, Augustus. 
 
 DIETZ, LINDA, was born in New York, and made her first 
 appearance on the stage at the old Fifth Avenue Theatre in 1870, 
 as Georgette in ' Fernande.' Her first appearance in England 
 was at the Haymarket Theatre, August 30, 1873, in the parts of 
 Caroline Bormer in 'The Heir-at-Law,' and Mrs. Feather ley in 
 ' The Widow Hunt,' with Mr. J. S. Clarke in the principal part. 
 She appeared at the Haymarket the following season, and again 
 at the Holborn Theatre, in 1874, with Mr. Clarke. Subsequently 
 she played a short engagement at the Globe Theatre under the 
 management of Mr. H. J. Montague. She then made a tour of the 
 provinces as leading lady with Mr. E. A. Sothern, and travelled 
 with him for a year in America. Miss Dietz gained her first 
 theatrical success at the Union Square Theatre, New York, in the 
 part of Valentine in 'A Celebrated Case,' and as MarcelU in 
 ' Mother and Son,' an adaptation of ' Les Bourgeois de Pont- 
 PiXCy' which part she played at the Prince of Wales's Theatre, 
 September 27, 1879, in a version of the same play entitled ' Duty.' 
 Previous to appearing at the Prince of Wales's Theatre Miss 
 Dietz had been supporting Mr. Clarke at the Haymarket in his 
 farewell performances of ' The Heir-at-Law ' and ' The Widow 
 Hunt.' 
 
 DILLON, CHARLES, was born at Diss, Suffolk, in 1819. 
 Prior tp his appearance on the metropolitan stage he had made a 
 considerable reputation as an actor in the legitimate drama in 
 Dublin, Manchester, Liverpool, and Edinburgh. His first appear- 
 ance on the London stage took place Monday, April 21, 1856, at 
 Sadler's Wells Theatre, in the part of Belphegor, in the drama of 
 that title. The part had already been made famiUar to one class 
 of playgoers by the acting of Lemaitre, and to another by a long 
 run of the play at the Adelphi. The Athenceum (April 26, 1856), 
 noticing the performance, remarked as follows : — " Mr. Dillon has a 
 good stage figure, of the middle height, with an expressive coun- 
 tenance and a flexible voice, which enables him to deliver familiar 
 dialogues without effort. He is no declaimer, but speaks naturally, 
 and even in phrases of the highest passion is never noisy, sub- 
 stituting intention for stormy vehemence. In these particulars he 
 presents new points, and differs from nearly all the English artists 
 who have obtained reputation. His power over the feelings is 
 extraordinary. In the first act of the present play he gradually 
 melted his audience from scene to scene, and long ere the fall of 
 the curtain every eye was moist with sympathetic tears." 
 
 Said jthe Times (April 22nd of the same year) : " Mr. Charles 
 Dillon gives such evidence of the true material, and the impression 
 
120 THE DRAMATIC LIST. 
 
 he made was of such a genuine kind, that even if his temperament 
 is not remarkably sanguine, he has a right to expect that his d^but 
 ■ — albeit taking place in remote Pentonville — will become a topic of 
 conversation amongst aU whose discourse turns upon the merits of 
 plays and players." 
 
 In September of the same year Mr. Dillon entered upon the 
 management of the Lyceum Theatre, and " opened " with a revival 
 of ' Belphegor ' (in which he played the title ro/e), and a burlesque 
 by William Brough, entitled 'Perdita; or, the Royal Milkmaid,' in 
 which Mr. J. L. Toole played Autolyeus, Miss Marie Wilton Per- 
 dita, Miss Woolgar Florizel, and Mr. William Brough Polyxenes. 
 Concerning the first-named performance the following criticism 
 appeared : — " Mr. Dillon's Belphegor is entitled to the praise of 
 distinct originaKty ; indeed, it is so strongly impressed by the 
 actor's individuality that we cannot fancy him playing any other 
 part in any other manner. It is obvious, however, that he has 
 no very accurate conception of the character, from the fact that 
 he presents it throughout in a uniform reading, instead of em- 
 phatically marking the different phases through which it passes. 
 There are great moral and physical changes wrought in Belphegor; 
 but they demand a versatility of powers beyond the reach of Mr. 
 Dillon. His showman of the first act, and his chevalier of the 
 last, are distinguishable from each other by little more than their 
 costume. We lack in the one the abandon, freedom, and reckless 
 animal spirits which the author bestowed upon him to make his 
 subsequent wretchedness the more striking ; and, in the other, the 
 finesse and by-play which constitute the dramatic interest of the 
 situation. It is in the middle distance of the picture, so to speak, 
 that Mr. Dillon is most successful. The whole of that scene where 
 Belphegor is deserted by his wife was finely acted. Profoundly 
 touching, without the least violence or excess, it approached more 
 closely to a reality than any passage of domestic pathos "we re- 
 member on the stage since the days of Miss Kelly, with whom 
 what may be called the literal school of acting went out. Excel- 
 lent, too, and no less meritorious in parts, although not so true or 
 effective as a whole, was the haggard exhibition of the conjurer 
 and his son in the gardens, before the fine gentlemen of the ancien 
 regime. Mr. DiUon, greatly to his credit, never gives way to the 
 melodramatic temptations of a part abounding in sudden transi- 
 tions of moods and passions. He preserves, in the depths of his 
 wrongs and sorrows, a gentleness as rare as it is piteous. This is 
 a conspicuous virtue ; but virtues have their extremes, which are 
 jis much to be avoided as their opposites. The performance 
 requires relief ; it is too quiet, in spite of many isolated passages 
 of considerable merit, and it leaves a final impression of want of 
 power." {Saturday Review, September 27, 1856.) 
 
 On Thursday, October 16, 1856, at the same theatre, Mr. Charles 
 Dillon sustained the character oi D'Artagnan, first performance of 
 ' The Three Musketeers,' by Messrs. C. Dillon, C. Rice, and the 
 late Aug. Harris, adapted from M. Dumas' novel ' Les Trois Mous- 
 quetaires.' The production of the piece proved of the highest 
 
DILLON, CHARLES. 121 
 
 importance to the histrionic reputation of Mr. Dillon. His great 
 success in Bilphegor, which had renlained in the Lyceum bills ever 
 since the opening of the theatre, had so completely identified him 
 in the .public mind with the figure of tlie starving Paillasse, that 
 his impersonation of a new part was anticipated with more than 
 ordinary curiosity. " He had, indeed, played other characters 
 at Sadler's Wells ; but then the Pentonville establishment, during 
 Mr. Phelps's season of repose, was not a focus of general attraction, 
 and the West^end connoisseurs, satisfied with the merits of the pro- 
 vincial debutant in his first part, did not care to pursue their inves- 
 tigations by repeated journeys in an unusual directioh. To these 
 Mr. Dillon remained Paillasse, and nothing but Paillasse, till the 
 middle ot the present week ; and it was not surprising that, amid 
 the theatrical gossip of the day, the question shoiild have been 
 asked whether the gentleman who is celebrated in Parliament as 
 ' One-speech Hamilton ' had not found a histrionic ectype in a one- 
 part actor. The character of Paillasse is, after all, of the most 
 exceptional kind, and it is quite possible that an artist, by dint of 
 hard study, miglit master its peculiarities without decided qualifi- 
 cations for what is called 'general business.' Now, by his imper- 
 sonation of the young Gascon, D^Artagnah, in ' The King's Mus- 
 keteers,' Mr. Charles Dillon has utterly dispelled all fears that his 
 talent would prove singuliir, in the least favourable sense of the 
 word. There could not be in the range of humanity two personages 
 more thoroughly the antipodes of each other than the mountebank 
 and the Gascon. The existence of the former is passed between 
 anxious care and unmitigated misery; the latter is one of those 
 happily constituted individuals whom no misery could reach, and 
 who, whether he had to ascend the steps of a throne or a scaffold, 
 would ever preserve his joyous aspect. This state of chronic 
 hilarity has been most felicitously apprehended by Mr. Dillon. 
 His D'Artagnan has about it the true spirit of a sanguine adven- 
 turer, to whom every windfall is a source of bliss, and no obstacle 
 is a cause of terror. The employment of his sword ' Bobadillo,' 
 which was left him by his father with the strict injunction that he 
 is never to refuse a challenge, seems the main end of his existence,, 
 but yet there is nothing cruel or bloodthirsty in his temperament. 
 If he can fight three duels in a day he is delighted at the oppor- 
 tunity, not because he harbours ill-will against any three of his 
 fellow-creatures, Isut because he is gratifying a natural disposition 
 to pugnacity, and, moreover, showing a pious regard to his father's 
 memory. True, he may take life in the course of the several en- 
 . counters, but with him life itself is but a trifle, to be staked on 
 every occasion when fortune commands a game of chance, and 
 death is a slight balk the prospect of which need not in the least 
 disturb the equanimity of a sensible man. To the modern Lon- 
 doner, who regards length of days as all-important, and to whom a 
 railwa,y accident by wliich half-a-dozen lives are lost appears a most 
 appalling (occurrence, such a totally careless personage as a French 
 soldier of the seventeenth century, who is quite as ready to Shed 
 bis blood for ' fun ' as for duty, would almost seem a being beyond 
 
122 THE DRAMATIC LIST. 
 
 the limits of moral possibility. . . . That jovial fellows, whose 
 entire attributes might be summed up in the compound adjective 
 'devil-may-care,' were plentiful in Paris during the reigns of 
 Richelieu and Mazarin, and that at that period duelling was re- 
 garded as a pleasant sport, are historical facts, proved beyond the 
 reach of a doubt. It is the great merit of Mr. Dillon that he makes 
 such a character appear probable now, and thoroughly amiable in 
 the bargain. He becomes the child of a certain period with such 
 thorough efficiency that the period itself is revived, and we can think 
 and feel according to the moral code of the seventeenth century. 
 Nay, he is even a somewhat childish child ; there is an innocence 
 in his very pugnacity, and one may compare him to a generous, 
 good-humoured schoolboy, who is at the same time the 'best 
 fighter' of his class, and who, totally destitute of anything Uke an 
 ' itching palm,' makes up for the deficiency by the indubitable pos- 
 session of an itching fist." {Times, October i8, 1856.) 
 
 On Monday, November lo of the same year, at the Lyceum, he 
 played Claude Melnotte in ' The Lady of Lyons,' and so entirely 
 successful was he in developing all the sensibility of which the 
 character of Melnotte is susceptible, that he was frequently called 
 before the curtain during the progress of the play to receive the 
 plaudits of the audience. On Monday, December i, 1856, in a 
 revival of ' Othello ' at the Lyceum Theatre, Mr. DiUon played the 
 title rdle. " From the actor to the mise en seine all the usual con- 
 ventionalities of the stage were set at naught {AthencEum, December 
 6, 1856). The Othello was natural, not all declamatory, sometimes 
 familiar, always domestic, and rather intensely passionate than 
 vehemently demonstrative. The great scenes between the Moor 
 and his tempter were for the most part gone through in a sitting 
 position; and constant attention was paid to every indication in 
 the text of a deeper sentiment than appears on the surface of 3 
 passionate dialogue. All was surprisingly fresh and original, and 
 much that was like a new revelation of the Shakespeare mind. . . . 
 The last scene of the tragedy was a triumphant display of originality, 
 passion, feeling, and beauty of style on the part of the actor. Some- 
 times his pathos in its intensity became sublime." 
 
 The Times (December 2, 1856), in a carefully written criticism 
 of Mr. Dillon's Othello, said : " The declamatory part of histrionic 
 art seems to accord least of all with Mr. Dillon's idiosyncrasy, and 
 therefore, though the address to the Senate was carefully delivered, 
 it still seemed that the artist was outside the character he assumed. 
 As the famous dialogues with I ago progressed it became evident 
 that he warmed into the business of the scene. The blank misery 
 with which he listened to the tempter's description of jealousy, and 
 the manly effort of self-possession with which he gathered himself 
 together were well conceived. The air of painful attendance with 
 which he listened to unpleasant tidings was remarkable for its 
 truthfulness. However, it was only by degrees that his particular 
 interpretation of the entire part was made apparent. A tender 
 affection for Desdemona was the one feeling which he intended 
 to be predominant over all the rest, and the manifestation of this 
 
DILLON, CHARLES. 123 
 
 feeling was constantly to be found, even when it might be least 
 expected. His grief was always greater than his rage ; if he could 
 find a pretext for returning tenderness he seized it with avidity, and 
 we might fancy that Othello wa5 ever anxious to look upon the 
 revelations of lago as part of a hideous dream, from which with a 
 mental effort he could awaken. The great ranting passage, ' Whip 
 me, you devils,' &c., was given with a power which could scarcely 
 be surpassed; but its chief effect was produced by the transition to 
 grief at the end, the sudden change from noisy despair to deep, 
 unutterable anguish. The concluding portion of the last act was 
 perfect in its minutest details, the general conception being that 
 the Moor, on the revelation of the deceits practised upon him, had 
 ceased to take interest in external events, and was absorbed in the 
 mental preparation for his own death. In the concluding speech 
 every line had its due value ; and to those of the audience who had 
 the earlier part of the play in their remembrance, most striking 
 was the contrast between the declamation of the actor, who had 
 not identified himself with the character, and the elocution of the 
 same actor when the feelings of Othello had become his own. 
 From the beginning to the end of the tragedy Mr. Dillon made, as 
 it were, a constant encroachment on the sympathies of his audience, 
 and when the curtain had fallen his sway had become universally 
 acknowledged. It was impossible to misinterpret the hearty cheers 
 that saluted the actor as he crossed the stage in response to general 
 acclamations." " 
 
 At the Lyceum, on Monday, February 16, 1857, Mr. Dillon 
 performed the part of Lord Revesdale, first performance of West- 
 land Marston's drama 'A Life's Ransom'; and on Friday, the 
 13th of March following, Virginius, in the tragedy of that title. 
 On Friday, the 27th of the same month, he performed Hamlet for 
 the first time in London. " From what had been seen of Mr. 
 Dillon's previous characters, it was not difficult to foresee which 
 side of Hamlet's character he would make prominent — or foresee 
 that the emotional rather than the intellectual element in the 
 Danish prince would be uppermost in his thoughts {Times, March 23, 
 1857). To take up a speech as a thing external, and to display 
 ingenuity by carrying it through infinite varieties of emphasis and 
 expression, would obviously be foreign to his theory of histrionic art. 
 You do not listen to him to study his ' readings,' but to discover 
 how soon his emotions will be identified with those of the character 
 -^and we may truly say that the greater the warmth required, the 
 more he ' warms up.' Thus in ' Hamlet,' although the first two 
 acts are carefiilly and conscientiously performed, it is not till the 
 third act that Mr. Dillon's peculiarity is revealed. The tenderness 
 with which he surveys Ophelia in the midst of his ravings about 
 the 'nunnery,' and to which he gives extreme expression by 
 dropping on his knee and fondly kissing her hand, is natural from 
 its spontaneous appearance ; and. his welcome to Horatio, on the 
 entrance of the latter, has a frankness about it that is singularly 
 touching. Nothing of great moment occurs at this meeting of the 
 two friends, but the notion is conveyed that a kindly heart, long 
 
124 THE DRAMATIC LIST. 
 
 placed amid uncongenial spirits, has at length found a sympathetic - 
 being on which it can repose. The watching of the King during 
 the play scene is carried out, through all its details, with immense 
 earnestness, and the burst of triumph in which it results is most 
 powerful. In the ' closet scene ' a new arrangement is made, which 
 leads to a new histrionic effect. The ghost does not cross the front 
 of the stage ; but the lower vpart of the side and back scene becomes 
 transparent, and the spectre is seen passing from behind the picture 
 of the deceased King to the point where it vanishes. Its steps are 
 followed by Hamlet, who thus leads his mother round the apart- 
 ment in a state of rapt attention ; and the explosion with which 
 he utters the words ' Out at the portal,' and sinks into a chair 
 exhausted with the mental strain, is terrific. Throughout the whole 
 of this act the actor has more and more entered into the spirit of 
 the scene, and here is his climax. He has gained his audience, 
 and now he may fearlessly pursue his victory through the two 
 remaining acts." 
 
 Mr. Dillon's first season at the Lyceum Theatre, -which closed 
 April 2, 1857, proved a profitable one. On the last night of the 
 season he played Richelieu. During the same month he appeared 
 at Drury Lane in that character, and in the parts of Othello and 
 Hamlet. The following year (1858) he again rented the Lyceum 
 Theatre, and on January 20th produced there a pleasant drama of 
 Leigh Hunt's entitled 'Love's Amazements,' in which Mr. Dillon 
 played the part of Captain de la Rousse. Osi Monday, February i of 
 the same year, in a play by Westland Marston, then first performed, 
 entitled 'A Hard Struggle,' he sustained the character of i?^a^«a 
 Holt.* The same month Mr. Dillon played the parts of Rover 
 (' Wild Oats ') and Ia£o (' Othello '). On Thursday, February 25, 
 1858, he performed, for the first time in London, Macbeth, Miss 
 Helen Faucit sustaining the part of Lady Macbeth. In the 
 opinion of the .4 //4««(j«OT (February 27, 1858), Mr. Dillon's Macbeth 
 was the best performance he had yet given in London. It was 
 remarkably fresh and original; it was moreover impulsive, and 
 leant in no degree on theatrical conventions. " In the first place, 
 the actor presents the brave Scotchman of the poet, whose nobility 
 of disposition is the theme of general admiration in the earlier 
 scenes ; and not the hesitating coward of the boards, who trembles 
 at every step of his progress. Fate urges on the valiant Thane to 
 
 * Through the courtesy of a correspondent I have been shown a letter 
 in which, writing to the author of the play, Dr. Westland Marston, the 
 late Charles Dickens says: — "I have witnessed twice the representation 
 of your charming little piece ' The Hard Struggle,' , . . You ask me what 
 I think of Charles Dillon as an actor. His representation of Reuben Holt 
 was exactly what acting should be — Nature itself. I can't call to mind 
 any living actor who could have played it so well. So closely did I watch 
 him on both xicca^ions that I could only discover one slight defect : on 
 receipt of the letter from his love announcing the arrival of Lilian, in his 
 emotion he crumpled the paper in his hand. I think it would have been 
 more consistent had he folded the letter carefully and placed it in his 
 breast."— Ed. 
 
DOLAROi SELINA. 125 
 
 commit for a political motive a crime at which his moral nature 
 revolts. The necessity to which he is subject makes him writhe 
 with remorse, and reluctant to act. The crime once committed, 
 the first rebound is fearful ; but that once surmounted, his sole care 
 is for the security of himself and his power; and to this he sacrifices 
 victim after victim, till' the land groans with his. tyranny. Through- 
 out a superstitious frame of mind colours his conduct, and tinges 
 his thoughts with the hues of imaginative sentiment. Thus re- 
 garded, the.character abounds in variety; and phases of emotion." 
 
 On Monday, March 22, 1858, Mr. Dillon performed, for the first 
 time before the London public, Louis XI:, on the occasion of a 
 complimentary benefit given by the company to himself and Mrs. 
 Charles Dillon. '^ All that the part required he- gave with the carcj 
 the elaboration, and thorough appreciation of the spirit of the 
 scene which distinguish a 'true artist; and his task was a really 
 fine picture of sustained acting. Mr. Dillon, who is eminently a 
 natural performer, has shown by this embodiment that he can aljly 
 render the purely artificial drama." {Daily News, March 23, 1858.) 
 From 1858 to i860 Mr. Dillon was fulfilling various engagements 
 as a " star "actor, in the provinces and elsewhere. He reappeared 
 in London, Monday, February &, i860, at Drury Lane Theatre, as 
 William Tell, in the tragedy of that title. 
 
 After an absence of several years, during which Mr. Dillon had 
 made the tour of the world, on Monday, February 17, 1868, at 
 Sadler's Wells Theatre, he presented the character of King' Lear. 
 The part was one in which he had not acted in London previous to 
 his departure for Australia, and therefore the performance was quite 
 new to playgoers. It was considered successful. At the same 
 theatre during the sanie year he. played a round of Shakespearian 
 characters and appeared also as Richelieu. In the spring of 1869 
 Mr. Dillon fulfilled an engagement at Drury Lane, playing his usual 
 parts in the higher drama. In March of the same year, in 'The 
 Man of Two Lives,' the second play adapted for the English stage 
 from Victor Hugo's ' Les Miserables,' he sustained the part of Jean 
 Valjean. On Saturday, August 16, 1873, in a revivalof ' Manfred ' 
 at the Princess's Theatre, he appeared in the character rdle. Since 
 the above date Mr. Dillon has played but seldom in London. On 
 Saturday, September 28, 1878, however, he reappeared at Drury 
 Lane Theatre as Lepntes in a revival of ' A Winter's Tale.' This 
 performance was scarcely so successful as had been anticipated. 
 Since the last-mentioned date Mr. Dillon has been acting in the 
 provinces. 
 
 DOLARO, SELINA (a nom de thd&tre). Born in London, and 
 made her first appearance on any stage, January 20, 1870, at 
 the Lyceum Theatre, London, as the Spanish Princess in ' Chil- 
 peric' Subsequently at various theatres in London Madame 
 Dolaro has appeared as Gindvieve ('G^n^vi^ve de Brabant'), 
 Clairette (' Madame Angot '), Pdrichole (' La P^richole '), Carmen 
 (in the opera of that name), in the English versions of each. On 
 Wednesday, May 14, 1879, she entered, for a brief period, on the 
 
125 THE DRAMATIC LIST. 
 
 management of the Folly Theatre, and produced there that even- 
 ing an English version by Mr. Henry Hersee of Maillart's 'Les 
 Dragons de Villars.' In July 1879 at the same theatre she appeared 
 as the heroine in ' The First Night,' Mr. G. W. Anson sustaining 
 the part of AchiUe Talma Dufard, both actors being seen to great 
 advantage in this play, a burlesque scene between the two being 
 considered quite excellent. 
 
 DRUMMOND, DOLORES (DOLORES DrUMMOND GrEEN). 
 Born in London 1840. Daughter of the late Mr. and Mrs. Charles 
 Green, and grand-daughter of the late Samuel Drummond, A.R.A. 
 Was originally educated as an artist, and went with her mother to 
 Australia with the intention of practising art as a profession. 
 Having taken a special interest in stage matters while in that 
 country, she was offered an opportunity, of appearing at the Theatre 
 Royal, Melbourne, and first acted there an important character, — 
 Desdemona, under the auspices of G. V. Brooke. Miss Drummond 
 returned to England in 1874, and made her appearance in London, 
 November of tjfie same year, at the Standard Theatre in the part of 
 Hermione ('A Winter's Tale") with gratifying success. In 1876 
 (having fulfilled engagements in the interval) she appeared at the 
 Globe Theatre as Hortense in the play of ' Jo,' and " obtained de- 
 served recognition for a fine piece of acting." During 1878 she 
 appeared at the Standard Theatre as Lady Isabel in ' East 
 Lynne ' ; and played also at the Royal Park, Princess's, and 
 Adelphi Theatres. 
 
 DUPLANY, CLAUDE MARIUS. See Marius, Claude, 
 
 DYAS, ADA, daughter of the late Mrs. Edward Dyas, who was 
 an actress of some ability attached to the London theatres. Miss 
 Ada Dyas made her dSbut on the metropohtan stage in 1 861, as 
 Prince John of Lancaster, in Shakespeare's ' Henry the Fourth.' 
 Subsequently she earned popularity as a member of " Miss Marie 
 Wilton's London Comedy Company," with which company she 
 acted in the provinces in Mr. T. W. Robertson's play of ' Caste,' 
 as Esther Eccles. In 1 871 she was in the original cast of Wilkie 
 Collins's ' Woman in White,' first performed at the Olympic Theatre 
 on October 9 of that year. She sustained in this play the dual parts 
 of Laura Fairlie and Anne Catherick, and " accomplished a very 
 difficult task with much propriety and truthful feehng." In 1873 
 she was performing at the Vaudeville Theatre ; but subsequendy 
 went to the United States of America, where she has since attained 
 considerable popularity as an actress. 
 
EDGAR, EDWARD FISHER. \rj 
 
 EDGAR, EDWARD FISHER, made his first appearance on 
 the stage at the Victoria Theatre as a child, in ' The Stranger ' ; 
 and he continued to play children's parts till old enough to take 
 other characters. Then for a time he was with Mr. E. D. Davis, 
 of Barnstaple, and played in different theatres in that vicinity. After 
 a very extensive experience of some years in the provinces he 
 returned to London in 1852, and appeared at the Olympic Theatre 
 as Andrd in ' Lucille ; or, the Story of a Heart,' under the elder 
 Mr. Farren. He has been the lessee of the Marylebone Theatre, 
 and also of the Surrey Theatre in conjunction with Mr. Shepherd. 
 He played an original part in numerous pieces at the Surrey, 
 Princess's, Lyceum, Globe, Adelphi, Royalty, Olympic, and other 
 theatres ; among others may be mentioned ' Nobody's Child,' by 
 Watts Phillips ; ' True to the Core,' by Slous ; ' The Rapparee,' by 
 Boucicault ; ' Eugene Aram,' by Wells ; ' Philomel,' by Craven ; 
 ' Family Honour,' by Frank Marshall, &c., &c. He has more 
 recently been connected with the Imperial Theatre; and in 1879, 
 during the long run there of ' She Stoops to Conquer,' played the 
 part aiHastings. In September 1879 he appeared at the Imperial 
 Theatre as Aimwell in a revival of ' The Beaux' Stratagem.' 
 
 EDGAR, MRS. R. See MARRIOTT, Alice. 
 EDWARDS, JAMES. See Carter-Edwards, James. 
 
 EGAN, ROSE (Mrs. BiSHOP), born in Birmingham; daughter 
 of Mr. F. B. Egan, for sixteen years manager of the old Queen's 
 Theatre, Manchester. Having already had some experience on 
 the provincial stage, Miss Egan made her dibut in London at the 
 Court Theatre, in June 1873, in the part of Florence in the play of 
 ' About Town.' The following " original " parts were performed by 
 her during her engagement (1873-5) ^^ the same theatre, viz. Mrs. 
 Carter in Bronson Howard's comedy ' Brighton ' ; Mrs. Bun- 
 thunder in W. S. Gilbert's comedy 'The Wedding March ';Z<^<^ 
 Isabelle in Herman Merivale's play 'The White Pilgrim.' Miss 
 Egan afterwards played her " original " part in ' Brighton ' at the 
 Standard, Haymarket, Criterion, and St. James's Theatres. In 
 1877, during the summer season at the Aquarium (now the Imperial) 
 Theatre, Westminster, she appeared as Mrs. Singleton Bliss in 
 'Cyril's Success' axiA. Lamorce in 'The Inconstant'; and on April 8, 
 1879, commenced an engagement at the Criterion Theatre to play 
 Lady Campion in Bronson Howard's comedy of ' Truth.' 
 
 ELDRED, JOSEPH, was born in London. In i860 he acted 
 is agent for the Rev. J. M. Bellew, the elocutionist, on a reading 
 tour through the provinces. About five years later he was per- 
 forming as a low comedian in Dublin. Afterwards he went 
 to Liverpool, and soon made an impression there as actor and 
 
128 THE DRAMATIC LIST. 
 
 manager. He made his first appearance on the London stage as 
 Major Regulus Rattan in ' Ici on parle Frangais,' June IJ, 1868, 
 at the Olympic Theatre. When Mr. W. H. Liston opened the 
 Olympic Theatre in October 1869 with- 'Little EmTy,' Mr. Eldred 
 appeared as Mkawber: Among the many parts he has acted, 
 this is one of' his best. He has played starring tours throughout 
 the provinces, notably with the late George Belmore in ' The Flying 
 Scud,' and has everywhere made a reputation as an enterprising 
 manager. 
 
 EMERY, SAMUEL ANDERSON, son of the late John Emery, 
 a well-known comedian on- the London stage in the second- decade 
 of the present century, was born in 1814. Mr. Samuel Enierymade 
 his first appearance at a- London theatre on the I7tb of Aprils, 1843, 
 in the part of Giles, in a piece entitled ' Miller's Maid,' and first 
 attained popularity as an actor during the Keeley regime oi the 
 Lyceum Theatre, 1844-7. H« was the "original" of the following 
 characters, viz. Jonas Chuzzlewit, in Stirling's adaptation of Charles 
 Dickens's novel ' Martin- Chuzzlewit '; WiU Fern, in an adaptation 
 of the same author's Christmas story of ' The Chimes ''; and John 
 Peerybingle, in a dramatic version of the same author's story 
 ' The Cricket on the Hearth.' These play.s were first produced at 
 the Lyceum Theatre, under the superintendence of Mr. and Mrs. 
 Keeley, within the period above mentioned. Mr. Emery "created" 
 the part of Antony Latour, in Shirley Brooks's drama of 'The 
 Creole,' first performed at the sam& theatre in April 1847. This 
 was one of the most striking impersonations of Mr. Emery's earlier - 
 professional career. 
 
 Having joined the company of the Olympic Theatre in the first 
 year of Mr. A. Wigan's management, Mr. Emery was in the 
 original cast of two of the most popular dramas produced there 
 under Mr. A. Wigan's supervision, viz. ' Plot and Passion,' written 
 by Mr. Tom Taylor, in conjunction with Mr. John Lang, first 
 performed Monday, October 17, 1853; and 'Still Waters Run 
 Deep,' by the first-named author, first performed Monday, May 14, 
 1855. Mr. Emery was also in the original cast of certain of Mr. 
 Boucicault's plays on the occasion of their first perfomicince in this 
 country, of which, perhaps, 'The Octproon,'' ' Arrah-na-Pogue,' 
 and ' The Long Strike,' have furnished the best examples of 
 Mr. Emery's abilities and skill as an actor of what are known as 
 " character " parts. His latest most important impersonations 
 have been Dan'l Peggotty, in Andrew Halliday's version of Charles 
 Dickens's story ' David Copperfield,' dramatized under the title of 
 ' Little Em'ly ' ; and Cap'n Cuttle, in Andrew Halliday's play 
 ' Heart's Delight,' founded on Mr. Dickens's novel of ' Dombey 
 and Son.' The first-named play was first performed in London at 
 the Olympic Theatre, Saturday, October 9, 1869 ; the second, Jt 
 the Globe Theatre in December 1873. " The Captain Cuttle of Mr. 
 S. Emery," said the Daily Telegraph (December 19, 1873), "is 
 one of those admirable performances which so delight the playgoer 
 and do such credit to the English stage. There is no need for the 
 
ERNSTONE, HELENA CECILE. 129 
 
 orchestra to strike up a merry nautical tune in order to add zest to 
 the welcome of Captain Cuttle. When Mr. Emery comes rolling 
 on to the stage, made up to the very life, after the pictures by 
 ' Phiz,' with the rubicund face- and the bald pate, the coarse canvas 
 open shirt, and the hook instead of a right, hand, the roar that 
 greets the old favourite shows that half the actor's work is over. 
 He looks the part, and there is no prejudice on that account. Few, 
 however, could have hoped for so thorough and masterly a specimen 
 of acting. It is not an actor walking upon the stage cleverly made 
 up and assuming a nautical or seafaring air; it is, the very man 
 before us. He fills the stage with his bluff boisterous, bearing, and 
 his hearty cheeriness is refreshing to all about him. His spirits are 
 so invigorating that our eyes, a little moist after some affecting 
 scene, are instantly dried, and his rough honesty is so apparent 
 that it serves as a pleasant reaction after scenes of misery and 
 villany. And then, when the actor has made our sides ache with 
 laughing, with consummate skill he rushes off to the opposite ex- 
 treme, and makes the success of the evening with that pathetic 
 lament over drowned ' Wal'r,' which is a prose poem in the text of 
 Dickens, and in the hands of Mr. Emery a masterpiece of natural 
 and pathetic expression. ' Gone down with Wal'r,' sobs poor old 
 Cuttle, as the refrain to his wail over the lost boy, and the dirge 
 was a struggle between joviality, and grief which few who heard it 
 are likely to forget. Mark how natural and gradual is this break- 
 down of Captain Cuttle. Another actor, with a trick of voice or a 
 gurgle in the throat, would assume the requisite pathos. But true 
 pathos is far more than trick of voice. You see the grief coming 
 upon the old fellow in spite of himself He is laughing to the last 
 even in his tears ; but all at once the grief gets the mastery, and 
 the half-gulp, half-hysterical sob of the artist commands the atten- 
 tion even of the dullest audience. Equally admirable was Mr, 
 Emery's acting in the scene of the return of Walter Gay. The art 
 here is so complete and subtle that not a look, movement, or ges- 
 ture, is lost upon the audience. They tell us of the Captain Cuttle 
 of Burton, an American actor, and speak of it in terms of un- 
 qualified praise. It must have been a masterly performance indeed 
 to rival that of Mr. Emery, a genuine study and a rare contribution 
 to dramatic art." It has loeen remarked of Mr. Emery that " he is 
 full of genuine humour, and knows full well how and when to give 
 it due expression. His delineations are most powerful whenever 
 deep feeling and pathos are to be exhibited. He can display 
 artistically, because naturally, the strongest of human passions, 
 and he is equally at home in whatever is genial, and quiet, and 
 humorous." He last appeared on the London stage at the Globe 
 Theatre, on July 20, 1878, in the part of Cap''n Cuttle, in the play 
 already alluded to. 
 
 ERNSTONE, HELENA CECILE {a.nomde tMdtre), da.ughtei 
 of Adam Joseph Schott, of Mayence-on-the-Rhine, of the well- 
 known publishing firm of that name. Miss Ernstone received her 
 early education, which was mainly musical, at Bayreuth, and in 1863, 
 
 K 
 
I30 THE DRAMATIC LIST. 
 
 when but a mere girl, she was chosen to sing a contralto solo by 
 Cherubini during the Mass celebrated in the cathedral of Frank- 
 fort-on-the-Maine before the European Princes then assembled in 
 Congress in that city. " Under the German system of forcing the 
 upper register her voice gave way, and she was advised to turn her 
 attention to dramatic art." In 1867 she made her first appear- 
 ance on the English stage at Canterbury Theatre as Geraldine in 
 'The Green Bushes.' Afterwards Miss Ernstone played a round 
 of leading characters at various provincial theatres ; and in 1869 
 made her ddbut in London at the Charing Cross Theatre as Ada 
 Vavasour in Cheltnam's drama of ' Edendale.' Miss Ernstone's 
 next engagement was at the Olympic Theatre, where, Saturday, 
 October 9, 1869, she "created" the part of Martha, first perform- 
 ance of Andrew Halliday's version of Charles Dickens's story of 
 ' David Copperfield,' dramatized under the title of ' Little Em'ly.' 
 Her accurate conception of the character attracted the notice of the 
 famous novelist, who personally expressed his appreciation of Miss 
 Ernstone's excellent acting in the drama. After fulfilling engage- 
 ments at the Globe and Lyceum Theatres and Opdra Comique, 
 Miss Ernstone's health gave way, and she was advised to take a 
 long sea-voyage. Acting on this suggestion, she sailed for Aus- 
 tralia, and performed in Melbourne for a short time. Returning to 
 England, she reappeared on the London stage in March 1873, ^t 
 Astley's Theatre, in the title rdle in W. M. Akhurst's historical 
 drama of ' Fair Rosamond ; or, the Days of the Plantagenets.' The 
 same year, in May, at the Olympic Theatre, Miss Ernstone "created" 
 the rdle of Grace Roseberry in Wilkie CoUins's drama of ' The New 
 Magdalen,' playing the part in a telling and straightforward manner, 
 and aiding in no slight degree to make the piece a success. Her 
 next " original " rdle was that of Henriette in ' The Two Orphans,' 
 in which she was also successful. In May 1879, at the Olympic 
 Theatre, Miss Ernstone played the part of the heroine {Marguerite 
 Duval) in the drama of ' The Mother ' with considerable force, 
 earnestness, and pathos. 
 
 *EVERARD, H., made her first appearance on the stage at 
 the Theatre Royal, Exeter, and for years has performed in bur- 
 lesque, pantomime, comedy, and light opera characters in London 
 and the provinces. In 1869 she was playing at the Royal Alfred 
 Theatre. She subsequently appeared at the Queen's and the 
 Royalty Theatres in many pieces, and later at the St. James's, 
 Princess's, and other theatres. She was the original Little Butter- 
 cup in 'H.M.S. Pinafore' at the Opdra Comique, where that 
 popular light opera was first represented. 
 
 EVERILL, FREDERICK AUGUSTUS. Born in London, 
 
 February 6, 1829. He made his first appearance on any stage at 
 the Ryde (Isle of Wight) Theatre, July 12, 1852, in the part of 
 Baron Steinfort m ' The Stranger.' Subsequently he joined the 
 company of the Southampton Theatre, where he acted for six 
 seasons ; and on October ist, 1859, accepted an engagement at 
 
E VERILL, FREDERICK A UG USTUS. 13 1 
 
 the Theatre Royal, Manchester, with which Mr. Everill was con- 
 nected for a period of eleven years. During this protracted term 
 he appeared in many important characters, among which the 
 following deserve mention for the general excellence of their 
 presentation, viz. Falstaff (' Merry Wives of Windsor ') ; Launce 
 (' Two Gentlemen of Verona ') ; Dogberry (' Much Ado About 
 Nothing'); Gratiano ('Merchant of Venice'); Polonius ('Ham- 
 let ') ; Mercutio (' Romeo and Juliet ') ; Desmaret (' Plot and 
 Passion'); Andrew Wylie ('A Bachelor of Arts'); Old Gold- 
 thumb ('Time Works Wonders'). Mr. Everill made his dibut 
 on the London stage, June 30, 1870, as Felix Trimmer in Tom 
 Parry's farce ' A Cure for Love.' Of important original parts 
 played by Mr. Everill during his connection with the Haymarket 
 Theatre, continuing to 1879, Chrysal, in W. S. Gilbert's "fairy 
 comedy" 'The Palace of Truth,' affords a satisfactory example. 
 The play was first performed at the Haymarket, Saturday, Novem- 
 ber 19, 1870. " He acted excellently, indeed he was the only one 
 who, consistently, when in the ' Palace of Truth,' spoke the truth 
 as if he did not understand what he was saying. Many of the 
 others made their action identical with their words." (Observer, 
 November 20, 1870.) 
 
 K 2 
 
132 THE DRAMATIC LIST, 
 
 FAIRS, JOHN. See Hare, John. 
 
 FARREN, ELLEN (Mrs. R. Soutar). Bom in Lancashire. 
 Daughter of Henry Farren, and grand-daughter of WiUiam Farren 
 the elder. She made her first appearance on the London stage 
 at the Victoria Theatre, under Mr. Cave's management, March 
 28, 1864, in the part of Ninetta in a drama entitled ' The Woman 
 in Red.' Subsequently, in the same year, Miss Farren joined 
 the company of the Olympic Theatre, under Mr. Horace Wigan's 
 management. Among pieces in which she there appeared during 
 her engagement, 1864-6, the following are entitled to notice, viz. 
 'The Hidden Hand' (Tom Taylor); 'My Wife's Bonnet' (J. M. 
 Morton) ; a burlesque entitled ' Prince Camaralzaman ; or, the 
 Fairies' Revenge '; ' Faust and Marguerite,' also a burlesque ; and 
 Shakespeare's 'Twelfth Night,' in which Miss Farren undertook 
 the part of the Clown. On the opening of the Gaiety Theatre, 
 under Mr. John HoUingshead's management, Monday, December 
 21, 1868, Miss Farren appeared in ' On the Cards.' 
 
 During her long connection with this theatre, continuing, it may 
 be mentioned, to the present time (October 1879), Miss Farren has 
 played a principal part in the following, among other plays, viz. 
 ' The Man of Quality ' {Miss Hoyden) ; ' Dot,' Mr. Boucicault's ver- 
 sion of 'The Cricket on the Hearth' (Ti/fy S/owioy) ; ' Love for 
 Love ' {Miss Prue) ; ' Thespis ; or, the Gods grown Old,' by W. S. 
 Gilbert {Mercury) ; ' Shilly-Shally,' by Anthony TroUope and 
 Charles Reade {Po^iy Neefit) ; ' The Battle of Life,' a dramatic 
 version of Charles Dickens's Christmas story of that title, arranged 
 by Charles Dickens, jun. {Clemency Newcombe) ; and in the 
 various burlesques : — ' Robert the Devil,' ' Princess of Trebizonde,' 
 ' Little Faust,' &c. — produced under Mr. John HoUingshead's 
 supervision within the period 1868-1879. 
 
 FARREN, WILLIAM. Son of William Farren, sometimes 
 called the elder Farren, a well-known comedian of the London 
 stage, contemporary with Macready. Previous to his entering 
 the dramatic profession Mr. Farren had appeared in London with 
 some success as a singer at the so-called Ancient Concerts. At the 
 outset of his stage career he performed at the Strand and Olympic 
 Theatres under the name of Forrester, and as William Farren, jun. 
 In January 1851 Mr. William Farren, jun., was a member of the 
 company of the last-named theatre ; and on Monday, 13th of that 
 month, he sustained the part of Frederick Plu?n, first performance 
 of Morton's comedy ' All that Glitters is not Gold.' At the same 
 theatre, in the following year, he was in the original cast of the two 
 following plays, viz. ' The Bag of Gold ' (Hillyard), first performed 
 at the Olympic Theatre, June 27, 1852; and 'Sarah Blangi' 
 (adapted from the French, ' Sarah la Creole '), first performed there 
 October 27, 1852. 
 
FAUCIT, HELEN. 133 
 
 In 1853, on Mr. J. B. Buckstone assuming the management 
 of the Haymarket Theatre, Mr. WilUam Farren became a member 
 of his company. On Easter Monday of that year he made his 
 dSut at the Haymarket as Captain Absolute, in ' The Rivals,' and 
 for a great many years took part there in the various revivals of 
 national comedy for which Mr. Buckstone's management was 
 specially distinguished. Mr. Farren was also in the original cast 
 of a number of plays produced at the Haymarket during the period 
 of his engagement. Of these the principal were from the pen of 
 Mr. Stirling Coyne and Mr. Tom Taylor, and included, among 
 others, the following, viz. ' Elopements in High Life ' (Stirling 
 Coyne), first performed at the Haymarket Theatre April 7, 1853 ; 
 ' The Hope of the Family ' (by the same author), first performed 
 December of the same year ; ' The Old Chateau ' (by the same), 
 first performed July 22, 1854 ; 'The Secret Agent' (by the same), 
 first performed March 1855; 'The Man with Many Friends' (by 
 the same), first performed September 3, 1855; 'The Unequal 
 Match ' (Tom Taylor), first performed November 7, 1857; 'The 
 Contested Election' (by the same author), June 29, 1859; 'The 
 Overland Route' (by the same), February 23, i860; 'The Family 
 Secret ' (Edmund Falconer), May 9, i860, &c., &c. 
 
 At the Vaudeville Theatre, July 1872, in a revival of 'The School 
 for Scandal,' Mr. Farren sustained the part of Sir Peter Teazle, 
 and continued to appear in the character during the very successful 
 run of the comedy. In 1875, on January 16, he played the part of 
 Sir Geoffrey Champneys, first performance at the Vaudeville Theatre 
 of H. J. Byron's comedy ' Our Boys,' and continued to play the 
 same character at that theatre nightly without intermission until 
 July 1878. In the autumn of the same year Mr. Farren presented 
 the part of Grandfather Whitehead — in later years one of the elder 
 Farren's most successful impersonations — in a revival of the comedy 
 of that name (adapted from the French by Mark Lemon), at the 
 Theatre of the Westminster Aquarium. At the same time and 
 place he acted Young Wilding in a revival of ' The Liar ' (altered 
 from Foote). On Saturday, April 19, 1879, first performance at 
 the Vaudeville Theatre of H. J. Byron's comedy ' Our Girls,' Mr. 
 Farren sustained the part of Josiah Clench. 
 
 FAUCIT, HELEN (Mrs. THEODORE MARTIN), was born 
 in London in 18 19, and is the daughter of Mrs. Faucit, and 
 younger sister of Harriet Faucit (Mrs. Bland), both of whom were 
 actresses of considerable repute in London in the third decade of 
 the present century. The first performances which Miss Helen 
 Faucit gave in public were at the Theatre Royal, Richmond 
 (Surrey), in November 1833, in the characters of Juliet (' Romeo 
 and Juliet'), Mariana ('The Wife'), and Mrs. Haller ('The 
 Stranger '). These, however, were mere trial performances, due to 
 the accident of Miss Helen Faucit having been overheard by the 
 manager of the Richmond Theatre (a Mr. Willis Jones) while going 
 through the balcony scene of ' Romeo and Juliet ' with her sister, 
 Harriet, who was at that time an actress in the theatre. The 
 
134 THE DRAMATIC LIST. 
 
 manager was so much struck by what he heard that he urged that 
 Miss Helen Faucit should make the experiment of acting, and she 
 was permitted by her mother to do so. Her success upon the 
 occasions above indicated was so marked that she was allowed to 
 entertain the idea of entering the dramatic piofession. In the 
 interval between these performances and her dibut on the stage 
 proper, she received the ordinary instruction in the business of the 
 stage from Mr. Percy Farren, brother of William Farren the elder. 
 'Miss Helen Faucit made her first professional appearance on the 
 stage at the Theatre Royal, Covent Garden, Tuesday, January 5, 
 1836, in the character of Julia in ' The Hunchback.' The Morning 
 Chronicle (January 6, 1836) noticed the event as follows : — "The 
 only important incident was the appearance of Miss Helen Faucit 
 in the character of the heroine ; and we speak quite within compass 
 when we say that we never witnessed a better first performance, or 
 one in which approbation was more constantly or enthusiastically 
 expressed. . . . What we -especially liked in her acting is that she 
 seems to have faith in herself, or, rather, not so much in herself, as 
 in the truth and force of the passion she has to express. She relied 
 upon it in all the principal situations and passages, and found her 
 account in it." A three years' engagement was the outcome of 
 this performance, and the same year she acted at Covent Garden 
 Theatre the character of Belvidera in Otway's 'Venice Preserved,' 
 and Margaret in an original play by Joanna Baillie, entitled ' The 
 Separation,' a piece which proved unattractive. Mr. Charles Kemble 
 was the leading actor at Covent Garden Theatre during 1836, and 
 Miss Helen Faucit had the advantage of acting with him in the 
 following, in addition to the two parts already noticed : she played 
 Julia to his Clifford in ' The Hunchback ' ; Mrs. Haller to his 
 Stranger ; Mrs. Beverley to his Beverley in ' The Gamester ' ; Lady 
 Constance to his Falconbridge in ' King John'; Juliet to his Mer- 
 cutio in ' Romeo and Juliet ' ; Katherine to his Petruchio in 
 'Taming of the Shrew'; Beatrice to his Benedick in 'Much Ado 
 About Nothing.' She also performed the counterparts to Mr. C. 
 Kemble in the series of farewell performances at Covent Garden, 
 ending December 3, 1836. 
 
 In July 1837 Helen Faucit was engaged by Macready as 
 a member of his company, on his assuming the direction of 
 Covent Garden Theatre. In the various plays performed there for 
 the first time, ' Brian Boroihme ' (Sheridan Knowles) ; ' Walter 
 Tyrrel'; Talfourd's ' Athenian Captive,' &c., and in all of the Shake- 
 spearian revivals arranged there under Macready's superintendence, 
 and during his subsequent lesseeship of Drury Lane Theatre, Miss 
 Helen Faucit bore a conspicuous part. These early impersonations 
 included Constance, Imogen, Cordelia, Desdemona, Rosalind, and 
 Hermione. She was the original representative of the heroines of 
 the most important of the late Lord Lytton's plays. On January 4, 
 1837, Miss Faucit sustained the part of the Duchess de Valliere, in 
 his play of that title, an event which was not left unnoticed by 
 Macready, as appears from the following entry in his diary : — 
 "Acted Bragelone (La Valliere) well, with earnestness and fresh- 
 
FAUCIT, HELEN. 135 
 
 ness ; some passages were deficient in polish. Being called for, I 
 did not choose to go on without Miss Faucit, whom I led forward. 
 The applause was fervent." — Macready^s Reminiscences (New and 
 Revised Edition), p. 406. 
 
 On May i, 1837, Helen Faucit acted the part of the Countess of 
 Carlisle, in Robert Browning's play of ' Strafford,' at its first repre- 
 sentation at Covent Garden ; and on February 15, 1838, the part of 
 Pauline Deschapelles at the first performance of ' The Lady of 
 Lyons,' Mr. Macready playing Claude Melnotte. " Macready acted 
 with spirit, and so did Miss Faucit, though she occasionally over- 
 did her part. . . . The piece was eminently successful." {Times, 
 February 16, 1838.) On Thursday, March 7, 1839, ^.t the same 
 theatre, she played at the first performance of ' Richelieu ' the 
 character of Julie de Mortemarj Anderson and Miss Faucit as the 
 lovers. Ward as Bouillon, Elton as the King, Phelps as a Capuchin 
 Friar, and Howe as a page, being entitled to especial commen- 
 dation. The acting throughout was good, records the Athenceum 
 (March 9, 1839). 
 
 Between the closing of Covent Garden Theatre in 1840, and the 
 opening of Drury Lane by Mr. Macready, Miss Helen Faucit per- 
 formed with him at the Haymarket. During this engagement, on 
 Tuesday, December 8, 1840, 'Money' (by Lord Lytton) was first 
 performed there, Miss Helen Faucit playing the character of Clara 
 Douglas, Among other plays in which she acted, with Macready, 
 a leading part on the occasion of their first performance, may be 
 mentioned Sheridan Knowles's ' Woman's Wit ' ; the same author's 
 play of ' The Secretary'; Lord Lytton's 'Sea Captain'; Talfourd's 
 'Glencoe'; Serle's 'Master Clarke'; Westland Marston's 'Patrician's 
 Daughter'; Byron's ' Marino Faliero'; Zouch Troughton's tragedy 
 ' Nina Sforza.' A prologue by the late Charles Dickens was made 
 a leading feature of the performance of ' The Patrician's Daughter.' 
 It was written with admirable point and feeling, and was spoken 
 by Macready. Miss Helen Faucit performed the part oi Mabel in 
 the play. In 1842 she accepted an engagement to be a member of 
 Mr. Macready's company on his assuming the lesseeship of Drury 
 Lane Theatre. On the 23rd of February of that year she acted 
 Sophronia, first performance of ' Gisippus ' (Gerald Griffin) ; and in 
 October of the same year Julia in ' The Rivals '; and later Angelica, 
 in Congreve's 'Love for Love.' On February 11, 1843, she per- 
 formed the part of Miss Tresham, first performance of Browning's 
 'A Blot on the Scutcheon.' Two years later, viz. in October 1845, 
 Helen Faucit sustained her original character of Pauline in a 
 revival of 'The Lady of Lyons' at the Haymarket Theatre. The 
 progress that she had made in the study and appreciation of the 
 subtilties of the part, in the interval from the date of its first per- 
 formance, may be estimated from the following criticism : " High as 
 was our previous opinion of her (Miss Helen Faucit), our present 
 estimate of her histrionic talent stands rather in contrast than com- 
 parison with the past. . . . She has evidently been taught by self- 
 dependence to think, to feel, to act for herself The character of 
 Pauline Deschapelles is favourable for histrionic development. The 
 
136 THE DRAMATIC LIST. 
 
 \ heroine's pride is soon forgiven, and, for the rest, she is the sufferer, 
 not the inflictor of wrong, and therefore the natural object of pity. 
 Miss Faucit felt this, and assumed a passive quietness which, in 
 its repose, was charming as well as artistic. In this respect it is 
 altogether different from the Pauline to which in former times she 
 accustomed us. That was rage and violence, a fault after all, 
 perhaps, more attributable to the author than the actress. It is 
 not so now. . . . Nor has Miss Faucit only learned to correct the 
 author's mistakes in execution, but to supply his deficiencies of 
 conception. To point out the beauties of her playing were to go 
 through every scene of the drama, and to discriminate between 
 what the author has not done, and what the actress supplies," 
 (Athenaum, October 25, 1845.) When Mr. Macready retired from 
 the management of Drury Lane Theatre there was no longer any 
 theatre in London for the representation of the poetical drama. 
 Miss Faucit then sought a field for the exercise of her powers 
 in the provinces. In Dublin, Edinburgh, Glasgow, Manchester, 
 Liverpool, and other important towns her reputation was soon 
 established, and she drew large houses. In 1845 she appeared 
 with Macready in Paris, and at the Salle Ventadour (the theatre at 
 that time usually devoted to Italian Opera) played in a series of 
 English performanc-es, which comprised ' Othello,' ' Hamlet,' ' Vir- 
 ginius,' ' Macbeth,' ' Werner,' ' King Lear,' and ' Romeo and Juliet.' 
 The effect these performances produced is still vividly remem- 
 bered by elder students of the dramatic art, and by those who 
 had the privilege of witnessing them in Paris. In a criticism in 
 the Messager (January 5, 1845), written by M. Edouard Thierry, 
 brother of the historian, he says : — " Miss Helen Faucit, pour qui 
 la voit en passant, est une jeune femme de formes grfeles, mais non 
 pas ddlicates, grande, et %. laquelle manque la fleur de la chair. 
 Cependant, aussitot qu'elle marche, aussit6t qu'elle fait un geste, 
 qu'elle prend une attitude, une grice charmante se r^vHe. Cette 
 jeune femme, qui ne semblait pas avoir la seduction ndoessaire de 
 I'actrice, a tout I'attrait, mais I'attrait irresistible de la femme. EUe 
 est femme, en un mot ; sa grace particulifere ne saurait s'expliquer 
 par aucune autre expression ; et quand elle parle, c'est encore la 
 voix qui comdent k cette grace, c'est la douceur d'organe qui sied 
 bien k cette harmonie de la d-marche, et de toute la personne, c'est 
 le son caressant qui accompagne k souhait cette caresse, pour ainsi 
 parler, du regard et des mani&es ddcentes. . . . Ajoutez une voix 
 comme celle de Mile. Mars, et une mani^re de reciter qui rapproche 
 surtout de notre manifere. En gdndral, les artistes anglais ont 
 retenu I'emphase de la tragddie, telle que la jouait Lafont, telle 
 qu'on la d^clamait k c6te de Talma. Macready lui-meme a con- 
 serve par moments ce ddbit pompeux, qu'il accentue d'aiUeurs k la 
 fagon anglaise, en appuyant sur toutes les syllabes. Miss Helen 
 Faucit parle simplement, naturellement ; la phrase coule limpide- 
 ment de ses Ifevres, et s'dchappe d'une seule Amission, comme dans 
 notre recitation frangaise. 
 
 " Aprfes ' Othello ' sont venus successivement ' Hamlet,' ' Vir- 
 ginias,' ' Macbeth,' ' Romeo et Juliette.' A chacun de ces drames 
 
FAUCIT, HELEN. 137 
 
 le succ^s de Miss Faucit s'est accru sans autres artifices. ... On 
 n'avait imaging OphHia ni plus touchante, ni plus gracieuse. Notre 
 parterre frangais est denieur^ surpris devant cette pantomime pleine 
 de sens, pleine d'iddes, pleine de bont^, pleine de la tendresse, pleine 
 de passion m6me, mais surtout pleine de mesure et pleine de 
 modestie. Car c'est Ik une quality rare ; aussi je reviens sur cet 
 dloge ; il y a dans Miss Faucit, et k un degrd Eminent, ce que 
 j'appelle la modestie de I'artiste, ce ddsint^ressement prdcieux par 
 lequel I'artiste pr^ffere I'art k lui-meme, et le succfes du drame k son 
 propre succ&s. Quel que soit le r61e, quelle que soit la scfene. Miss 
 Faucit prend sa place dans la perspective du tableau, dans I'ensemble 
 de I'ceuvre, et cett-e place elle la garde jusqu'k la fin sans chercher k 
 sortir de la demi-teinte ndcessaire ; disparaissant meme au besoin, 
 dans I'ombre que le poete a mdnag^e." 
 
 On January i-6, 1845, Miss Faucit acted in 'Hamlet' before 
 King Louis Philippe and the French Court at the Tuileries, and 
 was by the king presented with a costly bracelet. In March 1845, 
 after playing Antigone in Dublin, she was presented with the 
 following address by members of the Royal Irish Academy and the 
 Society of Ancient Art : — 
 
 " Madam, — We beg to give expression to the unalloyed and 
 sustained satisfaction which we have derived from your late per- 
 formance at our national theatre. 
 
 " We have each and all endeavoured to promote the cultivation 
 of ancient Art in this our city ; and w€ feel that your noble repre- 
 sentation of Antigone has greatly advanced this important object, 
 by creating a love and admiration of the beauty and grandeur of 
 Aiicient Greece. 
 
 " With the writings of the Grecian dramatists it is true we have 
 been long familiar, but their power and their beauty have come 
 down to us through books alone. ' Mute and motionless ' that 
 Drama has heretofore stood before us. You, Madam, have given 
 it voice, gesture, and life ; you hav« realized the genius, and 
 embodied the inspiration of the authors and artists of Early Greece, 
 and have thus encouraged and instructed the youth of Ireland in 
 the study of their immortal books. 
 
 " We offer the accompanying testimonial to the virtues and 
 talents of one whose tastes, education, and surpassing powers have 
 justly placed her at the summit of her profession. 
 
 (Signed) " George Petrie, R.H.A., V.P.R.I.A., Chairman. 
 John Anster, LL.D. ^ Secretaries " 
 John Francis Waller ] ^^"^'^"^^■ 
 
 Accompanying this testimonial was a splendid brooch of Irish 
 gold, nearly four inches in diameter, designed by F. W. Burton, 
 R.H.A. In the centre was a medallion exhibiting the figure of 
 Antigone crouching in grief over the funeral urn of Polynices. The 
 success of Miss Faucit's personation of the ' Antigone ' led to the 
 production for her in Dublin of the ' Iphigenia in Aulis ' of Euripides. 
 In 1845, on the 6th of November, Miss Faucit sustained the part of 
 Rosalind in ' As You Like It ' at the Haymarket Theatre. - The 
 
138 THE DRAMATIC LIST. 
 
 Athenceum (November 8, 1845) thus commented on the perform- 
 ance :— "On Thursday Miss Faucit performed the part of Rosalind 
 in the play of ' As You Like It,' and charmed us by the simpUcity, 
 the delicacy, the purity of the dehneation.' The character, hke the 
 play itself, is ideal, and therefore requires a spiritualization in the 
 performance, without which it is apt to become gross and sensual. 
 It is not because she assumes mascuhne habiliments, and instructs 
 her lover how to woo her, that Rosalind is to be taken as a hoyden. 
 In the real world this would undoubtedly be the case, but not in 
 the Forest of Arden, where, as Hazhtt justly says, ' nursed in 
 solitude, under the shade of melancholy boughs, the imagination 
 grows soft and dehcate, and the wit runs riot in idleness, like a 
 spoiled child that is never sent to school.' This softness and 
 delicacy we never saw more beautifully represented than in Miss 
 Faucit's performance of Rosalind — the caprice of the part never 
 more ethereally embodied." 
 
 In 1847 Miss Faucit played a short engagement at the Hay- 
 market, where (October 4) she appeared as Florence Delmar, on the 
 occasion of the first performance of Dr. Westland Marston's ' Heart 
 of the World.', The play was saved from immediate condemnation 
 by her acting. Mr. W. J. Fox, then critic of the Morning 
 Chronicle (October 5, 1847), thus wrote of it : — " The play last 
 night produced was no doubt so far successful. But wiU it ever 
 be acted without Miss Helen Faucit to play the heroine? Mr. 
 Westland Marston may have written the drama, but Helen Faucit 
 made it ; Helen Faucit saved it. She was the life and soul of the 
 stage." Three years later (November 5, 1850) Miss Faucit again 
 introduced to public notice a play of Dr. Marston's, ' Philip of 
 France and Marie de M^ranie ' — a play as thoroughly dramatic as 
 the 'Heart of the World' was the reverse. The piece was produced 
 at the Olympic Theatre and was a complete success. In a notice 
 of the performance in the Literary Gazette (November 9, 1850), 
 written by the late G. H. Lewes, he says : — " The engagement of 
 Miss Helen Faucit is a rich boon to the public, for since the days 
 of Siddons and O'Neill she is the most worthy exponent of the 
 lofty poetical drama. She is the Rachel of the English stage. 
 Her fine appreciation of .the poetry is equalled by her power of 
 characterization and the exquisite melody of her voice. All the 
 phases of passion find in Helen Faucit a faultless interpretess. 
 She seizes the most delicate nuances with a feminine yet firm 
 grasp ; and all the varying emotions of the scene pass before us as 
 truthfully as life, but exalted by the fine intellectuality and exquisite 
 sensibility of the truly inspired artist." The play was taken by 
 Miss Helen Faucit into the provinces'and acted with great success. 
 Marie de Mdranie has not since found any adequate representative, 
 and this fine dramatic work seems to have disappeared for the 
 present from the acted drama. In July 185 1 Miss Faucit appeared 
 for twelve nights at the Olympic Theatre, and played Julia (' The 
 Hunchback'), Rosalind, and Lady Macbeth. In 1852 she made 
 her reappearance at Drury Lane Theatre. During the intervening 
 period, on August 25, 185 1, she married Mr. Theodore Martin, an 
 
FA UCIT, HELEN. 139 
 
 author of distinction, whose 'Bon Gaultier Ballads,' and more 
 recent literary labours in connection with ' The Life of the Prince 
 Consort,' are well known to the public. On Wednesday, January 28, 
 1852, Miss Faucit once more stood on the London boards, in the 
 character of Juliet. " Assuredly she acted it with so much care 
 and elaboration," remarked the Athenceum (January 31, 1852), 
 "and in a style so superior to all her former efforts in the character, 
 as to challenge on this occasion more than ordinary critical atten- 
 tion. One attribute of her performance it was impossible to over- 
 look — the purpose which pervaded the whole, and which was felt 
 as much in minute points and situations, as in the more prominent 
 incidents and general scope of the action. It was in this particular 
 that Miss Faucit chiefly excelled. She gathered a meaning from 
 every phrase, and sometimes from a word. In the balcony scene 
 she was greatest, both as regards the general impression, and the 
 detail by means of which it was elaborated." 
 
 Miss Faucit appeared at the Haymarket Theatre at intervals 
 during the period 1853-5 'ii several of her more famous characters, 
 Pauline, Rosalind, Sec. On 25th April, 1853, she performed there 
 the character of Colombe, in Browning's ' Colombe's Birthday,' as 
 to which the Morning Post (April 26, 1853) wrote : — " Miss Helen 
 Faucit has returned to us in the full possession of those remarkable 
 powers which long ago made her a cherished favourite of the 
 London public. Never did she look or act better than on the 
 present occasion; and the applause that greeted her, though fre- 
 quent and cordial, was not half so much as she deserved." In June 
 1855 Miss Faucit again appeared for a short engagement at the 
 Haymarket Theatre, during which (June 12) was produced ' Love's 
 Martyrdom,' from the pen of Mr. John Saunders, a play which had 
 been highly commended by Mr. Landor, Mr. John Forster, and 
 others. It secured, however, only a succes d'estime, due in great 
 measure to Miss Faucit's performance of the heroine. " More than 
 to any merits of its own, the success of ' Love's Martyrdom ' is due 
 to the admirable acting of Miss H. Faucit in the character of the 
 heroine. Nothing could be more perfect than her delicate delinea- 
 tion, either of her young and hardly conscious love, or of the same 
 love, deeply felt, and impetuously declaring itself ; of her wounded 
 pride ; of her inflexible devotion to her pledged word ; or of the 
 hard struggle between her love and pride. The great ' point ' of 
 the performance was a fine scene towards the end of the fourth act, 
 in which, with a wild outbreak of tumultuous emotion, she declares 
 to her cousin with how absorbing a passion she loves the man she 
 believes herself to have lost for ever. It deservedly gained for the 
 artiste the honour of a call at the end of the act." {Morning 
 Chronicle, June 12, 1855.) On Friday, July 6, 1855, for the first 
 time in London (having often previously performed the part on the 
 provincial stage), Miss Faucit appeared at the same theatre as 
 lolanthe, in Mr. Theodore Martin's version of 'King Rent's 
 Daughter.' The Daily News (July 9, 1855) noticed the per- 
 formance as follows : — " Miss Helen Faucit took a benefit at this 
 theatre on Friday night, the result of which must have proved to 
 
HO TH£ DRAMATIC LIST. 
 
 the lady that the majority of the audience was not at all unwilling to 
 concur in an opinion tolerably well credited, that she stands at the 
 head of living tragic actresses. Her attempt was a bold one, but 
 its success shows that she was right as far as the determination to 
 obtain a recognition of her power was concerned. ' King Rend's 
 Daughter,' which she chose for the first piece, is, as a dramatic 
 composition, worthless. It is a translation, or rather an adaptation, 
 from the Swedish by Heinrik Herz. The interest depends upon 
 the recovery of sight by a blind princess, under the excitement 
 produced by a tumult of novel sensations. In the year 1849 two 
 translations of this piece were brought forward. Mrs. Stirling and 
 Mrs. C. Kean then undertook to represent the heroine. There is 
 no doubt that the representation by Miss Faucit last night was 
 a far more real thing than that of either of the actresses mentioned. 
 The great defect of the piece is, that it sets the intellect at work to 
 know what would be the nature of the victory achieved over a 
 physical defect. The subject is essentially undramatic. Neverthe- 
 less, with a tact which can have its foundation only in genius. Miss 
 Faucit managed to throw ophthalmia into the background, and to 
 bring forward human sensations, which have their source in nature 
 far deeper than those from which physical defects spring. She 
 carried a trumpery piece triumphantly on her shoulders, and fling- 
 ing it before the audience, dared them to deny its value. The 
 answer was all that she could have desired. Can any actress 
 desire a greater success ? She achieved what ought to have been 
 an impossibility." 
 
 The record of Miss Helen Faucit's performances, from the year 
 1855 to the date of her final disappearance from the stage, consists, 
 for the most part, only of repetitions of previous impersonations. 
 These have passed the ordeal of criticism again and again, and are 
 among the familiar facts of the playgoing public* On Thursday, 
 November 3, 1864, however, during Messrs. Falconer and Chatter- 
 ton's management of Drury Lane Theatre, she played there the 
 part of Lady Macbeth, a character in which she was almost new to 
 London, the direction of her talents having generally led, as we 
 have seen, to the adoption of the gentler heroines created by Shake- 
 speare. In these she had acquired a high reputation; but in 
 severer parts she had yet to justify her pretensions. It is gratifying 
 to be able to record that she was not unsuccessful in the new part. 
 Said the Athenceum (November 12, 1864): "Her Lady Macbeth 
 is an original conception, elaborately studied and carefully iUus- 
 
 * Mr. W. Clark Russell, in Representative Actors (p. 409), has collected 
 a few criticisms on the acting of Miss Helen Faucit by De Quincey 
 (1S4.3), William Carleton (1846), George Fletcher (Studies of Shakespeare), 
 Sir A. Alison, Mr. Arthur Helps [Realniah), &c. Mr. George Henry 
 Lewes, in Actors and tlie Art of Acting, incidentally mentions the same 
 lady's name in the article " Macready " (p. 36). The labour and difficulty 
 of searching out the fugitive contributions to journalism of the same writer, 
 on the subject of Miss Faucit's performances, were too great to allow of 
 my attempting the task. I tried, but found it next to impossible to trace 
 them. — Ed. 
 
FAUCIT, HELEN. 141 
 
 trated with sculpturesque attitudes, which are sometimes too pain- 
 fully realized. Intent on these expressions of deliberate thought, 
 the actress is incapable of impulse, which accordingly is throughout 
 suppressed in favour of an artificial representation. We have 
 
 "before us a living figure which undergoes a series of modifications 
 prescribed by the most vigorous art. One of these is the attitude 
 m which she stands reading the scroll that registers her husband's 
 meeting with the Weird Sisters on the heath. It is gracefully 
 marmorean, and gave the preKminary tone to the performance. 
 The soUloquy was delivered with great energy, and rose to a height 
 of poetical declamation seldom attained. The interview with Mac- 
 beth was rendered impressive by all the aids of style and pre- 
 determined emphasis, so that not a single word was bereft of its 
 due force. . . . All that art could enable her to do Miss Faucit 
 did ; but we have been more strongly impressed with the spiritual 
 terrors that beset the self-communing sleeper by means more 
 simple.'' 
 
 During November and December of the same year (1864) she 
 appeared at the same theatre as Imogen (' Cymbeline ') and Rosa- 
 lind ('As You Like It'). Touching these later performances of 
 Miss Faucit, we borrow the following from Journal of a London 
 Playgoer, by Prof Henry Morley, pp. 346-357 : " November 5, 
 1864. — At Drury Lane the reappearance of Miss Helen Faucit 
 brought us ' Cymbeline ' ;^^r Jmogen,Jc^j:aa&i bfiautiful of Shake- 
 
 ^Sp eare's fem ale~cKafacterSjjs-fh'afin which this lady seems most to 
 delight and""Kr excel|"and with this she desired in returning to the 
 London stage, of which she was some years since a chief ornament, 
 to make her first impression. ... In its tenderness and grace of 
 womanhood; in the simple piety which looks to the Gods when 
 Imogen commits herself to rest, or is about to read a letter from 
 her husband ; in the wife's absolute love and perfect innocency, void 
 of false shame, slow to believe ill, strong to resist it. Miss Faucit's 
 Imogen is eloquent to our eyes, even when she fails now and then 
 to satisfy our ears. ... She is an actress train ed in theuschaoLof-the ... 
 KpTiVhlpg, rarpf^i] ^;n nifilfp pv erv gesture an embodiment of thought ; 
 too careful sometimes, as when, after t he cry ' What, ho, Pisanio ! ' 
 
 _she_ remains with upraised arm _ thi:Qi].ghoi]t .ha lGhe„ speech of 
 lachi m b that beg 'ms ' happy Lepnatus-! J— There- js- a graver- 
 fault of excess in the first part of the representation of womanly 
 fear when, as Fidele, she calls at the mouth of the unoccupied 
 cavern, and runs from the sound herself had made. The warning 
 of her error might be found in the fact that her pantomime here 
 excites rather general laughter, where surely Shakespeare never 
 meant that even the dullest boor should grin. But that short sin 
 of excess is followed by the entry into the cavern, which is done 
 most charmingly. Miss Faucit's voice is more often at fault; it 
 fails her whenever she has a violent emotion to express, and 
 passion sounds often like petulance. . . . Yet where the mere 
 emotion to be expressed is more tender than violent she attains 
 often — though even then, perhaps, with a too visible art — to the 
 utmost delicacy of expression. ... On Wednesday Miss Faucit 
 
142 THE DRAMATIC LIST. 
 
 played Rosalind in ' As You Like It.' ... In all the scenes with 
 Orlando Miss Faucit's acting is delightful. If she has not the 
 art to conceal art, the art she does not conceal is true, is founded 
 on quick and refined perception of the poetry she is interpreting. 
 She can realize line by line, with tone and gesture, more of the 
 spiritual grace and beauty of true poetry than any lady who now 
 acts upon the English stage." 
 
 Without attempting categorically to write down every principal 
 incident in Miss Helen Faucit's brilliant career on the English 
 stage, it may be remarked that her greatest impersonations in the 
 Shakespearian drama — in the performance of which she has most 
 excelled as an actress — have been Juliet^ Beatrice, Constance, Des- 
 demona, Hermione, Isabella, Imogen, Portia, Lady Macbeth, and 
 Rosalind. She followed Miss Va ndgphnff fthe original imper- 
 sonator of the character in Engiand)as the heroine in ' Antigone/ 
 first produced with Mendelssohn's music at Covent Garden Theatre, 
 January 2, 1845, a part in which Miss Faucit gained, as we have 
 elsewhere remarked, well-merited honour. Her presentation of 
 the character of lolanthe has invariably incited high admiration, 
 however much critics may differ as to the exact value of the play 
 in which that character is cast. The great attractions of Miss 
 Helen Faucit's acting could scarcely, perhaps, be more satisfac- 
 torily summed up, than they have been in the following opinion of 
 one of the more famous of her earlier contemporaries. Vandenhoff, 
 in his Dramatic Reminiscences (London Edition, p. 40), remarks : 
 I " Her expression of love is the_most beautifully c onfiding, trustful, 
 
 j ^^^spn. aTTaTgnninffTn'ff trmp tTiat- T havp pvpr wit-npsspiH in any arrrp»!<;. 
 
 1 It is intensely fascinating." Miss Helen Faucit's las t appearance 
 \; onthis London stage~f5oE place~Juriel}i'76,"when shF appeared at 
 the Lyceum Theatre in ' King Rend's Daughter,' Mr. Henry Irving 
 playing the part of Sir Tristram. At the Shakespeare Memorial 
 Festival, at Stratford-on-Avon (April 23-30), 1879, she imperson- 
 ated Beatrice in a performance of ' Much Ado About Nothing.' 
 
 FERNANDEZ, JAMES, was born at St. Petersburg, Russia, 
 May 28, 1835, and entered the dramatic profession at the Queen's 
 Theatre, Hull, October 1853. Afterwards he played at Stafford, 
 Hanley, Lichfield, Isle of Man, Wolverhampton, Whitehaven, 
 Rochdale, Blackburn, &c. Mr. Fernandez made his first appear- 
 ance on the London stage at the Queen's Theatre, in 1855. Sub- 
 sequently he played at the Bower, Queen's, Surrey, and Grecian 
 Theatres ; and returned to the Surrey Theatre and remained there 
 (under the management of Messrs. Shepherd and CreSwick) for six 
 consecutive seasons, playing, in conjunction with Chailes Calvert, 
 principal "juvenile" parts; among the number the character (jf 
 Walter Hartright, in the first dramatization of Wilkie ColUnsJs 
 ' Woman in White.' Upon the destruction, by fire, of the Surrey 
 Theatre, in 1864, Mr. Fernandez was engaged by the late E. T. 
 Smith to sustain at Astley's Theatre the part of Ruby Darrell, 
 in a new drama entitled 'The Mariner's Compass,' which had a 
 lengthened run. Afterwards he appeared at the Lyceiun Theatre 
 
FISHER, DAVID. 143 
 
 in a drama entitled ' Narcisse.' {See Bandmann, Daniel E.) 
 In 1868 Mr. Fernandez was leading actor at the Theatre Royal, 
 Brighton. The following year he accepted a special engagement 
 to play the King- d' Scots at the Alexandra Theatre, Liverpool, 
 appearing therefor the first time Easter Monday, 1869. Shortly 
 after this Mr. Fernandez became the leading actor at the Amphi- 
 theatre, Liverpool, and made his first appearance there as Shylock, 
 to the Bortia of Miss Bateman. During this engagement, in a 
 revival of ' Arrah-na-Pogue,' Mr. Fernandez played the part of 
 Shaun the Post, of which performance the Liverpool Daily Post 
 (May 1869) remarked as follows : — " None but an actor of sterling 
 ability could have personated King James in ' King o' Scots ' as he^ 
 did ; and his performance on Saturday was the best confirmation 
 of the favourable opinion expressed of him when he played in Mr. 
 Halliday's drama. It is a step indeed from King Jamie to Shaun 
 the Post-boy, but the ability to sustain characters so widely different 
 is a true and severe test. Mr. Fernandez has confidence in himself ; 
 and his success in Shaun is ample justification for it, and another 
 reason to thinli that he is one of the best stock actors that have 
 ever appeared in Liverpool." 
 
 Mr. Fernandez reappeared in London, at the Adelphi Theatre, 
 1871, as Claude Frollo, in Halliday's 'Notre Dame,' playing the 
 character for 270 nights, "with an earnestness and effect which made 
 his ddbut on these boards a triumph of the most unequivocal de- 
 scription." He remained at the Adelphi Theatre for three seasons, 
 playing principal parts ; among others, Dagobert, Don Salluste 
 (to Fechter's Ruy Bias), Newman Noggs, Micawber, &c. He was 
 subsequently engaged by F. B. Chatterton for Drury Lane Theatre, 
 and appeared there as Fitzjames in the drama of ' The Lady of 
 the Lake ' ; and as Isaac of York in a revival of ' Rebecca.' He 
 sustained the part of Old Tom in a revival of ' After Dark,' at the 
 Princess's Theatre in June 1877, and psrformed the character for 
 80 nights. Returning to Drury Lane Theatre, Septftnber of the 
 same year, Mr. Fernandez acted the part of Christian in W. G. 
 Wills's drama of ' England ' ; and afterwards appeared as Varney 
 in a revival of ' Amy Robsart.' Subsequently he was selected by 
 Mr. Henry Irving to support him, as Coitier in the production 
 of ' Louis XL' at the Lyceum Theatre, March 12, 1878. Mr. 
 Fernandez continued a member of the Lyceum company until June 
 1878 ; he shortly afterwards accepted an engagement at the Globe 
 Theatre, and thence went into the provinces, where he appeared 
 with success as Gaspard in the English version of ' Les Cloches 
 de Corneville.' 
 
 FISHER, DAVID (the Elder). Born at East Dereham, Norfolk, 
 one of the towns which formed the circuit of " The Norfolk and 
 Suffolk Company of Comedians," an association of players esta- 
 blished by the grandfather of the present actor, and which con- 
 tinued under the control of Mr. D. Fisher's family (father and 
 uncle) until about the year 1841. Trained from boyhood to the 
 s.tage, but prevented for some years by a severe accident from 
 
144 THE DRAMA TIC LIST. 
 
 following his profession, David Fisher became engaged in various 
 musical pursuits in Norwich at the outset of his career. He 
 appeared at public concerts as a principal viohnist, and secured 
 favourable notice for his praiseworthy performances in this direc- 
 tion. In 1849, after his recovery, he joined the company of Mr. 
 Edmund Glover at the Prince's Theatre, Glasgow, meeting, as 
 members of the same, Miss Agnes Robertson (Mrs. Boucicault), 
 Mrs. Ternan, George Everett, &c. Playing a variety of characters 
 during the succeeding four years, receiving during that time offers 
 of engagement from Mr^ E. T. Smith of Drury Lane, and Mr. A. 
 Wigan of the Olympic, Mr. Fisher finally arranged with Mr. 
 Charles Kean, and made his first appearance in London at the 
 Princess's Theatre, November 2, 1853, as Victor in 'The Lancers.' 
 At the same theatre he played Windsor Brown in 'Away with 
 Melancholy'; De 5r/jjac in ' Our Wife '; Faust; axidi Pertinax in 
 his own production, ' Music hath. Charms.' Mr. David Fisher took 
 part in the dramatic performances, at Windsor Castle, arranged by 
 the late Charles Kean, playing 'the Marquis in the 'Wonderful 
 Woman,' Gratiano in ' The Merchant of Venice,' and De Brissac 
 in ' Our Wife.' In 1859 he accepted an engagement at the Adelphi 
 under Mr. Benjamin Webster's management. It was at this theatre 
 that Mr. David Fisher first played many of his most important 
 characters, notably the AbM Latour in Watts Phillips's ' Dead 
 Heart,' Garroway in the same author's 'Paper Wings,' Lanier es in 
 ',Magloire,' Hulks in 'The Willow Copse,' and Kyrle Daly in 
 ' The Colleen Bawn.' 
 
 In 1863 David Fisher produced an entertainment called 'Facts 
 and Fancies ' at the Hanover Square Rooms and St. James's Hall, 
 which was noticed in the Observer (April 12, 1B63) as follows : — 
 " Mr. David Fisher goes through the busy and prolonged pro- 
 gramme with amazing spirit and address, and displays a versatile 
 experience which those who knew him on the stage could hardly 
 have expectSd. His musical attainments are very remarkable. 
 He not only plays on the pianoforte with the skill of a proficient, 
 but is more than respectable as a violinist, while his singing is neat 
 and tasteful." In the autumn of the same year he joined Mr. 
 Vining's company at the Princess's, playing Mr. Abel Honeydew 
 in 'Paul's Return'; y agues Sabot in 'Light and Shadow'; and 
 Mozart Smith in his own farce of ' Heart Strings and Fiddle 
 Strings,' &c. In 1865 Mr. Fisher was specially engaged for the 
 part of Orpheus in Offenbach's opera at the Haymarket. During 
 a part of 1866 and up to July 1868 David Fisher was under the 
 management of Mr. H. J. Byron at Liverpool, and undertook the 
 duties of stage-manager, playing a great variety of characters at 
 the Royal Amphitheatre and Alexandra, including Sir Peter 
 Teazle, Sir Har court Courtly, Autolycus, Stephana, &c , &c. 
 He engaged for the opening of the Globe Theatre in London, 
 November 28, 1868; and on that occasion undertook the cha- 
 racter of Major Treherne in H. J. Byron's ' Cyril's Success ' In 
 1869 he appeared as Major Jorum in Boucicault's ' Formosa ' at 
 Drury Lane, Henry Irving playing the character of ComptoK Kerr 
 
FISHER, DAVID. 145 
 
 " The gem of the evening, so far as acting was concerned, was Mr. 
 David Fisher's admirable impersonation of the roui asiA gamester, 
 
 Major Jorum. Make-up, dress, action, were all perfect 
 
 Mr. Fisher cannot be complimented higher than he deserves." 
 {Standard, August 6, 1869.) In 1870 he accepted an engagement 
 at the Olympic, and played, among other principal characters, 
 Brijrard in 'Frou-Frou'; Micawber in 'Little Em'ly'; and Ldi-d 
 Claremont in Tom Taylor's ' Handsome is that Handsome does.' 
 At a performance for his own benefit, August 29, 1870, Mr. 
 Fisher acted the character of Sir John Falstaff. Engaged under 
 Mr. H. J. Montague's management, at the Globe Theatre in 1871, 
 he played there Horace Mervyn in Byron's ' Partners for Life,' and 
 Dick Fallow in Albery's ' Forgiven.' Engagements followed at the 
 Opdra Comique, where in 1872 he acted the Marquis in an English 
 version of M. Herv^'s 'L'OSil Crev^'; De Grignon in Charles 
 Reade's adaptation from the French, 'The Ladies' Battle' ('La 
 Bataille des Dames ') ; and Nicholas Flam in Buckstone's comic 
 drama of that name. At the opening of the Criterion Theatre, 
 March 21, 1874, he played Ransome Trivass in 'The American 
 Lady'; at the Mirror Theatre (Holborn), Jack Paget in 'The 
 Detective,' May 29, 1875 ; at Drury Lane, the same year. Father 
 Dolan in ' Shaughraun.' Mr. Fisher joined Mr. H, Wigan's 
 company at the Princess's in 1876. Since that year he has been 
 engaged with a company playing ' Dan'l Druce ' in the provinces, 
 and as an actor of principal parts in Mr. Gilbert's comedies. In 
 1879 he was performing in the provinces in the so-called 'Crisis' 
 company. 
 
 FISHER, DAVID (the Younger). Professionally known as 
 Walter D. Fisher till 1874, afterwards as David Fisher, jun. Born 
 at Norwich. Was specially educated to the stage by his father, 
 David Fisher the elder, at whose benefit at the Theatre Royal, 
 Glasgow, in 1852, the younger Fisher first appeared on the stage as 
 the boy in ' The Children in the Wood.' His first engagement in 
 the dramatic profession was made at the Theatre Royal, Man- 
 chester, September 21, 1862. Afterwards he fulfilled engage- 
 ments in the provinces, at the Theatres Royal, Brighton, Dublin, 
 Glasgow, Liverpool, Edinburgh, Newcastle, &:c. In the summer of 
 1870 Mr. Fisher became lessee (in conjunction with Miss Marie 
 Rhodes) for a short period of the Theatre Royal, Edinburgh, pro- 
 ducing ' Formosa,'*' Lancashire Lass,' 'Prompter's Box,' &c., with 
 considerable success. In 1873 he played at the Athen^e Theatre 
 in Paris with an English company of comedians, which included, 
 among others, Messrs. Ryder, Swinbourne, Charles Warner. Miss 
 Viner, Miss Margaret Cooper, &c. In 1874 Mr. Fisher joined 
 Mrs. Herman Vezin's so-called ' Cora ' company. He made his 
 first appearance on the London stage July 1875, at the Theatre 
 Royal, Haymarket, as Moses in 'The School for Scandal'; and his 
 first important London engagement was at the Globe Theatre, 
 where he acted Potain in a play adapted from the French 
 (' L' Article 47 ') entitled ' Cora,' noticed in the Times (March 9, 
 
 L 
 
146 THE DRAMATIC LIST. 
 
 1877) as "one of the cleverest bits of acting in the piece." On 
 August 12, 1877, Mr. Fisher appeared at the Haymarket Theatre 
 as the Rev. Horatio Tibbets in G. F. Rowe's comedy of 'Brass'; 
 subsequently playing at the same theatre in various Shakespearian 
 parts during the engagement (1878) of Miss Adelaide Neilson, and 
 later as David ('The Rivals'), Mr. Taper ly (' Conscience Money '), 
 Ltrd William Whitehead (' The Crisis '). 
 
 FISHER, WALTER H., is the son of a portrait painter of 
 Bristol, and made his first London appearance on the stage in the 
 play of ' Broken Spells ' at the Court Theatre. At the opening of 
 the Olympic Theatre in 1873, under the management of Mr. Henry 
 Neville, he appeared in a piece of H. J. Byron's entitled ' Sour 
 Grapes.' In March 1874 he was the original Woodstock in Tom 
 Taylor's play of ' Clancarty,' and in Mortimer's play of ' Figaro ' 
 he was Cherubino the page. He has appeared as a singing light 
 comedian at the Globe, the Royalty, the Strand, and other London 
 theatres, and has at various times taken the parts of Marasquin in 
 ' Girofl^-Girofla,' Piquillo in ' La Pdrichole,' The Defendant in 
 ' Trial by Jury,' &c. He played Frickel'm. Lecocq's opera ' La Mar- 
 jolaine' at the Royalty Theatre, October 1877, and appeared there 
 in the opera bouffe of 'La Belle Hdlfene' in March 1878. When 
 ' Madame Favart ' was first produced at the Strand Theatre, Saturday, 
 April 12, 1879, Mr. Fisher appeared in it as Hector de Boispreau. 
 
 FITZ^WILLIAM, KATHLEEN MARY (Mrs. C. WitHALL), 
 was born in November 1826. She studied under the following 
 masters, viz. John Barnett (singing), J. L. Hatton (piano), Balzir 
 Chatterton (harp) ; and made her first appearance in public in 
 1845, ^t the Hanover Square Rooms, as a concert singer, on the 
 occasion of the first performance of an original ' Stabat Mater ' 
 composed by her brother, Edward Francis Fitzwilliam. Miss 
 Fitzwilliam made her d^but on the stage the same year at the 
 Theatre Royal, Birmingham, as Rosina in the opera of ' The 
 Barber of Seville,' and during the two following and subsequent 
 years fulfilled engagements in Liverpool, Manchester, Edinburgh, 
 Glasgow, Dublin, and other important towns, playing "principal 
 and leading business '' with several eminent members of the 
 dramatic profession. With Macready she acted in ' Hamlet,' 
 and sustained the part of Ophelia. With Mr. and Mrs. Charles 
 Kean she appeared in 'The Wife's Secret,' as Maud, and in 
 ' Strathmore.' With Miss Cushman she played in several im- 
 portant pieces. And on the occasion of the reappearance in Liver- 
 pool (1847) of Miss Fanny Kemble (Mrs. Butler), after her long 
 absence in America, Miss Fitzwilliam sustained the part of Helen 
 to that lady's Julia in ' The Hunchback.' A contemporary Liver- 
 pool journal, alluding to this performance, remarks : — "The hvely 
 and volatile Helen was personated by Miss Kathleen FitzwiUiam, 
 who, though more than commonly clever, would, we thought, fail 
 in this rather difficult character. What, then, was our delio-ht' our 
 astonishment, to see it played as we never saw it played^be'fore. 
 
FITZWILLIAM, KATHLEEN MARY. 147 
 
 Amidst all the Helens we ever saw, Miss Fitzwilliam ranks first. 
 It was worthy indeed to rank with the Julia she played with. Few 
 who saw Miss Fitzwilliam's perfect acting that night could have 
 credited that she was, in comparison with those by whom she was 
 surrounded, a perfect novice." Among other actors of note with 
 whom Miss Fitzwilliam appeared in the earlier part of her career, 
 Mackay, the celebrated Scotch actor, and Leigh Murray may be 
 mentioned. With the first named she played in ' The Heart of 
 Midlothian ' {Dumbiedikes, Mackay ; Madge Wildfire, Miss Fitz- 
 william) ; and, with Mr. Leigh Murray (as Claude Melnotte), she 
 personated Pauline in ' The Lady of Lyons.' 
 
 Miss Fitzwilliam made her first appearance on the London stage, 
 December i, 1847, at the Lyceum Theatre under Madame Vestris's 
 management, as Peggy Green in a comic drama of that title, written 
 expressly for her by Mr. Charles Selby. The original cast in- 
 cluded the following well-known names : Charles Mathews {Mr. 
 Edward Rover ly) ; Harley {Nicholas) ; Granby (Afr. Thomas Tip- 
 pins) ; and Mrs. Macnamara {Mrs. Glover). "The drama is gay 
 and sprightly throughout," said the Morning Advertiser (Decem- 
 ber 2, 1847), "and it ends with an animated, bustling, good, hearty, 
 homely, honest 'country dance.' The piece is rendered very 
 amusing by the rough, rural acting of Harley ; the juvenile-antique 
 affections and airs of Granby ; the dashing, daring, doings of the 
 penniless Mr. Edward Roverly, admirably personated by Charles 
 Mathews ; and the holiday adventures of some six fair and frolic- 
 some milliners. Lastly (and yet in importance she should have 
 been first) Miss Kathleen Fitzwilliam was extremely successful 
 throughout this lively little drama. Her acting is naive, natural, 
 easy, and unaffected ; and her singing is perfectly charming — from 
 a sweet voice, managed with skill, taste, and feeling. The three 
 elegant songs introduced and executed by her were very effective. 
 The first especially delighted the audience, and was heartily en- 
 cored. Indeed the dibut was in every respect successful, and the 
 young actress cannot fail, with due attention and care, to secure a 
 very favourable position in public estimation." 
 
 Miss Fitzwilliam remained at the Lyceum Theatre for three 
 seasons, playing, among others, the following original parts in the 
 under-mentioned extravaganzas of J. R. Planch^, viz. Prince 
 Humpy in ' The Golden Branch ' ; Prince Florizel in ' The King 
 of the Peacocks'; Ariadne in 'Theseus and Ariadne'; St. George 
 in ' The Seven Champions of Christendom.' She appeared also in 
 the following leading parts at the same theatre during this engage- 
 ment, viz. Margaret Honey ball in Shirley Brooks's play ' Anything 
 for a Change '; Anne Page in a revival of ' The Merry Wives of 
 Windsor'; and Polly Peachum in a revival (June 15, 1848) of 
 'The Beggar's Opera,' with Madame Vestris as Lucy Lockit, 
 W. H. Harrison as Macheath, Harley as Filch, F. Matthews 
 as Peachum, Granby as Lockit, and Mrs. C. Jones as Mrs. 
 Peachum. The Literary Gazette (June 17, 1848) noticed this 
 •revival as follows: — "Foreigners beware! Enghsh actors have 
 the remedy in their own hands ; and one of their most effective 
 
 L 2 
 
hs the drama tic list. 
 
 demonstrations was made at the Lyceum on Thursday evening, 
 when Gay's 'Beggar's Opera,' restored to the pristine shape it 
 bore one hundred and twenty years ago, was reproduced. The 
 characters of the Player and the Beggar in the sort of introduc- 
 tion which prefaces and closes the play were retained, and thus 
 explained away the anomahes of the commencement and con- 
 clusion; they could not have been in better hands than those of 
 Messrs. Parselle and Meadows, the latter, as usual, ' made up ' to 
 
 life. The cast was altogether powerfully strong The feature 
 
 of the evening, however, was the Polly of Miss Kathleen Fitz- 
 william ; it was not only graceful and interesting, but occasionally 
 really pathetic ; and her warbling — for her singing of many of the 
 morsels deserves that term — of the beautiful ballads scattered 
 through the part was almost of nightingale sweetness ; she 
 occasionally added some simple ornaments to the vocalization, 
 displaying taste and ability of no ordinary kind, and she was loudly 
 applauded and encored in three or four airs, such as ' Cease your 
 funning,' and ' Oh, ponder well.' She also acted with great judg- 
 ment and feeling." 
 
 Miss Fitzwilliam performed the same part at Drury Lane Theatre 
 in the month of July 1849, with Madame Vestris as Lucy, and 
 Mr. Sims Reeves as Macheath, the occasion being the benefit of 
 Kenney, the dramatist, who unhappily died the same evening. At 
 the Windsor Castle Theatricals, Christmas 1849, Miss FitzwiUiam 
 sustained the part of Endiga in the play of ' Charles the Twelfth,' 
 and sang ' Rise, gentle Moon,' on the stage in the Rubens' room, 
 accompanied by an unseen band in another apartment, led by Mr. 
 Anderson, who stood midway, and with his baton acted as a sort 
 of fugleman between singer and musicians. The Queen, through 
 Mr. Charles Kean, sent a gracious and complimentary message to 
 the actress, saying how pleased Her Majesty had been with the 
 song, and expressing appreciation of " the admirable way in which 
 Miss Fitzwilliam had accomplished, what must have been, a very 
 difficult task." In 1-850 (January) Miss Fitzwilliam joined the com- 
 pany of the Haymarket Theatre, under Mr. Benjamin Webster's 
 management; but shortly afterwards transferred her services to the 
 Adelphi Theatre, where she remained for three seasons, playing 
 original parts in ' Mephistopheles,' ' Red Riding Hood,' ' Esme- 
 ralda,' ' Jessie Gray,' ' The Tarantula,' ' Sea and Land,' &c., and 
 appearing also in the French operettas of ' Griselda ' and ' Bon 
 Soir, Signor Pantalon,' on their production in England. Miss 
 Fitzwilliam made her last appearance on the stage in August 1852 
 in the latter operetta, and thenceforward adopted concert singing 
 as a profession. From the last-mentioned date until early in the 
 year 1854 she sang with much success at most of the concerts 
 and musical reunions in London and at several in the principal 
 towns of the provinces. In May 1854 she married and left the 
 profession. 
 
 FLEET, GEORGE RUTLAND. ^^^ BarringtoN, RUTLAND. 
 
 • FLOCKTON, CHARLES P., made his first appearance on 
 
 the London stage as Holdsworth in ' Glitter,' at St. James's Theatre 
 
FOOTE, LYDIA A. 149 
 
 December 26, 1 868. In the following year he was engaged at the 
 Charing Cross Theatre, and later at the Royalty and Globe ; his 
 performances in W. S. Gilbert's burlesque of ' Norma,' and in the 
 comedies ' Not So Bad After All ' and ' Behind a Mask,' being 
 favourably noticed in contemporary journals. More recently he 
 has fulfilled a lengthened engagement at the Adelphi Theatre. 
 
 FOOTE, LYDIA A. (a nom de MAtre), niece of the popular 
 actress, Mrs. Keeley, made her first appearance on the London 
 stage at the Lyceum Theatre, April i, 1852, in a child's part, in 
 a piece entitled ' A Chain of Events.' Twelve years later, viz. on 
 Wednesday, November 2, 1864, at the Olympic Theatre, first 
 performance of Tom Taylor's play ' The Hidden Hand,' Miss 
 Foote successfully sustained the part of Efiid Gryffyd'd; and in the 
 following year, Saturday, March 4, at the same theatre, first per- 
 formance of the same author's play entitled ' The Settling Day,' 
 she acted the character of Miss Hargrave. In 1866, Saturday, 
 October 29, Miss Foote sustained the part of Clara, in Mr. Wilkie 
 CoUins's drama ' The Frozen Deep,' then first performed at the 
 Olympic Theatre. By her graceful and earnest performance of 
 this part she largely enhanced her reputation. Nothing could 
 have been more life-like or interesting than her conception of the 
 character.. On Saturday, April 6, 1867, first performance of Mr. 
 T. W. Robertson's, comedy entitled ' Caste,' at the Prince of Wales's ^^ 
 Theatre, she undertook the p art o f E sther E cgJM^ _" The.oiie ideal j^c 
 personage of the play \a EsXer^viHo.0 j5,-£Htirely distinct from_her 
 s^^£ri^o[\.yj_^i'^^JShoj)^_ the boundary marks of ' caste ' vanish, 
 
 |liough~ it" IS on her account^that the battle of 'caste ' is fought. 
 
 r~The author has eveh_givenQie£Jan,_aristocratig_tinge, and when her 
 _s2uLjs_rousedsh.e does , not v^gs^J plebeian'' indapendenc& like , . . 
 Polly, but~spea_Es3^as <Hri7 George d'Alroy, mother_,Qf-a, "ghild, of . , 
 anci ent "Ii ri eage._ ^Tfl^l^^g^i .belong, the strojng situations, and 
 generalTy ~what may be called, tlie, hard work of the_ piecer The 
 part IS niost "efficiently filled by Miss Lydia Foote." {Times, 
 "April 'II, 1867.) On Saturday, February 15, 1868, she was in' 
 the original cast (as, Amanda) of ' Play,' first performed on that 
 date at the Prince of Wales's. On Saturday, September 5, 1868, 
 at the Holborn Theatre, first performance of H. J. Byron's drama 
 ' Blow for Blow,' Miss Foote played Mildred Craddock; and sub- 
 sequently the part oi Alice Petherick, "displaying quiet pathos and 
 real power, together with artistic sense and delicacy not often 
 exhibited " {Athenceum, September 12, 1868). In April of the 
 following year, first performance at the Globe Theatre of a play 
 by Mr. H. J. Byron entitled 'Minnie; or, Leonard's Love,' she 
 sustained the part of the heroine, Minnie Vaughan. At the same 
 theatre, on Saturday, September 18, 1869, in a new comedy by 
 T. W. Robertson, entitled ' Progress,' adapted from ' Les Ganaches ' 
 of M. Sardou, Miss Foote enacted the part of the heroine. In 1870, 
 Saturday, October i, at the Holborn Theatre, she played the leading 
 female rdle in Sefton Parry's piece entitled ' The Odds.' At 
 the same theatre, in December of the same year, first performance 
 
I50 THE DRAMATIC LIST. 
 
 of Dion Boucicault's drama entitled 'Jezebel; or, the Dead 
 Reckoning,' she sustained the part of Madame HArtignes. In 
 1871, in a revival of ' Caste ' at the Prince of Wales's Theatre, Miss 
 Foote played her original character. In 1872 (July), m a revival at 
 the Gaiety Theatre of a version by Boucicault of Colman's comedy 
 of 'John Bull,' she played the part of Mary Thornberry. In 
 March 1875, first performance at the Adelphi Theatre of Halliday's 
 dramatized version of Charles Dickens's ' Nicholas Nickleby,' she 
 acted Smike. In December 1876 Miss Foote played the pari of 
 Grace Harkaway, in a revival of ' London Assurance,' at St. 
 James's Theatre; and on Saturday, January 6, 1877, first per- 
 formance at the same theatre of ' The Danischeffs,' she sustained 
 the part of Anna. In 1879 she was engaged at the Adelphi 
 Theatre, appearing in revivals of ' The Hunchback,' ' School for 
 Scandal,' ' Amy Robsart,' and ' Ticket-of-Leave Man.' 
 
 FORBES-ROBERTSON, JOHNSTON, eldest son of John 
 Forbes-Robertson, art historian and critic, was born in London in 
 1853, and educated at Charterhouse, and in France. He was 
 admitted student at the Royal Academy of Arts in 1870. Mr. 
 Forbes-Robertson made his first appearance on the stage at the 
 Princess's Theatre, in March 1874, in the part of Chastelard in 
 W. G. Wills's play of ' Marie Stuart.' Subsequently he played 
 James Annesley in Charles Reade's ' Wandering Heir,' in London, 
 Manchester, and Birmingham. Respecting this performance of 
 Mr. Forbes-Robertson the following criticism appeared: — "We 
 have rarely heard an actor talk so 'humanly,' with such a refreshing 
 disregard of the arbitrary law of climax which seems to rule the 
 stage. He has great earnestness, and dignified and natural bear- 
 ing, and the true note of manly emotion." (Manchester Guardian, 
 May 19, 1874.) The same year Mr. Forbes-Robertson accepted 
 an engagement at the Prince's Theatre, Manchester, under Mr. 
 Calvert, and played The Prince of Wales in the revival of ' 2nd 
 Part of Heni-y IV.'; Lysander in 'Midsummer Night's Dream,' 
 and Mercutio, ' Romeo and Juliet.' Returning to London he 
 played a series of parts at the Gaiety Theatre, supporting Mr. 
 Phelps ; afterwards accepting an engagement at the Olympic 
 Theatre. In April 1875, at the Haymarket, he played in Tom 
 Taylor's 'Anne Boleyn.' At the Lyceum, in July 1876, he sus- 
 tained the part of The Abb^ de Larose, first performance of Mr. 
 Buchanan's ' Corinne.' "A word of very hearty praise," remarked 
 the Standard {]M\y i, 1876), "must be bestowed upon Mr. Forbes- 
 Robertson, who, throughout the drama, gave a well-considered 
 picture of the Abbd de Larose, and displayed real and unexpected 
 power in the last act. His abject terror when brought before 
 Marat's remorseless gang in the prison was most forcibly expressed 
 in his face and trembling limbs. The effort to steady himself and 
 resume his courtly and gracious demeanour is admirably con- 
 ceived." Mr. Forbes-Robertson returned to the Olympic, Easter 
 1877, for two seasons, appearing as Jeremy Diddler' Geor<re 
 Talboys, Sir Fred Blake in ' Money,' &c. ; and subsequently at the 
 Haymarket Theatre, in September of the same year, he performed 
 
FORRESTER, HENRY. 151 
 
 the part of Geoffrey Wynyard, in Gilbert's ' Dan'l Druce.' During 
 the autumn season of 1878 he was acting at the Prince of Wales's 
 Theatre in ' Diplomacy.' 
 
 FORRESTER, HENRY, was born at Capel, Surrey, and 
 entered the dramatic profession in 1855, at Worthing, in a com- 
 pany under the management of Messrs. Parry and Castle. He 
 made his first appearance on the London stage in 1858 at the 
 Marylebone Theatre under Mr. Cave's management, in the cha- 
 racter of Hassan, in 'The Castle Spectre.' The same year he 
 accepted an engagement at the Lyceum Theatre under Madame 
 Celeste; Mr. Forrester was the original Charles Darnay in the 
 play of -A Tale of Two Cities,' first performed there. Subse- 
 quently he went to Sadler's Wells under Mr. Samuel Phelps, and 
 afterwards joined the Princess's company under George Vining's 
 management, at whose theatre he was the original Paul Fair- 
 weather in 'The Streets of London.' Mr. Forrester played the 
 part of Friar Laurence (' Romeo and JuUet ') at Stratford-on-Avon 
 at the celebration of the Shakespeare Tercentenary. Under Mrs. 
 Bateman's management, and during the period of Mr. Irving's 
 engagement, he was a member of the company of the Lyceum 
 Theatre, and on February 14, 1876, appeared there as lago in 
 Shakespeare's tragedy of 'Othello.' The Times (February 17, 
 1876) remarked of this performance as follows: — "The lago of 
 Mr. Forrester is as fine a piece of acting as, perhaps, any actor of 
 to-day qould show us in this character. With boldness equalled 
 by his judgment, he discards altogether the conventional idea of 
 fawning craft and servile humility, which has been so often and so 
 erroneously made the prominent feature in this wonderful character, 
 ■and which could but have disgusted, and never could have imposed 
 on such a man as Othello. He stands up before us fair and square, 
 manly of form, pleasant of voice and face, save when, with no 
 companion but his own thoughts, he lifts for a moment the veil of 
 his villany. ' This fellow's of exceeding honesty ' throughout, till 
 his purpose is served, and he has done with honesty for good and 
 all ; and it is precisely because he seems of such honesty that we 
 find nothing incongruous in the success of what we know to be so 
 outrageous a piece of treachery. His actions and attitudes, which 
 are most natural and effective, and his voice go hand-in-hand 
 throughout." 
 
 Mr. ForrestSr has played the part of Dan'l Druce nearly three 
 hundred times in the, provinces with great success. Since 1877 he 
 has appeared in London at the St. James's Theatre in the parts of 
 Othello, Claude Melnotte, Jaques (' As You Like It '), &c. When 
 Mr. Irving assumed the management of the Lyceum, on December 
 30, 1878, Mr. Forrester reappeared there in ' Hamlet ' as Claudius j 
 and in the following March, during Mr. Irving's temporary in- 
 disposition, he played Hamlet for three nights, being his first 
 appearance in that character. Subsequently during the season he 
 appeared in the various revivals of Mr. Irving's most successful 
 plays, viz. ' Eugene Aram,' in which Mr. Forrester acted House- 
 
152 THE DRAMA TIC LIST. 
 
 FOWLER, EMILY (Mrs. JOHN C. PembertoN), was born 
 in Rochdale. At an early age she appeared on the continental 
 stage as a dancer in ballet and spectacle ; but coming to London 
 in 1868, made her dibut on the metropolitan stage at the Royalty 
 Theatre, under Miss Oliver's management, in the burlesque of 
 ' Black-Eyed Susan.' Miss Fowler was afterwards engaged by Mr. 
 John HoUingshead at the Gaiety Theatre, and subsequently by 
 Mr. Wybert Reeve at the Charing Cross Theatre, where she first 
 attracted notice by her painstaking acting in his comedy entitled 
 ' Not So Bad After AH.' Miss Fowler then joined the company of 
 the Olympic Theatre, where in March 1874, first performance of 
 Tom Taylor's drama ' Lady Clancarty ; or, Wedded and Wooed,' 
 she acted the part of Lady Betty Noel. At the same theatre she 
 appeared in the following plays with considerable success, viz. 
 ' The Ticket-of-Leave Man ' (revival), in which she sustained the 
 character of May Edwards j 'The Two Orphans' (first perform- 
 ance), in which she played Louise; and ' The Spendthrift ; or, the 
 Scrivener's Daughter,' J. Albery (first performance), in which she 
 acted the leading role. In September 1876, in a revival of Shake- 
 speare's ' Henry V.' at the Queen's Theatre, Long Acre, Miss 
 Fowler undertook the part of Katharine of Valois. In May 1878 
 she assumed the management of the Royalty Theatre for a brief 
 period, and produced there W. G. Wills's ' NeU Gwynne,' in which 
 she played the heroine with much success. She produced on the 
 same stage ' Scandal,' adapted from ' Les Scandales d'Hier,' by 
 Arthur Matthison, in which she acted the part of Viscountess 
 Liddesdale. On Saturday, September 28, 1878, Miss Fowler played 
 Perdita, in a revival of ' A Winter's Tale,' at Drury Lane Theatre. 
 Since that time she has been acting in the provinces. 
 
 FRANCIS, VIRGINIA (a nom de ih^dtre; VIRGINIA FRAN- 
 CIS Bateman), was born in New York. Fourth daughter of the late 
 H. L. Bateman, formerly of that city, and subsequently lessee 
 of the Lyceum Theatre, London. As a child she appeared, 
 December 22, 1865, at Her Majesty's Theatre, in the character of 
 Little Daisy, in the play of that name ; her sister. Miss Isabel 
 Bateman, playing the part of Diggory Dawdlegrace. Miss Francis 
 made her first appearance on the stage proper, Monday, October 19, 
 1868, at the Haymarket Theatre, as Madelena, in ' Leah ' ; her sister, 
 Miss Bateman, playing the title role. In May 1872, in a revival 
 of that play at the Lyceum Theatre, she played the same character. 
 In June of the same year, at the same theatre, first performance of 
 ' Medea ' (W. G. Wills), she sustained the character of Glaucea. 
 "As Glaucea, Miss Virginia Francis acted with much taste and 
 feeling. Her attitude at the foot of the altar in the second act was 
 singularly graceful and poetical." {Athe?tceum, July 13, 1872.) In 
 April 1876, at the Lyceum Theatre, Miss Francis performed the 
 part of Princess Elizabeth, in ' Queen Mary ' (Tennyson) ; and 
 in June of the same year, Mrs. Racket, in a revival of 'The 
 Belle's Stratagem.' In April 1878 she sustained the part of 
 Marie, revival of Boucicault's version of Casimir Delavigne's play 
 ' Louis XL' 
 
GAINSBOROUGH, MO NT A. 153 
 
 GAINSBOROUGH, MONTA. Bom in the West Riding of 
 Yorkshire. Was educated to the stage from childhood, but severe 
 indisposition prevented her from actively following the duties of 
 her profession until 1869, when she appeared at the Theatre Royal, 
 Leeds. From 1869 to 1872 she fulfilled various provincial engage- 
 ments, playing during that period all lines of business. Miss 
 Gainsborough's first appearance of importance was at the Queen's 
 Theatre, London, as Amos, the boy, in Watts Phillips's drama of 
 'Amos Clark.' At the Court Theatre, in 1873, she played the 
 original heroine in ' Marriage Lines,' and subsequently, at the 
 Op^ra Comique, sustained the characters of the heroines in revivals 
 of H. T. Craven's plays 'Milky White' and 'Miriam's Crime.' 
 July 1873, at the Haymarket, Miss Gainsborough played Paulitie 
 (' Lady of Lyons '), Mr. Creswick performing the leading rdle. In 
 November 1874, at the Prince's, Theatre, Manchester, in a revival 
 of ' Romeo and Juliet,' arranged by Mr. Charles Calvert, she played 
 Juliet for twelve nights. Afterwards, in various provincial towns, 
 she performed the part of the heroines in the following plays, viz. 
 ' Lost in London,' ' Notre Dame,' ' Blow for Blow,' ' London As- 
 surance,' ' The Ladies' Battle,' and the leading female rSle in 
 several plays of the Shakespearian and poetic drama. In May 1875, 
 at the Standard Theatre, London, she performed Ophelia " with 
 much freshness and pathos, and meriting warm praise for the mad 
 scenes, which were acted with remarkable grace and skill " {Times, 
 May 17, 1875). The same year, at a morning performance (at the 
 Alexandra Palace) of ' The School for Scandal,' in which Mr. S. 
 Phelps played Sir Peter Teazle, Miss Gainsborough appeared as 
 Lady Teazle. June 23, 1877, at the Prince of Wales's Theatre, 
 Birmingham, in a revival by Mr. Charles Calvert of ' Sardana- 
 palus,' she played the character of Myrrha, and with so much 
 success that she continued to perform the part during a provincial 
 tour which extended over six months. In November 1877, on the 
 revival of the same play at the Duke's Theatre, Holborn, Miss 
 Gainsborough represented the character in London. Easter, 1878, 
 at the Alexandra Theah'e, Liverpool, she played Hero, in a revival 
 of ' Much Ado About Nothing,' " with uncommon power and un- 
 impeachable grace" {Liverpool Daily Post, April 23, 1878). 
 
 GARDEN, EDMUND WILLIAM, was born in London, 
 April 27, 1845, and made his d^but on the stage on the night of the 
 opening of the Theatre Royal, Nottingham, under the management 
 of the late Walter Montgomery. He appeared subsequently for 
 entire seasons at the Amphitheatre, Leeds ; Lyceum Theatre, 
 Sunderland ; Theatre Royal, Croydon (when first opened under 
 George Fawcett Rowe) ; and Theatre Royal, Norwich, playing 
 " light," " eccentric," and " first low comedy," in the entire range of 
 the drama. Mr. Garden made his first appearance on the London 
 stage at the Olympic, under the management of Mr. W. H. Liston, 
 
1 54 THE DRAMA TIC LIST. 
 
 in the character of Uriah Heep in the play of ' Little Em'ly,' on the 
 occasion of its revival, October 17, 1870. He remained at that 
 theatre during two seasons, playing, among other characters, Dicky 
 Duggo in Craven's 'Milky White,' and the "original" George 
 Warriner in Byron's 'Daisy Farm.' He became one of the 
 original members of the Globe company, when that theatre was 
 opened under the late H. J. Montague's management, and played 
 there for nearly three seasons. He was in the original cast of 
 ' Partners for Life,' ' Forgiven,' ' Spur of the Moment,' ' Tourist's 
 Ticket,' ' Arkwright's Wife' (on its first performance in London), and 
 ' Fine Feathers.' In the latter play he was very successful in the 
 part of Daniel Dole, a circus clown, known in the programmes as 
 the " celebrated Chaucerian comique." " Skilfully portrayed by the 
 author, this admirable character is wrought by the actor, without 
 the slightest straining after a point, into one of the most impressive 
 pictures the gallery of the stage has exhibited for many years. There 
 is a fine touch of pathos in the last act, where the clown comes to offer 
 the gratuitous services of the company in aid of the broken-down 
 circus-proprietor they have so long faithfully served in better days ; 
 and it may be safely said that, although the marked intelligence of 
 Mr. E. W. Garden has been frequently before noted in other 
 characters, he has here raised himself at once into a high position 
 as a thorough artist." {Daily Telegraph, April 28, 1873.) Mr. 
 E. W. Garden was the original representative of Don BoUro in 
 Lecocq's ' Girofld-Girofla,' when that opera was first produced in 
 English at the Philharmonic Theatre. He has visited most of the 
 chief towns in the United Kingdom on several tours, playing 
 original parts and principal characters in such pieces as 'Two 
 Roses,' &c. He was the original representative in the provinces of 
 Talbot Champneys in Byron's ' Our Boys,' and Mr, Gibson Greene 
 in the same author's ' Married in Haste,' and has played those parts 
 uninterruptedly in nearly every town in the United Kingdom for a 
 period extending over three years. 
 
 GARNER, ARTHUR, was born at Bath, February 8, 1851, and 
 entered the dramatic profession in 1870, making his first appearance 
 on any stage October 29th of that year, at the Prince of Wales's 
 Theatre, Liverpool, in a small part in Farnie's burlesque ' The Idle 
 'Prentice.' On the termination of the season at the Prince of 
 Wales's, in April 1871 he joined a travelling company in Scotland, 
 as " walkmg gentleman," and afterwards played the same Hne of 
 "busmess" under Mr. J, L. Toole during his summer provincial 
 tour m that year. In June 1872 Mr. Garner joined the company 
 of the Amphitheatre, Liverpool, under Mr. Leslie's management, 
 to play the "juvenile leading business." In March 1873 he sailed 
 for Australia, and subsequently appeared at the Theatre Royal, 
 Melbourne, as Frank Golds-worthy in Brough's comedy ' Kind to a 
 Fault,' with very considerable success. He remained in Australia 
 about three years, playing for a great part of the time at the 
 Melbourne Theatre all the principal light comedy and juvenile 
 business. May 29, 1875, Mr. Garner sustained the part of Captain 
 
GARTHORNE, C. W. 155 
 
 Molineux in ' The Shaughraun,' on its first performance in Australia. 
 Having travelled through that country, he returned by way of 
 San Francisco and the United States to England, and appeared 
 November 6, 1876, at the Amphitheatre, Liverpool, as Tom Spirit 
 in Paul Meritt's play entitled ' Stolen Kisses,' then performed for 
 the first time. He made his first appearance on the London stage, 
 June 25, 1877, at the Globe Theatre, in the part of Chandos 
 Bellingham in ' After Dark.' Subsequently at the same theatre 
 Mr. Garner played his original part of Tom Spirit ('Stolen Kisses') 
 for 150 consecutive nights, commencing June 2, 1877. He appeared 
 in the same part on a provincial tour which lasted for forty-five 
 consecutive weeks in 1878, 'Stolen Kisses' being the only piece 
 performed by the company, of which Mr. Garner was a member, 
 during that time. In April 1879 he started for Melbourne to fulfil 
 a lengthened engagement in the Australian colonies. 
 
 GARTHORNE, C. W. (CHARLES W. GrimSTON), is a brother 
 of Mr. W. H. Kendal, and made his first appearance on the stage 
 at the Theatre Royal, Edinburgh, December 1869, in the character 
 oi Adotphus in ' Bachelor of Arts,' with the late Charles Mathews. 
 He first appeared in London at the Vaudeville Theatre, April 16, 
 1870, as Tom Buncombe in ' For Love or Money.' This play was 
 the first of the Vaudeville successes. On a tour in the provinces 
 with the original Vaudeville company he played Cateb Deecie in 
 Albery's 'Two Roses,' having previously played that character in 
 London during Mr. Thome's absence. After fulfilling an engage- 
 ment at the Theatre Royal, Brighton, for one season, he played 
 at the Royalty Theatre for six weeks, and was the original Hudson 
 in Bertie Vyse's comedy of ' L. S. D.' He also appeared as Gavis 
 and Romeo ; and afterwards at the Olympic Theatre for nine 
 months, under Miss Ada Cavendish's management. For the next 
 six months he was on tour with Mr. Richard Younge, playing Tom 
 Pogson in ' Time's Triumph,' Lord Gadderty in ' Fine Feathers,' 
 and Major M'Tavish in ' Old Soldiers.' From thence he engaged 
 with Mr. Flockton on tour, representing the characters of Cateb 
 Deecie in 'Two Roses,' The Great Baggs in 'Apple Blossoms,' 
 Jones in ' Two Thorns,' Diet: Tatton in ' Forgiven,' &c., in Mr. 
 Albery's pieces. After playing Lord Woodstock on a tour with Mr. 
 Richard Younge's ' Clancarty ' company, and a brief engagement 
 at the Opdra Comique Theatre, he rejoined the company at the 
 Vaudeville Theatre in January 1875. In 1876 he played Chartes 
 Middtewick in Byron's comedy of ' Our Boys ' in place of Mr. 
 Charles Warner, the original representative of that part. Mr. Gar- 
 thorne was the onpxiaiLord Asptand in the same author's comedy 
 of 'The Girls,' first performed at the Vaudeville Theatre, April 19, 
 1879. 
 
 GEORGE, EDWARD JOHN, was born in London, October 29, 
 1842, and made his first appearance on any stage, November 1865, 
 at the Theatre Royal, Norwich, as Winterbottom (the valet) in 
 
156 THE DRAMATIC LIST. 
 
 ' Arrah-na-Pogue.' He had played in various benefit performances 
 — e. g. at the Royalty Theatre, July lo, 1875, as Dame Hatley in 
 ' Black- Eyed Susan ' (F. C. Burnand)— previous to his professional 
 dibut in London, which took place September 22, 1877, at Drury 
 Lane Theatre, in the part of the Chamberlain in ' Barbazon,' 
 operetta by Arthur Matthison. In the intervening period Mr. George 
 had undergone " all the drudgery of a provincial actor's life," his 
 first important engagement having been entered into with the 
 late Mdlle. Beatrice, in whose theatrical company he played Pitou 
 in the EngUsh version of ' Frou-Frou.' At the Hull and Brighton 
 Theatres Royal, Mr. George was for a long time a special favourite 
 in what is known as " character parts." In November 1877 h'^ 
 commenced an engagement in London at the Adelphi Theatre as 
 Bob Saunders in 'Formosa'; subsequently succeeding Mr. Emery 
 in the part of Chamboran, 'Proof,' apd more recently playing 
 at the same theatre Crabtree in a revival of ' The School for 
 Scandal.' 
 
 GIBSON, JAMES RHIND, was bom at Aberdeen, Novem- 
 ber 28, 1842, and entered the dramatic profession November 18, 
 1862, appearing first at the Theatre Royal, Sheffield. He after- 
 wards played various parts in the provinces, and for the season 
 1 866-7 was enrolled by Mr. C. Calvert as a member of the company 
 of the Prince's Theatre, Manchester. At that theatre he played 
 Odaviiis C^j-ar (' Antony and Cleopatra'), Edgar ('King Lear'), 
 Abbot of St. Maurice ('Manfred'), lago ('Othello'), &c. In August 
 1867 Mr. Gibson became stage-manager of the Theatre Royal, 
 Newcastle-on-Tyne, and in April 1868 returned to the Prince's 
 Theatre, Manchester, where he acted various characters of note in 
 the dramas of Boucicault and others. In 1869 he appeared at the 
 same theatre as Camillo in a revival of ' A Winter's Tale.' The 
 same year Mr. Gibson became leading actor of the Theatre Royal, 
 Edinburgh, and sustained there, among other characters, the part 
 of Jaques to the Rosalind of Miss Helen Faucit at her farewell 
 performance in Edinburgh. In 1870 he went on a six months' tour 
 with Charles Dillon, playing lago, Macduff, Petruchio, Gratiano, 
 and lastly, with great success, at the Theatre Royal, Glasgow, the 
 part of Bailie Nicol Jarvie to that actor's Rob Roy. Mr. Gibson 
 was leading actor at the Glasgow Theatre Royal in 187 1, and in 
 the following year accepted an engagement in the like capacity at 
 the Opera House, Aberdeen. In 1S73 he travelled as a dramatic 
 reader in Scotland. In 1875 (having in the intervening period been 
 incapacitated by severe illness) Mr. Gibson played various" starring" 
 engagements in Scotch roles. In 1876 he sustained the part of 
 A ntigoiiHs in a revival of 'A Winter's Tale ' at the Alexandra Theatre, 
 Liverpool. In 1877 he again performed Scotch rdles in leading 
 towns in Scotland. In the year following, on April 6, he made 
 his first appearance in London at the Duke's Theatre, in the 
 character of Jock Howicson in the play of ' Cramond Brig,' and 
 was subsequently engaged by Mr. Irving for the Lyceum Theatre, 
 where since December 30, 1878, he has been performino-. 
 
GIDDENS, GEORGE. 157 
 
 GIDDENS, GEORGE, was born at Bedfont, Middlesex, June 17, 
 1845, and first appeared on the stage at Theatre Royal, Edinburgh, 
 in November 1865, in the part of Katty in ' Arrah-na-Pogue.' 
 Afterwards he performed at various theatres in the provinces, and 
 accepted an engagement as " comedian " in the " Swanborough 
 Burlesque " and " Unit«d Service Dramatic " companies. In 1871 
 he went to the United States as a member of " Charles Wyndham's 
 Comedy Company," subsequently fulfilling engagements in " stock 
 companies " at San Francisco, Chicago, and at the Union Square 
 Theatre, New York, where he played Henry Greenlanes, first 
 performance in America of 'Pink Dominos.' He has been "on 
 tour" through the Australian colonies. Mr. Giddens made his d^but 
 on the London stage at the Folly Theatre, in August 1878, in the 
 part of Jenx in a play entitled ' The Idol.' 
 
 GLENNEY, CHARLES HENRY HALL, was born in Glas- 
 gow, June 20, 1857, and first appeared on the stage at the Theatre 
 Royal, St. Helen's, in the part of Montana (' Othello "). He made 
 his ddbut on the London stage at the Duke's Theatre, Holborn, 
 September 7, 1878, in the part of Theuerdur, in a piece entitled 
 ' The Barricade,' a dramatic version of ' Les Miserables.' At the 
 same theatre he play«d with success the character of Salem 
 Scudder in a revival of ' The Octoroon,' Captain Crosstree (' Black- 
 Eyed Susan '), Kyrle Daly (' Colleen Bawn '), and Mr. Lamb 
 (" original ") in the ' New Babylon,' by P. Meritt. 
 
 GLOSSOP, MARIA ELIZABETH. See Harris, Maria. 
 
 GLOVER, AUGUSTUS (a nam de tM&trej SIDNEY DE 
 FiVAS), was born in Edinburgh, May 29, 1846, and is the youngest 
 son of the late Victor de Fivas (formerly of Edinburgh), M.A., 
 LL.D., &c., author of many well-known French educational works. 
 He made his first appearance on the stage, June 1864, at the New 
 Royalty Theatre, as Bassanio ('Merchant of Venice'), under the 
 name of 'Gilbert.' Afterwards he became ''stock leading-man " for 
 several seasons at various provincial theatres ; and was a member 
 of Mr. Walter Montgomery's company when that gentleman opened 
 the New Theatre Royal at Nottingham. On December 26, 1871, 
 at the New Theatre Royal, Bristol, he played the part of Captain 
 Bill Backashaw in the pantomime of ' Dick Whittington and His 
 Cat,' with much success. Mr. Glover's first appearance of note in 
 London was made September 21, 1872, at the Adelphi Theatre, as 
 Wild Murtoch in a revival of 'The Green Bushes,' Madame Celeste 
 playing Miami, her original part. (See Celeste, Madame.) At 
 the same theatre he played the following original parts, viz. Daniel 
 Mandril in ' Mabel's Life ' (H. J. Byron), Colonel Crafton in ' Fritz ' 
 (Andrew Halliday), J/r. Pollywiggle in 'A Yule Log' (Benjamin 
 Webster, jun.), Captain Cartouche in ' A Waltz by Arditi ' (John 
 Oxenford). Subsequently at the Princess's Theatre he played the 
 part of Fix, the detective, during the performance of ' Round the 
 
158 THE DRAMATIC LIST. 
 
 World in 80 Days,' and at Covent Garden Theatre (1876), King 
 Hokypokywankyfum, in the Christmas pantomime. 
 
 GLYN, ISABEL (Mrs. E. S. DALLAS), was born in Edinburgh 
 in 1825. She had played in a few rehearsals at Manchester pre- 
 viously to her professional debut, which took place at the Olympic 
 Theatre, London, Wednesday, January 26, 1848. Miss Gl vn_ 
 made her appearance, specifically, as a pupil of _Charl^_.X£BLhlje,_ 
 in the 'character of Lady Macbeth. The Athenaum (January 29, 
 1^48) thias noticed her dibut : — "Miss Glyn Js a"brunette, rafhSf — 
 tall, of a' well-proportioned figure and expressive featurw.^;^ jjef "' 
 eyes are. large ^nd dark, and she has a prominent intellectuarfore^ 
 —bead.' it was evident from her entrance that she wasJsuHerm^KnT" 
 excessive nervousness. There was nevertheless in her eaHysce nes 
 a marked intention, not fully brought out." J The voice faltered^=at__ 
 times all but failed, and the action was embarrassed. As the J)lay__ 
 progressed, however, the text was more strongly pronounced, _and it 
 was interesting to note the gradual increa:se of confidence froin 
 scene to scene. ... A course of provincial training would have 
 made Miss Glyn, we doubt not, a great actress ; with proper 
 allowance for the difficulties of her position, and a little generous 
 management, she will, we believe, become so without it. We are 
 content at present to record that her style is eminently natural 
 and unaffected, and free from any tendency to rant or exaggera- 
 tion." 
 
 At the same theatre, on Wednesday, February 16 of the same 
 year, she played Juliana in ' The Honeymoon ' ; and on Wednes- 
 day, September 27, 1848, at Sadler's Wells Theatre, Volumnia to 
 the Coriolanus of Mr. Samuel Phelps. In the following month, at 
 Sadler's Wells, she' played Hermione ('A Winter's Tale'), and on 
 December 13, Queen Katherine. In 1849, on January 29, she 
 appeared as Constance {' King John ') at Sadler s Wells. " The 
 Constance of Miss Glyn is a marked improvement on her early and 
 most crude style. Her grief and her indignation have no lack of 
 intensity, she seems filled with a determination to give all her 
 words and all her by-play their full expression, and some of her 
 points are made with striking effect. Still there is a great deal to 
 learn in the art of concealing art." {Times, January 30, 1849.) 
 During the same year, at_Sadls£s.W,eys, Miss Glyn appeared (with 
 ' Mr. Samuel Phelps) in the following characters, viz._ Margarft of 
 I Anjou (' Richard the Third ')j^,Por/za ('The Merchant of Venice'% 
 I Emilia (' Othello "), Isabella (^MGZ.s\ire. for Measure ') ; and, after 
 I long preparation of the piece, on October 22, 1849, ' Antony and 
 Cleopatra' was produced for the first time at this theatre, Mr. 
 Phelps acting Antony, and Miss GYyT^Cleopatra. The following 
 criticism on this performance appeared in th&Atkenezum (October 27, 
 1849):—" In portraying the enchantress, ClepJ/atra, Miss Glyn had 
 occasion to draw upon the entire resources of her art. The variety 
 and fascination of the character she touched to admiration. The 
 caprice, the grace, the pride of the character were exhibited with a 
 power which exceeded expectation. It was evident that she had 
 
GLYN, ISABEL. 159 
 
 made a profound and industrious study of the part. The whole 
 portrait was thrown out with decision and force;' and richly 
 coloured. Those parts in which dignity and anger were expressed 
 — such as t he inter view with the messenger after Antony's second 
 marriage — were given with a vehemence and pSwer-corresponding- 
 
 Tolhelangaafe she had to deliver. But it was in the fifth act, 
 when prepanng for her death, that the better phases of the cha- 
 racter and the more refined parts of the action tested the fitness of 
 the actress for this assumptioi;^_Indignant majesty, compulsory 
 resignation, Jieroic resolve, and tender memory^ were^ll adequately 
 
 ■pronounced. The" death itself was a triiimph,'! - v - 
 
 During 1856 Miss Glyn's engagement at Sadler's Wells continued, 
 and she appeared there in the following characters, viz. Lady Mac- 
 beth, for the second time ; Isabella, in Southerne's fine tragedy of 
 that name ; Bianca, in Milman's tragedy of ' Fazio ' ; Juliana in 
 ' The Honeymoon ' ; and Beatrice in ' Much Ado About Nothing.' 
 The production of ' Much Ado About Nothing ' at Sadler's Wells 
 was highly interesting, from the circumstance that it exhibited Miss 
 Glyn in an entirely new light. " Hitherto she had been confined not 
 only to tragedy, but to the sterner section of tragedy, and there was 
 some reason to doubt that a lady who had once adopted the 
 elevated manner of interpretation would be able to realize the viva- 
 
 _cious Beatrice. The result of her attempt surpassed even the most 
 favourable expectations. Beatrice, as represented by Miss Glyn, 
 was full of healthy hilarity, indicated by the play of the coun- 
 tenance and the nimble readiness of the movements ; but she did 
 not overpower her hearers with those incessant bursts of laughter 
 that sometimes become fatiguing. It was the distinctive feature of 
 her interpretation that she thoroughly _diiBlayed the mental pecu- 
 , liaritie s of the .diaractgr without reco'urse' to violent pRysical ex- 
 _ _ pedie nts. Her attack on Benedick at the ball, when she rallies him 
 as ttie '"PririceT^jester,''~was a remarkable instance of discrimina- 
 tion. She threw out her words with more than ordinary force, 
 making them hit harder and faster, as if aware that she had seized 
 on a happy suggestive notion and was deUghted with its capa- 
 bilities." On Wednesday, November 20, 1850, Miss Glyn played 
 the title rdle in R. H.J Horne 's version of ' JheDuchess of Malfi ' 
 with marked success. On the occasion of her hrst " b^eiiefit,"" at ' 
 Sadler's Wells Theatre, Tuesday, March 11, (i8|y^he"played 
 Katharine {^T\\s. Taming of the Shrew ') for the first time. During 
 this year she "made her first tour in the provinces and achieved 
 great success ; and in September 185 1, for a brief period, entered 
 upon a series of Shakespearian readings. On December 26, 185 1, 
 she made her first appearance at Drury Lane Theatre (under Mr. 
 Bunn's management) as Bianca (' Fazio ') ; and subsequently, 
 Friday, January 16, 1852, appeared as Julia in 'The Hunchback.' 
 The Times (January 17, 1852) remarked of this performance :— 
 "Miss Glyn's Julia essentially differs from that of any other 
 actress who has sustained the part. As if anxious to avoid the 
 charge of exaggeration, she seems determined to place the cha- 
 racter rather within the sphere of genteel comedy than to render it 
 
i6o THE DRAMATIC LIST. 
 
 a. subject for tragic emotions. She plays with the sentiment of the 
 first act. She does not exhibit a very intense grief when about to 
 accept the Earl of Rochdale, and even the words, ' He never loved 
 nie,' often uttered with such deep sorrow, were spoken rather as if 
 they furnished a just pretext for revenge than with any other feeling. 
 It was not till the interview with the humbled Clifford took place 
 that she seemed to trust herself with all the agony of the situation, 
 and the words, ' CUfford, why don't you speak to me ? ' after the 
 previous quiet, came with terrific effect. In the fifth act, when she 
 resolutely refuses to marry the Earl, and defies Master Walter, the 
 tragic position is beyond a doubt, and Miss Glyn gave herself up 
 entirely to its influence, occasionally at the expense of clearness of 
 articulation. This is a defect she will easily remedy, for dis- 
 tinctness of delivery is one of her great qualifications." 
 ._-~i, From_i^52_to_i 85^ Miss Glyn rarely appeared on the stage. In 
 the latter year, on Monday, October 2, first performance at St. 
 James's Theatre, of ' The King's Rival ' (Messrs. Tom Taylor and 
 Charles Reade) she sustained the part of Miss Stewart. In 1855 
 Miss Glyn accepted an engagement at the New National Standard 
 Theatre, Bishopsgate, and appeared there in a number of her 
 favourite Shakespearian representations, " opening " on March 3 as 
 I Cleopatra ('Antony and Cleopatra'), and continuing to act at the 
 y same theatre from time to time until 1857. jnj^r) she hadj:eturned 
 ' ^\ to the avocation of a " reader " in public of Shakespeare's plays, her 
 _ I mosT successfurseTections "beiiig faTceh from the~pl'ay last iiamed. 
 ! She followed this pursuit "with unvarying success at iiiterSFatTclunng" 
 the decade 1859-69. Miss Glyn appeared for a brief season at 
 Sadler's Wells Theatre in 1859 in a "round" of Shakespearian 
 parts, beginning with Lady Macbeth, performed there on Saturday, 
 May 28. After some years' absence from the stage, in May 1867, 
 she reappeared at the Princess's Theatre, as Cleopatra, and accord- 
 ing to the Athenaum (May 18, 1867), "the triumph of the even- 
 ing was the assumption by Miss Glyn of Cleopatra. The witchery 
 of the blandishments, the Asiatic "undulatiolis of the form, the 
 variety of the enchantments, the changes of mood, the impetuous 
 passion, and in the end the noble resignation — all these points 
 were brought out with an accuracy of elocution and with a force of 
 genius which left no doubt on the mind that Miss Glyn is as great 
 an actress as ever adorned the English stage." The following year 
 (i86B>, April and May, she accepted a brief engagement at the 
 Standard Theatre, appearing there as Hcrtnione, in ' A Winter's 
 Tale,' among other characters. Since the last-mentioneddate 
 ^, Miss Glyn has rarely appeared on the boards of a theatre^ SKe^ 
 has principally devoted herself to the instruction and preparatioa- 
 of pupils for the stage, and to the " readings " already noticed. . JCIie_ 
 first of these given by her in America, were delivered iii the autumn 
 of 1870, at Tremont Temple, Boston, and consisted of selections 
 (rom 'Antony and Cleopatra.' More recently (June 1878), Miss 
 Glyn has been reading from the same play in London \ and-in~ 
 , March and April 1879 she gave, with much success, "Readings.::: 
 ffom Shakespeare " at the Steinway Hall, London. 
 
GOODALL, ISABELLA. i6i 
 
 GOODALL, ISABELLA, was born in Liverpool, August lo, 
 1 85 1, and first appeared on any stage at the Royal Amphitheatre, 
 Liverpool, in ' The Middy Ashore.' She made her d/but on the 
 London stage April 15, 1866, at the Prince of Wales's Theatre as 
 Coralie in ' A Winning Hazard.' Miss Goodall has since appeared 
 at the following theatres in London, viz. the Royalty, Alhambra, 
 Strand, Holborn, Op^ra Comique, Haymarket, Prince of Wales's, 
 and Gaiety, in most of the popular burlesques produced during the 
 past ten years—' The Black Crook,' ' Field of Cloth of Gold,' ' Idle 
 'Prentice,' ' Don Giovanni,' &c. 
 
 GORDON, GEORGE LASH, was born in London, August 29, 
 185 1, and first appeared on the stage in 1870, at the Theatre Royal, 
 Scarborough ; after playing there a season he joined the late Mdlle. 
 Beatrice's Comedy Company. At the termination of that engage- 
 ment he joined the company of the Theatre Royal, Dublin, re- 
 maining there till 1874, "playing a round of light comedy, and 
 devoting spare time to dramatic authorship." In 1874 Mr. 
 Gordon joined the company of the Prince of Wales's Theatre, 
 Liverpool. He made his dibut on the London stage at the Opfera 
 Comique, August 7, 1875, as Fred Walmsley, in his own farce, 
 'Backing the Favourite.' In 1877 he "started a tour," in con- 
 junction with Mr. Joseph Eldred, at the end of which engagement 
 he produced, at the Princess's Theatre, Edinburgh, "a new and 
 original comedy-drama " from his own. pen, entitled ' Auld Lang 
 Syne,' which was subsequently (May 26, 1878) placed on the stage 
 of the Park Theatre, London. Mr. Gordon is the author of other 
 dramatic pieces produced at the same theatre in the same year. 
 In 1879 he was engaged at the Duke's Theatre, playing in Mr. 
 Meritt's ' New Babylon.' 
 
 GOWARD, MISS. See Keeley, Mrs. 
 
 GRAHAME, C, began her professional career at the Hull 
 Theatre, December 26, 1875. Her merits attracted the attention 
 of Mr. and Mrs. Kendal when they were fulfilling an engagement 
 there, and she was engaged by them. On the 4th of January, 1879, 
 she made her first appearance on the London stage at the Court 
 Theatre as Lucy in ' A Scrap of Paper.' Subsequently she played 
 the character of Leonie in ' The Ladies' Battle,' and Florence 
 Dalston in Val Prinsep's sketch entitled ' Cousin Dick.' In each 
 of these parts Miss Grahame showed more than ordinary ability. 
 
 GRAHAME, J. G., first appeared at the Holborn (now Duke's) 
 Theatre with Mr. J. S. Clarke in 1874 in 'Red Tape.' He took 
 for a time the character of Charles Middlewick in ' Our Boys ' at 
 the Vaudeville Theatre, and afterwards appeared at the Strand in 
 Burnand's ' Our Club ' and other comedies. Later he appeared at 
 the Folly in 'Retiring,' and in 1879 played at the Globe Theatre 
 with Messrs. Shiel Barry and James Fernandez in ' Bird in Hand.' 
 He has since been playing in the provinces. 
 
 M 
 
1 62 THE DRAMA TIC LIS I. 
 
 GREEN, DOLORES DRUMMOND. See DrummOND, 
 Dolores. 
 
 GRIMSTON, MRS. W. HUNTER. Sea KENDAL, Mrs. 
 W. H. 
 
 GRIMSTON, WILLIAM HUNTER. ,S:«« KENDAL, Mr. 
 W. H. 
 
 GRIMSTON, CHARLES W. See GaRTHQRNE, C. W. 
 
 GROSSMITH, GEORGE (the Younger), son_ of George Gros- 
 smith, a well-known popular lecturer, was for many years a re- 
 porter in the law courts, which he attended with a view of ulti- 
 mately entering the legal profession. Being, however, possessed 
 of considerable musical ability, Mr. Grossmith, jun., at the sug- 
 gestion of Professor Pepper, was induced to exchange the toil of 
 the courts for more inviting repose afforded by the Polytechnic 
 Institution. There, in 1869, he made his debut as a. public en- 
 tertainer in the school of the late John Parry ; and in die follow- 
 ing year went on tour with Mr. and Mrs. Howard Paul Sub- 
 sequently, Mr. Grossmith visited many hundred of Provincial 
 Literary and Mechanics' Institutions, in conjunction with his father, 
 and on his own account, giving recitations, interspersed with songs 
 and character sketches. In 1876-7 he produced an entertainment 
 with Florence Marryatt entitled ' Entre Nous,' for which he wrote 
 and composed the successful musical comedietta entitled ' Cups 
 and Saucers.' During a part of the year it is Mr. Grossmith's 
 custom to give recitals at private houses, and on one of these 
 occasions he attracted the notice of Dr. Arthur Sullivan, who 
 persuaded him to undertake the part of John Wellington Wells, 
 in Gilbert aiid Sullivan's comic opera of ' The Sorcerer,' produced 
 at the Op^ra Comique. Mr. Grossmith, jun., first appeared on the 
 stage in that character. In May 1878 he became connected with 
 'H.M.S. Pinafore' (the very successful opera by the same authors), 
 as Sir Joseph Porter, K.C.B., a character sustained by him in 
 a spirit of the most refined and amusing burlesque. During the 
 " run " of that piece Mr. Grossmith has composed several " drawing- 
 room comic songs " of a popular character, besides his own enter- 
 tainments and scenas, of which the following will suffice as ex- 
 amples, viz. 'The Silver Wedding,' 'Beauties on the Beach," Five 
 Hamlets.' 
 
 GROVES, CHARLES, was born in Limerick, December 6, 
 1843, and first appeared on the stage in the year following 
 (October 1844), at the Theatre Royal, Monmouth, as Little Peter 
 in 'Mr. and Mrs. White.'* "My dramatic career," Mr. Groves 
 
 * Mr. Groves has the advantage of every other player whose name is 
 included in the present edition. He made his first appearance at the age 
 of ten months ! — Ed. 
 
(^liOl/^i, CHARLES. 163 
 
 writes, " commenced at a very early period of my existence, having 
 been born in the profession. My parents were at the time on tour 
 with a company in Ireland, under the management of Mr. Collins. 
 My father (Gharliis Groves) Was a provincial actor of over thirty 
 years' standing ; iliy mother an actress bf even longer experience, 
 she having played children's parts in London theatres in 1830-, 
 under the name of Miss Bigg — ' Little Bigg,' as she was called. 
 She appeared in ' Peter Bell the Waggoner^ at the old Cobourg, 
 under Mr. Davage's management ;■ also as Tom Thumb at the Hay- 
 market, in Edmund Kean's time, with Mrs. Glover, Mr. Dowton, 
 and the elder Farren in the company." FoUowiilg his first appearance 
 Mr. Groves does not seem to have been relegated to the nursery ; his 
 services were utilized iii " speaking children's parts " until Novem- 
 ber 1858, when he "first tasted the sweets of salary" as a member 
 of the company of Mr. James RodgerS, manager of the T. R. 
 Worcester, by whom Mr. Groves was engaged, to make himself 
 "generally useful." For several succeeding years he "played all 
 sorts of busiileSs, With all Sorts of managers, in all sorts of places^ 
 experiencing the uphill work atld drudgery of a provincial actor's 
 Hfe." Ill September 1868 Mt. Groves joined the company of the 
 T. R. Bradford under Mr. Charles Rice, as "first low comedian," 
 a'cfegsuch parts as Squifi Cheiiy (' David Gafrick "), Capi'ai?i Mon- 
 ttafe ('Home'), DK BotchetBy CThe Unequal Match'), jl/zV-^a*/ 
 />^«^(' Arrah-na- Rogue '), &c. In September 1870 he " opened " at 
 the Theiat're Royal, Brighton, as "first low comedian" and stage- 
 maiiager. During this engagement he played Mould (' Not Such a 
 Fool as He Looks '), BtiMer (' New Men and Old Acres '), Brown 
 (burlesque, ' Brown and the Brahmins '), &c., &c. Mr. Groves 
 made his dibut on the London stage, Boxing Night (Christmas),, 
 1871, at Covent Gatrden Theatre, as Lebeau in ' Lost Letter,' and 
 Sister Anne in the pantomime of ' Blue Beard.' Subsequently he 
 played a short engagement at the Royalty Theatre ; and in August 
 1872 " opened "at the Theatre Royal, Plymouth ; following which he 
 joined Mr. C. Bernard's company at the Gaiety Theatre, Glasgow. 
 Here he remained till March 1877, and established himself as a 
 great favourite in burlesque and comedy. He was on tour with 
 Mr. and Mrs. Kendal during the year last stated. October 12, 
 1878, he joined the company of the Royalty Theatre, London, 
 where he is now (June 1879), acting as Alderman Jones, in a 
 comedy entitled ' Crutch and Toothpick,' by G. R. Sims. 
 
 M 2 
 
i64 THE DRAMATIC LIST. 
 
 HAMILTON, HENRY. Born at Nunhead, Surrey. Youngest 
 son of the late Captain Hamilton, H.E.I.C.S. Educated at Christ's 
 Hospital. Entered the dramatic profession in 1873, appearing first 
 at the Theatre Royal, Edinburgh, under Mr. J. B. Howard's 
 management. Subsequently he joined the following travelling 
 companies of comedians, viz. Mr. Wilson Barrett's in August 
 1873; Mr. Craven Robertson's so-called 'Caste' company in 
 November 1874; and in April 1876, in conjunction with Mr. H. M. 
 Pitt, he formed the "Pitt and Hamilton Comedy-Drama Com- 
 pany." He made his first appearance in London at the Lyceum 
 Theatre, July 1878, in the character of Snodgrass in the revival 
 of 'Jingle' (Albery). During the autumn of the same year Mr. 
 Hamilton was engaged for a brief season at Drury Lane Theatre. 
 
 HARCOURT, CHARLES, made his first appearance on the 
 London stage March 30, 1863, at the St. jfames's Theatre, as 
 Robert Audley in George Roberts's dramatic version of Miss 
 Braddon's novel ' Lady Audley's Secret,' first performed at the 
 same theatre Saturday, February 28, 1863. He has since appeared 
 in London with success in the following parts, viz. at Drury Lane 
 Theatre, February 1866, as Baron Steuifort, in 'The Stranger'; 
 at the same theatre, January 1867, as Frank Rochdale,va. a revival 
 of 'John Bull'; at the same theatre, March 1868, as Count Henri 
 de Villetaneuve, first performance of Colonel A. B. Richards's 
 drama ' The Prisoner of Toulon ' ; at the Royalty Theatre, Sep- 
 tember 1872, as Young Rapid, in a revival of Morton's comedy 
 'A Cure for the Heartache'; at the Charing Cross Theatre, 
 November 1872, as Captain Absolute, in 'The Rivals'; at the 
 Globe Theatre, September 1873, as Lord Zeyland, first perform- 
 ance of Richard Lee's play entitled ' Chivalry ' ; at the Haymarket 
 Theatre, May 1876, as Claude Melnotte; at the same theatre, in 
 January 1877, as Pygmalion, in a revival of Gilbert's ' Pygmalion 
 and Galatea.' On Saturday, April 20, 1878, first performance at 
 the Adelphi Theatre of F. C. Burnand's drama ' Proof ; or, a 
 Celebrated Case,' adapted from the French ' Une Cause C^l&bre ' 
 of MM. Adolphe d'Ennery and Eugfene Cornion, Mr. Harcourt 
 played the part of Count d'Aubeterre. He has since appeared at 
 the Haymarket Theatre as Mercutio in ' Romeo and Juliet,' a part 
 which he acted with infinite spirit and discrimination. 
 
 HARE, JOHN (a nom de th^dtrej John Fairs), made his first 
 appearance on the London stage at the Prince of Wales's Theatre, 
 September 25, 1865, in the part of Short in a play entitled ' Naval 
 Engagements.' At the same theatre on Saturday, November 11 
 of the same year, he sustained the part of Lord Ptarmigant, first 
 performance in London of T. W. Robertson's comedy entitled 
 ' Society,' originally produced at the Prince of Wales's Theatre, 
 Liverpool. This "bit of character" was made up to the life by 
 
HARE, JOHN. 165 
 
 Mr. Hare. The acting throughout was admirable. Mr. Bancroft 
 who performed the hero, Mr. Hare who played the part of a listless 
 middle-aged lord, and Mr. Clarke who represented the vulgar- 
 minded, self-sufficient young man of property, were most ^rtistic. 
 On Saturday, September 15, 1866, first performance at the Prince 
 of Wales's Theatre of T. W. Robertson's comedy entitled ' Ours,' 
 Mr. Hare undertook the part of Prince Perovsky. The play was 
 originally performed with great success at Liverpool. Acted with 
 remarkable care by the excellent company of the Prince of Wales's, 
 the comedy produced an effect which was most satisfactorily dis- 
 played in warm applause and full and fashionable assemblages. 
 Mr. Hare again distinguished himself as a most skilful delineator 
 of character, and no more complete impersonation had been for 
 some time seen than his embodiment of the Russian Prince 
 Perovsky, characterized by the highest polish and the utmost 
 refinement of speech and manner. {Daily Telegraph, September 
 19, 1866.) On Saturday, April 6, 1867, first performance at the 
 same theatre of T. W. Robertson's comedy entitled ' Caste,' Mr. 
 Hare played the part of Sam Gerridge. The Daily News (April 
 8, 1867) thus wrote of the performance : — " Mr. T. W. Robertson, 
 whose great dramatic successes have been achieved at this theatre 
 with pieces combining the elements of comedy and domestic drama, 
 produced another play on Saturday night under the title of ' Caste,' 
 which, in our opinion, is the best work he has yet given to the 
 stage. . . . The aristocratic portraits — the mother, the son, and the 
 son's friend, a captain of the ' haw-haw ' school — are comparatively 
 weak, more or less wooden, conventional, and stagey, and highly 
 coloured for the sake of contrast. The most natural and powerful 
 character in the play is the drunken father — a selfish sot, partly 
 self-deluded, partly a humbug. Next to him stands the other and 
 the real working man, a mechanic whose flow of speech is not great, 
 but who makes his presence felt by judicious ' business.' . . . Mr. 
 Hare is so refined and perfect an actor, so true an observer of life, 
 that we were not surprised to find him made up a sharp, wiry, 
 veritable working man who might have stepped out of any car- 
 penter's shop in England. His dialogue, however, wants a little 
 more breadth in delivery and less use of the aspirate. The scene 
 in which he reads to his ' intended ' the trade circular he has just 
 composed is the most exquisite and unforced bit of comedy we 
 have seen for years." 
 
 In the following year, on Saturday, February 15, first perform- 
 ance at the Prince of Wales's of Mr. Robertson's comedy entitled 
 ' Play,' Mr. Hare sustained the part of Hon. Bruce Fanquehere, 
 according to the Times (February 17, 1868), another well-drawn part 
 in the piece. " His morals are somewhat lax, but his principles, 
 when a point of honour is concerned, are sound, and when interest 
 does not decidedly pull the wrong way he is an earnest though cool 
 advocate on the side of right. Mr. Hare, always ready to seize on 
 exceptional peculiarities of character, is the very man to perform 
 the character, and the figure he presents, with thin legs, imper- 
 turbable demeanour, and a dress which, though plain, borders on 
 
i66 THE PRAMATIC LIST. 
 
 the ' slangy,' is entirely new to the stage." On Saturday, January 
 16, 1869, first performance at the same theatre of Mr. Robertson's 
 comedy entitled 'School,' Mr. Hare played the part of Beau 
 Farintosh. Discussing the merits of the players in the " original " 
 cast, the Daily Telegraph (January 25, 1869) said: — "Whatever 
 part Mr. Hare undertakes we may be quite assured the utmost 
 amount of pains will be bestowed on every detail ; and this most 
 creditable characteristic of the actor is especially to be noticed in 
 his latest assumption. Beau Farintosh, who might have been a 
 young ' buck ' in the days of the Regency, but who is now only a 
 padded old man striving to repair the ravages of nature by the 
 appliances of art, must be ranked among the very best of Mr. 
 Hare's impersonations. The carefully made-up face, in which the 
 wrinkles are effaced by the plastering of cosmetics, the affected 
 jaunty air of youth contrasting with the unavoidable feeble gait, 
 and the blundering short-sightedness of which he seems to be so 
 amusingly unconscious, are admirably exhibited. An effective con- 
 trast is also produced when he no longer afiects to conceal the 
 years he has attained; and when clasping his long-sought grand- 
 child to his arms with emotions which overpower his utterance, the 
 old beau reappears as a grey-headed old gentleman, inspiring 
 reverence instead of ridicule. The burst of pathos which acr 
 eompanies this wholesome change favourably displays the power 
 of the actor in a strong situation." 
 
 At the same theatre, on Saturday, April 23, 1870, first perform- 
 ance of Mr. Robertson's comedy entitled ' M.P.,' Mr. Hare acted 
 the part of Dunscombe Dunscombe, a performance which, in the 
 opinion of the Times (April 25, 1870), was the best of its kind 
 then to be seen on the London stage. " Mr. Hare is the most 
 finished actor of old men that our stage has had since the late 
 W. Farren, if we except Mr. A. Wigan, who might, and no doubt 
 will, be pre-eminent in this line of business whenever he takes to it. 
 As it is, Mr. Hare has no rival in our theatres at this moment. . . . 
 The one new incident of the comedy, and the best part intrinsically, 
 of Mr. Robertson's piece, is the scene of the sale by auction in 
 Dunscombe Hall, which may have been suggested by the late 
 R. Martineau's impressive picture of ' The Last Day in the Old 
 House,' but on which as well Mr. Robertson is to be congratulated, 
 both for his choice and his treatment of the incident as his actors 
 ■ — Mr. Hare more particularly — for their perfect realization of the 
 author's intention. We remember no more natural and touching 
 passage of mingled comedy and pathos than the best part of this 
 third act, and it alone would have secured the success of the piece. 
 We have little but praise for all the aqtors concerned without a 
 
 single exception Mr. Hare's performance in conception and 
 
 execution was the ggm of the piece. Nothing so good is at this 
 moment to be seen in London, unless it be in some of Mr. A. 
 Wigan's admirable impersonations, and his material is less artistic 
 than that with which Mr. Robertson has furnished Mr. Hare in this 
 comedy. The scene in which the old squire resents Piers's charge, 
 find that which follows when he listens to the voice of the auctioneer 
 
HARE, JOHN. 167 
 
 knocking down his ancestral pictures, rises to the highest rank of 
 acting in contemporary comedy. Throughout, his performance 
 illustrated admirably a truth very important to dramatists and 
 actors, viz. how wide and unoccupied a field there is for effective 
 impersonation, even in the studiously unmarked and reticent 
 manners of contemporary life, and among the class most careful to 
 mask emotion and put the curb on all expression of it." During 
 the remaining four years of his connection with the Prince of 
 Wales's Theatre Mr. Hare appeared in the following among other 
 plays, viz. in May 1872, 'Money,' as Sir John Vesey ; in February 
 1873, Wilkie Collins's 'Man and Wife'; and, at Easter, 1874, 'The- 
 School for Scandal,' in which he sustained the part of Sir Peter 
 Teazle. " How loyally and well Mr. Hare would assist such a 
 performance we all know, and how the performance was in itself 
 brought into relief by Mr. Hare's good taste we must all be con- 
 vinced. Without such a Sir Peter, who refines everything to a 
 nicety, who remembers the tone and character of the old English 
 gentleman and studiously forgets the coarseness, and we may add 
 the grossness, which has been attached to the character by tradition, 
 how much less expression would have been obtained in the great 
 scene with Lady Teazle ! Surely a young actor can play Sir Peter 
 Teazle without being obstinately compared with such geniuses as 
 are identified with the character, and we may well congratulate Mr. 
 Hare in successfully passing through a most harassing and almost 
 overwhelming ordeal. It is difficult to shake the conviction of any- 
 one, and with old playgoers old memories are necessarily dear ; but 
 it will be gratefully remembered that in Sir Peter Teazle Mr. Hare, 
 true to his art, discarded those coarse effects which are so telling, 
 and, remembering his own standard and outlook of the character, 
 played it with evenness and finish, and like a refined and well-bred 
 gentleman." [Daily Telegraph, April 6, 1874.) At the close of 
 1874 Mr. Hare retired from the company of the Prince of Wales's 
 and entered upon the management of the Royal Court Theatre, 
 which he opened on Saturday, March 13, 1875^ with a comedy 
 by Mr. Charles Coghlan, entitled ' Lady Flora,' in which Mr. Hare 
 played the part of Due de Chavannes. In addition to the foregoing 
 he placed on the stage the following "original" plays, namely, 
 Aide's comedy 'A Nine Days' Wonder,' Gilbert's fairy play 'Broken 
 Hearts,' Mr. Coghlan's ' Brothers,' the late Lord Lytton's play ' The 
 House of Darnley.' All of these, however, were not equally suc- 
 cessful. Among the pieces in which he has performed since he 
 assumed the management the following are entitled to particular 
 mention, viz. ' A Qmiet Rubber,' adapted from the French ' La 
 Partie de Piquet,' in which he acted the part of Lord Kilclarej ' A 
 Scrap of Paper,' adapted from the French of M. Sardou, ' Les 
 Pattes de Mouche,' in which he played Archie Hamilton j ' New 
 Men and Old Acres ' (revival), and ' The Ladies' Battle.' One of 
 the most successful plays produced by Mr. Hare at the Court 
 Theatre was Mr. W. G. Wills's ' Olivia,' founded on a leading 
 incident in Oliver Goldsmith's ' Vicar of Wakefield,' first performed 
 March 30, 1878. In this piece, however, Mr. Hare did not appear. 
 
i68 THE DRAMATIC LIST. 
 
 The character of Dr. Primrose was sustained by Mr. Herman 
 Vezin, and that of Olivia by Miss Ellen Terry. In 1879 Mr. Hare 
 appeared in various revivals of plays already named. On Saturday 
 (afternoon), April ig, he produced at the Court Theatre ' The Queen's 
 ShiUing' (G. W. Godfrey), a new version of ' Le Fils de Faraille' 
 (Bayard and Bieville), already known on the English stage under 
 the title of 'The Lancers' (1853). In the cast of the new version 
 Mr. Hare appeared as Colonel Daunt, generally allowed to be one 
 of the very best of this actor's impersonations. On Saturday, 
 July 19, 1879, Mr. Hare's management of the Court Theatre was 
 brought to a close with a performance for his benefit. In the 
 course of an address spoken on the occasion, Mr. Hare referred to 
 his new venture, as part manager of St. James's Theatre in con- 
 junction with Mr. Kendal, in the following terms : — " Union is 
 strength ; and I feel that in associating myself with an admirable 
 man of business and a most able artist, and at the same time 
 gaining the permanent services of his accomplished wife, there 
 seems a reasonable hope of conducting successfully a theatre which 
 up to the present time has laboured under the stigma of being 
 unfortunate. I assure you we shall work our hardest to reverse its 
 ill-luck, and it will be through no lack or endeavour on our part if 
 we fail. I may tell you that our plan of campaign will be similar 
 to the one adopted by me here. Comedy and comedy-drama will 
 form the staple of our dramatic fare, and we shall endeavour to get 
 the best company together, with a view to giving that which is 
 always, I take it, the most satisfactory thing to an audience — an 
 even all-round performance. Our opening" play will be 'The 
 Queen's Shilling,' which has already been received with great 
 favour at matindes ; and in the course of the season we may revive 
 one or more English comedies, and an original play by Mr. Du- 
 bourg will also be produced." 
 
 HARRIS, AUGUSTUS, eldest son of the late Mr. Augustus 
 Harris, in his day one of the most accomplished and successful 
 stage-managers in Europe. Mr. A. Harris was for a short time in 
 the house of Eniile Erlanger and Co. as foreign correspondent. At 
 his father's death he entered the dramatic profession, and accepted 
 an engagement to play Malcolm in a revival of ' Macbeth ' at the 
 Theatre Royal, Manchester, under the management of Mr. John 
 Knowles (September 1873). From thence he went to the Amphi- 
 theatre, Liverpool, and played juvenile and light comedy parts with 
 Mr. Barry Sullivan. During this engagement Mr. Mapleson en-,-- 
 gaged Mr. Harris as assistant stage-manager to his Italian Oncfa 
 Company, and after a fortnight appointed him stage-manager, in 
 recognition of the way in which some operas had been by him 
 placed on the stage at the Theatre Royal, Bath, under more than 
 ordinary difficulty. 
 
 In 1876 Mr. Harris was sent by Lord Newry as his representative 
 to negotiate with the Od^on Company of Paris to appear in ' The 
 Danischeffs ' at the St. James's Theatre, and was complimented by 
 the well-known Parisian stage-manager, M. Boudois, on the effective 
 
HARRIS, MARIA. 169 
 
 way this play was placed upon the London stage. This engage- 
 ment was, with the exception of that recently fulfilled by the 
 members of the Com^dfe Fran^aise at the Gaiety Theatre, the 
 most successful ever fulfilled by any French comedy company in 
 London. 
 
 Mr. Harris invented, constructed, and produced the pantomime 
 of 'Sindbad the Sailor' at the Crystal Palace in 1876 on behalf of 
 Mr. Charles Wyndham, and introduced some novel effects in the 
 same that were much appreciated. In 1877 he "created" the part 
 of Henry Greenlanes in ' Pink Dominos ' at the Criterion Theatre, 
 playing the part every night during the long run of the piece. 
 
 HARRIS, MARIA (MARIA ELIZABETH Glossop), was born in 
 London, January 13, 185 1, and made her first appearance on any 
 stage at the Princess's Theatre, Saturday, October 27, i860 — the 
 date of Mr. Charles Fechter's first appearance in London — in a 
 piece entitled ' The First Night.' Among the various plays in 
 which Miss Harris has subsequently appeared on the London stage 
 the following may be mentioned, viz. ' Don Caesar de Bazan ' ; 
 'Jeannette's Wedding'; 'Silken Fetters'; 'Little Daisy' (T. J. 
 Williams), all produced at the Princess's Theatre within the period 
 1861-63 ; and ' The Little Treasure,' in which she acted the part of 
 Gertrude; ' The Widow Hunt,' in which she has appeared as Mrs. 
 Swandownj ' The Heir-at-Law,' in which she has played the part 
 of Cicely Homespun j 'The Rough Diamond,' in which she has 
 acted the character of Margery y- * Paul Pry,' in which she has 
 played Pkcebe. Miss Harris hitherto has only appeared on the 
 London stage. 
 
 HARVEY, FRANK, was born in Manchester, April 1842, and 
 made his first appealrance on the stage, July 1863, at the T. R. 
 York, under W. S. Thome's management, where he was for some time 
 the "singing walking gentleman" of the company. Subsequently 
 he went to Plymouth, and was for two seasons a member of Mr. 
 Newcombe's company at the Theatre Royal in that town. At the 
 end of this engagement he joined the circuit of theatres under Mr. 
 Wybert Reeve's management, remaining with him for two years. 
 In August 1866 Mr. Harvey joined the company of the Theatre 
 Royal, Dublin, " opening " there as Modus in ' The Hunchback ' in 
 the month and year last named, and continuing a member of the 
 company for four successive years. At Dublin he became very 
 popular, and here, during a professional visit, made the acquaint- 
 ance of the late Mdlle. Beatrice, of whose comedy-company he was 
 the leading member, and the first engaged by that manageress. 
 He made his d^but on the London stage at the Olympic Theatre, in 
 May 1872, in an EngHsh version of M. Sardou's ' Nos Intimes,' in 
 the part of Maurice. In this character Mr. Harvey showed himself 
 much superior to the average jeune premier in an English per- 
 formance, and his judicious acting of the part won prominent 
 recognition. In conjunction with Mdlle. Beatrice he afterwards 
 appeared in ' The Sphinx ' (as Henri Savigny), in ' Monsieur 
 
I70 THE DRAMA TIC LIST. 
 
 Alphonse' (the title r6li), in 'Frou-Frou' {Valreas), and in 'The 
 Woman of the People' (Bertrand), at the Haymarket, Globe, 
 Standard, and Olympic Theatres. For some years Mr. Harvey 
 was the manager of Mdlle. Beatrice's company of comedians. At 
 her death in 1878 he was made, by will, her sole legatee, joined with 
 a request that he would continue the company in her name. Mr. 
 Frank Harvey has written various plays which have been success- 
 fully presented on the stage — ' John Jasper's Wife,' ' Jacqueline,' 
 ' Married, not Mated,' &c. The last was produced at the Olympic 
 Theatre, April 26, 1879, 'he author in the principal rSle. 
 
 HAYNES, THOMAS PERCIVAL, has been connected with 
 the stage from boyhood. In 1871 he was a member of a traveUing 
 company on the South Coast, and in that year first appeared at the 
 Theatre Royal, Portsmouth, as first low comedian. From 1871 to 
 1876 he was engaged on a tour with various companies. On 
 September 10, 1877, he made his first appearance at the Princess's 
 Theatre, London, as Nicholas Dovetail (•' Mischief Making "), and 
 Tom Sprotter ('Guinea Gold'). In 1879 ^t the Princess's he 
 played Delph in ' Family Jars ' for a " run " of 100 nights. 
 
 HAYWELL, F., prior to his entering the dramatic profession, 
 was in practice as a solicitor. He made his first appearance on the 
 stage at the Marylebone Theatre, 5th March, 1855, with Mr. J. 
 W. Wallack, as Florizel in ' A Winter's Tale.' Shortly afterwards 
 he accompanied Mr. Wallack and his company to the Thditre 
 Imperial des Italiens in Paris. For five seasons Mr. Haywell was 
 a member of Mr. Phelps's company at Sadler's Wells, playing 
 various important characters, amongst them Sebastian and Prince 
 Escalus, in the last of which characters he appeared with Mr. 
 Phelps's company before Her Majesty and the Royal Family at 
 Windsor Castle in November 1859. He has acted at several of 
 the provincial theatres (the T. R. Dublin, Brighton, the T. R. and 
 Prince's, Manchester, I3ristol and Bath, Nottingham, Birming- 
 ham, and others), playing the "leading business" at Nottingham, 
 Dublin, and the Manchester theatres. He was stage-manager at 
 the T. R. Manchester and other theatres, and was the last manager 
 at the T. R. Manchester under Mr. John Knowles. In London, 
 Mr. Haywell was at the Olympic for a season in 1875-6, and has 
 also appeared at the Princess's as Lord Dalgarno in 'The King o' 
 Scots ' ; as Master Ford at the. Gaiety ; lago at the Opdra Comique ; 
 Mercutio at the Olympic ; and lately as Asa Trenchard at the Hay- 
 market. He is the author of several dramas, which have been 
 played in various provincial towns with some success. 
 
 HEATH, CAROLINE (Mrs. WiLSON BARRETT), made her 
 professional ddbut at the Princess's Theatre, Saturday, -September 
 18, i8_52Xhaving previously appeared as an amateur at the Royalty 
 Theatre), in the character of St ella, the heroine of Mr- Dion 
 Boucicault's drama ' The Pririia~Dnirtra:'~TV[iss Heath's self-posses^ 
 sion' oii the occasion is noted in contemporary journals as having 
 
HEATH, CAROLINE. 171 
 
 been " remarkable.'' " Although we have not omitted one material 
 fact in describing the story of ' The Prima Donna,' our description 
 will give a very faint notion of the impression made by the piece, 
 so much more does it depend upon character than upon plot. The 
 personages of Stella, Margaret, and Rouble are all elaborately 
 drawn, and gain additional colour from the very able manner in 
 which they are acted.__j£«W^isJhe matuxedjyoirgn^ of her 
 
 position, of a se nsitive and'pSsionate nature, but constantlyT^u^ 
 ^lat^d__^y_j^tern"regardrTmF_3uty. ~Miis^ H^ 
 her, nTadeTier first appearance' on any public stage, and she may be 
 'c^ongrafuIafearbn"the_jiTariner in 'which she accomplisheE^ a really ,^- 
 7d'itlicuirtasE'. '"TTre position of Stella iiff the" Milan' scene is very 
 _Relicate'7TlTR discovprv thnt she has been ' cut out ' by her little 
 innocent sister, altEough" affecting, borders' 'on the* ludicrous, and 
 the skill with which Miss Heath went through a variety of nuances, 
 that by turns belong to high comedy and pathetic drame, shows 
 great intelligence in a debutante. . , . ' The Prima Donna ' was 
 received with loud applause, and beyond its intrinsic merits, its 
 production is highly interesting from the fact that it has shown we 
 have two young and rising talents, Miss Heath and Miss Agnes 
 Robertson,* promising to supply the gaps which of late years have 
 occurred so frequently in histrionic ranks." {Times, September 20, 
 1852.) The piece was produced under the supervision^ of Mr. 
 Charles Kean. Miss Heath remaine3~a hiehib^r of liis cbiiipaiiy"" 
 for some years, playing in the various Shakespearian revivals 
 which brought so much fame to the Keans and to the Princess's 
 Theatre under their management. On Easter Monday, 1853, Miss 
 Heath sustained there the part of Bianca in ' Marco Spada,' 
 adapted from Scribe's libretto of Auber's opera of that name. 
 Monday, June 5, 1854, she played Rose Walstein, first performance 
 of J. M. Morton's piece ' From Village to Court.' The same year, 
 Monday, October 9, first performance at the same theatre of 
 Douglas Jerrold's drama ' A Heart of Gold,' she sustained the cha- 
 racter of the heroine, Maude Nutbrown. Of this play, following its 
 performance, Douglas Jerrold himself wrote, " With a certain grace- 
 ful exception (Miss Heath), there never was so much bad acting as 
 in ' A Heart of Gold.' " He spoke of it despairingly, as his " farewell 
 to alldramatic doings." IhttAthenaum (October 14, 1854), examin- 
 ing its merits, remarked->-=ii-AsL_aJit«:ajx.gr2duj:tijiDj_the.pJay i s ful l 
 of beauties. . . . we do not hesitate to pronounce it one of the most 
 interiectuar'plays — intellectual inJjcMiception and iir spirit— in ffle'^ 
 moral as'~'Wai"as in the literary sense, that the English stage has 
 --adde'd'tO'itSTeiJertOTy^dr mariy a season." The Times (October 
 10, 1854) spoke of it as follows : — " Like most of the author's 
 dramas, this work is placed in an old-fashioned period, the manners 
 of a century back seeming to give g, greater opportunity for quaint 
 
 dialogue than those of the present day The sole merit of 
 
 the piece consists in the eloquence and sparkle of certain portions 
 of the dialogue. Maude's description of London, as seen from the 
 
 * Now Mrs. Dion Eoucicault. 
 
172 THE DRAMATIC LIST. 
 
 summit of St. Paul's, is a choice bit of fanciful word-painting, in Mr. 
 Jerrold's best style, and a pretty series of conceits apropos of a foam- 
 ing glass of ale, are put into the mouth of old Yewberry. For the 
 rapid exchange of repartee two comic characters are devised, 
 Michaelmas (Mr. Fisher), a waiter, and Molly Dindle (Miss 
 Murray), a maidservant, who, though they have little to do with 
 the plot, being constantly introduced, like the sweethearts of old- 
 fashioned melodrama, deal out some of those smart ' hits ' with 
 which Mr. Jerrold has often stirred an audience to a roar. The 
 acting of the piece was good, but not all on the same level. Miss 
 Heath, as Maude, a character endowed with varied attributes — 
 now bounding with joyousness, now strong in indignation, now 
 oppressed with grief — displayed unwearied energy and abundance of 
 genuine feeling. Her unfeigned delight at the recovery of Dym- 
 niond, when she sprang along the stage to spread the good news 
 about the neighbourhood, and her eloquent denunciation of Pierce, 
 were in the best spirit, and appealed irresistibly to the sympathies 
 of the audience," 
 
 In Mayjt8ss,>in a revival of Shakespeare's ' Henrxtllfi-Eighth^^at 
 the PriricM^ (Mr. and Mrs. Charles Kean in the leading cha- 
 
 j racters)7 Miss Heath ^\s.yG^ Anne Boleyn. In January 1858 she 
 played the part of Ophelia. Said the Daily News (January 14, 
 
 ^1858) : — " Miss Heath's OpKelia merits a distinct recognition, from 
 
 'its sweetness and grace. In characters requiring an elegant and • 
 prepossessing appearance, combined with the power of expressing 
 the gentler emotions of love and grief in a refined and artistic 
 manner, this young lady evinces the greatest promise." On 
 Monday, April 17, 1858, in a "grand revival" of ' King Lear' at 
 the Princess's, she sustained the part of Cordelia^ During her con- 
 nection wi'th"fhat theatre she several timeT'played in the series of 
 dramatic performances arranged by Mr. C. Kean, and given by the 
 Queen's command at Windsor and Osborne. Removing to SadTSi^s 
 •Wells, on Saturday,. September 16, 1859;. she appeared therefor 
 the -first time a^_Juliet\ " The Juliet of the evening was Miss 
 Heath, well known at the Princess's, where she held a respectable 
 rank, but never had the opportunity of occupying so important a 
 position. There, however, she had acquired so much self-con- 
 fidence that she could go through even so long a part as yuliet 
 without hesitation or fear. Of course she was unequal ; but the 
 traces of study were evident, especially in_tlie elocution, which is ^ar 
 present artificial and without enough impulse, and the general out- 
 line was commendably accurate. The chief fault was in the con- ~ 
 ception, which might more fitly become the Greek Clytemnestra 
 than the passionate and trusting devotion of the Italian Juliet. 
 Her action was large and massive, while her speech was wanting in 
 that full and round tone of delivery which would have better har- 
 monized with the attitudes assumed. . . . She (Miss Heath) is now 
 in a school the good influence of which has been already shown in 
 beneficial fruits, and where she will have the utmost opportunities 
 
 ..of completing her histrionic education.". {Atkentzutn, September 
 17, 1859.) The same month, at the same theatre, Miss Heath 
 
HENRI, BLANCHE MARIAN. 173 
 
 •played Mary Thornberry, in a revival of 'John Bull'; and in 
 October of the same year, first performance at Sadler's Wells 
 Theatre of Mr. Tom Taylor's play ' The Fool's Revenge,' she sus- 
 tained the character of Fiordelisa " with all maidenly grace and 
 delicacy " {Daily News, October 19, 1859). When the late Mr. 
 Augustus Harris entered upon the lesseeship of the Princess's 
 Theatre, he secured Miss Heath's assistance during a portion of 
 Mr. Charles Fechter's engagement. She played there the part of 
 The Queen of Spain, first performance of Falconer's version of 
 JVictorjiiiga's-'JB.uy Bias' (Mr- Fechter in the title ''^'(j^Saturdayj^ 
 OctoBeri^ i860. "The cFaracter otTAe Queen was extremely 
 well delineated by Miss Heath," remarked the Times (October 29, 
 i860). " The rapt delight with which she listened to Ruy's declara- 
 tion of love was even pictorial in its effect, and the agony and terror 
 with which she watched the fierce struggle of the last scene were 
 marked by the complete abandonment to the situation, which is so 
 necessary when the more overwhelming emotions are to be de- 
 picted." Subsequently Miss Heath devoted herself to "star "acting 
 in the provifices, appeat-ihgonly~at intervals-on the metropolitan - 
 stage. ^Her-most successful impersonations in London, between 
 the last-mentioned date (i860) and the present year (1879), have 
 been The Witch of the Alps, in the revival of ' Manfred ' at Drury 
 Lane Theatre, in October 1863; Princess Olimpia, first perform- 
 ance of Falconer's ' Night and Morn,' at the same theatre, January 
 1864; Lady Isabelle, at the Surrey Theatre, in 'East Lynne,' in 
 June 1867 — generally allowed to have been a fine piece of acting ; 
 Margaret Ramsay, fi.rst performance of Andrew Halliday's 'King o' 
 Scot^^at Drury LanCj^in^pJember 1868; and Jane^ Shore in Mr. 
 Wills^s~3rama oFtha't name," produced at the Princess's Theatre in 
 1 877=81" and subsequently (April-May 1879) at the Surrey Theatre. 
 Miss Heath became identified with thaxo& >vhen the play was 
 first acted in the provinces. The success of this play, both in' " 
 London and the provinces, must be mainly ascribed to her admir- 
 able impersonation of the heroine. Miss Heath is now the leading 
 actress of the Court Theatre, of which lier husband is lessee and 
 manager, in succession to Mr. Hare. *==;:: — - 
 
 HENDERSON, MRS. ALEXANDER. See Thompson, 
 Lydia.' 
 
 HENRI, BLANCHE MARIAN. Bom near Ross, Hereford- 
 shire. She made her first appearance on any stage in 1870, at the 
 Charing Cross Theatre, under the management of Miss Fowler. 
 In May 1871 she joined the company of the Theatre Royal, Hay- 
 market, playing, among other characters, Rachel Grindrod, in 
 Byron's play ' An English Gentleman,' and Florence Trenchard in 
 ' Our American Cousin,' Mr. Sothern sustaining the principal rdles. 
 Miss Henri remained a member of the Haymarket company for 
 four years. In 1875 she accepted an engagement with the Vezin- 
 Chippendale Comedy Company, of which Mrs. Vezin, Mr. Compton, 
 
174 THE DRAMATIC LIST. 
 
 and Mr. and Mrs. Chippendale were leading members. During 
 the provincial tour that followed, Miss Henri played many im- 
 portant characters in the old comedies with much success, notably 
 Lydia Languish, Lydia (' The Love Chase "), young Lady Lambert, 
 Miss Neville, Grace Harkwway, &c., &c. In January 1876 she 
 returned to the Haymarket and .played Lady Rochfort, first per- 
 formance of Tom Taylor's historical play of ' Anne Boleyn,' and 
 afterwards proceeded on tour with Mr. J. S. Clarke's company, 
 from that theatre. In March 1877, at the Royal Aquarium 
 Theatre, Miss Henri played Estella {' Great Expectations '), and 
 Mrs. Cuthburt (' Cyril's Success '). In October of the same year, 
 at the Royal Court Theatre, she appeared in the first performance 
 of Lord Lytton's posthumous drama ' The House of Darnley,' and 
 subsequently sustained the part of Mrs. Fitzherbert, first per- 
 formance of Tom Taylor's comedy entitled ' Victims.' " There is, 
 indeed, not much that is heroic in the story of ' Victims,' unless 
 it be in the case of the generous and devoted wife of Fitzherbert, 
 who is represented with such excellent moderation and feeling by 
 Miss Henri that the rather heartless trick to which she is subjected 
 for the mere sake of bringing about the repentance of Mris. Merry- 
 weather, necessarily awakens more sympathy than the author 
 seems to have intended." {Daily News, January 28, 1878.) At the 
 same theatre Miss Henri played Lilian Vavasour, in a revival of 
 ' New Men and Old Acres.' In April 1878, having accepted art 
 engagement from Mr. and Mrs. Bancroft, Miss Henri became a 
 member of the company of the Prince of Wales's Theatre. Sub- 
 sequently, for the season 1878-9, she joined the Haymarket com- 
 pany under Mr. John S. Clarke's management, and played there 
 Easter Monday (April 14, 1879) the part of Lady Breezy, first 
 performance of ' Ellen ; or, Love's Cunning ' (W. G. Wills). This 
 part, well performed by Miss Henri, was one of the redeeming 
 features of Mr. Wills's unsuccessful but in some respects- clever play. 
 ' Ellen ' was reconstructed and produced on the same stage under 
 the title of ' Brag,' but was again unsuccessful. 
 
 HERAUD, EDITH, was born in London, and is the daughter 
 of Mr. John A. Heraud, author of two elaborate epics entitled 
 ' The Judgment of the Flood ' and ' The Descent into Hell,' as 
 also of the acted dramas ' Videna,' ' Wife or No Wife,' and other 
 pieces. Miss Heraud's genius as an actress was early developed. 
 She was only fourteen years of age when she played the heroine 
 Y of Hannah More's tragedy of ' Percy,' at .a private ■performance,' 
 ^at which Mr. Charles Kemble was present. In 185 1 she accom- 
 panied some members ef the Sadler's Wells company to Rich- 
 mond, and acted Juliet in the presence of an audience that 
 included Douglas Jerrold, StirUng Coyne, and other celebrated 
 dramatists ; this was noticed in the Era as an " extraordinary 
 performance." She was now sought for by provincial managers, 
 and appeared at Rochester, Southampton, Woolwich, Winchester, 
 Canterbury, and Cambridge. On the revival of 'Pericles' at 
 Sadler's Wells she was solicited by Mr. Phelps to represent its 
 
HERAUD, EDITH. 175 
 
 heroine, Marina, in which she was eminently successful. Charles 
 Dickens several times witnessed this performance. The play ran 
 for more than seventy nights, and after an interval was reviyed. 
 In 1852 she performed Julia at the Olympic, then under the 
 direction of Mr. Farren, and afterwards played at the Haymarket 
 in her father's drama ' Wife or No Wife,' and also at the Maryle- 
 bone Theatre as the heroine of a play by Mrs. Edward Thomas 
 called 'The Merchant's Daughter of Toulon.' Among her im- 
 portant parts was Ophelia in 'Hamlet'; her mad songs were 
 peculiarly effective. As a reader of plays Miss Heraud has shown ^ 
 extiuordinMy^2SE^.?i?y''_»t:ifei' ' Antigone '~af the 'Crystal PJilace 
 created qulH^ sensation. The Daily News observed that " the 
 effect was immense. Her clear mellow voice reached the ears of 
 tbe~vast-atrdieHce," as was shown by the bursts of applause that 
 followed her impassioned recitations, and her skill as an actress 
 enabled her to give animation to the scene. In reading the dialogue 
 b etwe en the two sisters,^ the difference in the 'tones of the voices 
 of AntigoneiTiTH* that of Ismene was' clearly defined. The scene 
 Where' "the^'eroihe' is" dragged away'fo death, while her cries of 
 
 ■^"grW^and" despair are echoed by the low wailing sounds of the" ' 
 hrStrunTents [Mendelssohn's beautiful 'accompaniments], was very 
 
 —^striklffg:*" In' rSjf Miss Heraud appeared at Sadler's Wells in 
 ' Medea,' as adapted to the boards by her father, from M. Legouv^'s 
 ^femous tragedy ; in 1859 this piece was revived at the Standard 
 Theatre, and " ran " for three weeks. The Sunday Times and 
 the Morning Advertiser commended her " truthful and natural 
 manner," and her " full mastery over the passions." " The long 
 conflict that the wronged and unhappy woman suffers was often 
 brought out, and oftener suggested by the actress's powers. She 
 showed the full dignity of suffering and passion ; and- whether as 
 the forlora wife, the outraged, woman, or the relenting mother, 
 touched the right key and fully reaUzed the emotion." To which 
 the Evening Star adds, " Miss Heraud has evidently a strong 
 poetic sympathy with the part — a vivid conception of what it is she 
 has undertaken to represent ; and speaks far more from impulse 
 than from rule." Other journals mentioned her acting in ' Medea' in 
 high terms. Miss Heraud is also esteemed as an able represen-' 
 tative of Lady Macbeth, a part in which she has frequently appeared, 
 with Mr. Charles Dillon as the guilty Thane. She also achieved 
 in 1854 a success, at the Grecian Theatre in a version of Mosen- 
 thal's. drama itD^or|h,' which ran for a hundred nights. Previous 
 to this she haoappeared at the £olygraphic Hall in a Shakespearian 
 entertainment, in which, stje^enaQjei twelve of the immortal bard's 
 heroines. These performances continued for nearly forty nights, 
 and were highly commended by the London journals. She has 
 succeeded also in the recitation of Milton's ' Samson Agonistes ' at 
 Myddelton Hall and before the Society for the Encouragement of 
 the Fine Arts. As j^ tea£hgtfl£elaciitiDn, Miss Heraud has^^uring 
 the past ten'ye'aifsj'been singularly successful, the annual reading 
 prizes distributed at the University of Cambridge having been, in 
 divers instances, awarded to her pupils. In 1870 she produced at 
 
 ,-r. 
 
1 76 THE DRAMA TIC LIS T. 
 
 the Standard a play by Mrs. Edward Thomas, called ' The Wife's 
 Tragedy.' "The piece," said the Sunday Times, "is of 'The 
 Duchess of Malfi ' school, wherein horror succeeds horror, but it 
 has good scenes and situations, and it has solid merit of dialogue. 
 Miss Edith Heraud showed power as the Duchess." The Athenaum 
 states that she " played with tenderness the part of the murdered 
 Duchess, flashing, however, into fire when the motive of her own 
 humiliation became apparenti" Miss Heraud for the last few years 
 has been absent from the stage. 
 
 HERBERT, LOUISA (Mrs. Crabbe), made her first appear- 
 ance on the London stage at the Strand Theatre in September 
 1854, as Maria Darlington, in the farce entitled ' A Roland for an 
 Oliver.' In May 1856, at the Olympic, in a new drama called 
 ' Retribution,' in which Mr. A. Wigan acted the part of Count 
 Priuli, " Miss Herbert appeared as a debutante, and achieved no 
 small success " (Journal of a London Playgoer, H. Morley, 
 p. 134). Miss Herbert's most important performances on the metro- 
 politan boards belong to the period of her connection with the St. 
 James's Theatre. She was a member of Mr. A. Wigan's company 
 when he assumed the management of that theatre in i860, and 
 afterwards of the company of his successor, Mr. Frank Matthews. 
 Subsequently Miss Herbert herself undertook the management. 
 Among the more noteworthy characterj,.,.S^stained by her during 
 the time she was performing at the St. James's Theatre, 1860-1866, 
 the following are entitled to specisJ'Tnention. On Saturday, 
 January 21, 1863, she played the leading role in a piece entitled 
 'The Merry Widow' (Leicester Buckingham), adapted from the 
 French ' Jeanne qui pleure, et Jeanne qui rit,' and " in one situation 
 nmde, the fortune of the little drama." Saturday, February 28, 
 1863, ;she sustained the part oi Lady Audley in George Roberts's 
 dramatic version of Miss Braddon's nove l ' La dy_AmUgy^9-S€cret,' 
 then first performed. ". . . . Apart from the Interest ofThe~story 
 itself — which, as we have said, proves excellently adapted to the 
 stage — there is this end attained by the production of ' Lady 
 Audley's Secret,' that it provides Miss Herbert with a part worthy 
 of her abilities. Indeed, highly as the merits of this lady are 
 appreciated by all the higher class of playgoers, few, we think, 
 would have given her credit for her finished performance of the 
 bold, bad, fascinating woman whom she personated on Saturday. 
 In most of the dramas that have been chiefly supported by her 
 talent she has been the meek sufferer, -ffith a load of trouble on her 
 mind, to which she does not give verbal expression, and which 
 reveals itself in a thousand mute indications of uneasiness. As 
 Lady Audley, on the contrary, she has to do- even mnr^"TtraTT~;gTf?-- 
 lias to suffer, and -terrible ^rejthe deedsshe does. _H£r_physical 
 force is not always equal to her Tntehfions, but this inequality is 
 overlooked in the amount of intellectual power she bestows upon 
 the impersonation. . . . Miss Herbert's representation of th.e_affec- 
 tation of indifference is exquisitely true^ _There is_ an_eYideat:--l 
 exaggeration of liveliness, an inconsistent attention to the details of 
 
HERBERT, LOUISA. 177 
 
 her drawing, a hollow flippancy, which no one can take for reality, 
 and the voice is affected by the frightful apprehensions which the 
 accomplished coquette is striving to conceal. By this time the 
 variety of the part is nearly exhausted, and in the last scene, where 
 the guilt of Lady Audley is brought home to her, she has only 
 to reassume the air of defiant badness with which she has already 
 met her first husband. Here it is only the power of Miss Herbert 
 that prevents an anti-climax. But there is again a change, when 
 defeated wickedness results in insanity ; and the disappearance of all 
 expression whatever from a countenance that a moment before has 
 expressed demoniac rage is remarkably fine." {Times, March 2, 1863.) 
 On Monday, May 29, 1865, in ' Eleanor's Victory,' a drama- 
 tization of Miss Braddon's novel of that title, from the pen of Mr. 
 John Oxenford, Miss Herbert played the title rdle. "The whole 
 interest is centred in Eleanor, who, as embodied by Miss Herbert, 
 retains all the prominence, though losing much of the sympathy, 
 which influenced the reader. The intensity of expression which 
 the actress has at command, and the rare power of delineating the 
 strongest feeling of vindictive hatred with the utmost refinement of 
 manner, communicate a force to her denunciations, and a terrible 
 reality to her emotions, which could not fail to impress the spec- 
 tator. It may be doubted whether those who had come unprepared 
 by a perusal of the novel clearly understood the pertinacity with 
 which each clue to the offender had been followed up, or could 
 fully appreciate the illustration, even so vividly given, of a stern 
 tenacity of purpose ; but there could be no hesitation in recognizing 
 the thorough grasp of the character which Miss Herbert had 
 acquired, nor the artistic completeness of the entire assumption." 
 {Daily Telegraph, May 30, 1865.) During the season 1865-6 Miss 
 Herbert played the following characters at St. James's Theatre 
 with great success, viz. Lady Teazle in a revival of ' The School 
 for Scandal ' ; Miss Hardcastle in a revival of ' She Stoops to 
 Conquer'; Beatrice in 'Much Ado About Nothing'; Lydia Lan- 
 guish in ' The Rivals ' ; Mrs. Oakley in ' The Jealous Wife ' ; 
 and Letitia Hardy in 'The Belle's Stratagem.' On Monday, 
 November 9, 1866, first performance in London, at the same 
 theatre, of Dion Boucicault's drama entitled ' Hunted Down,' Miss 
 Herbert sustained the part of Mary Leigh. The feeling that is 
 most strongly exhibited in Mary Leigh is her affection to her 
 children. That she may not be torn from these she will submit 
 to any sacrifice ; and when she is hunted down, and feels that her 
 character is blighted, she will voluntarily leave them, that they may 
 not be affected by her infamy. The expression of this sentiment 
 showed Miss Herbert's talent in a new light, and she was equally 
 successful in its more pathetic and its more violent manifestations. 
 In April 1867, at the St. James's Theatre, Miss Herbert played the 
 heroine in ' Idaha,' then first performed ; and in October, at the 
 Adelphi Theatre, the leading rdle in Watts Phillips's drama 
 'Maud's Peril,' then first performed. In 1869 Miss Herbert 
 accepted an engagement at the St. James's Theatre, under Mrs. 
 John Wood's management, and appeared in some of her best- 
 
178 THE DRAMA TIC LIST. 
 
 known characters. Since her marriage Miss Herbert has retired 
 from the stage. 
 
 HERBERT, \WILLIAM (a nom de thMtre), son of the late 
 Colonel W. F. Eden, of the Madras Army, was born in India on, 
 November 1 8, 1844. He was for some years in the British Army, 
 and served in H.M. 33rd Foot, both at home and in India. Mr. 
 Herbert entered the dramatic profession in April 1870, and made 
 his first appearance at the Charing Cross Theatre, under the 
 management of Miss Fowler. In August of the same year he was 
 engaged by Mrs. Bancroft for the Prince of Wales's Theatre, and 
 remained with them for four years, playing several important parts. 
 He was the original Arnold Brinkworth, in Wilkie Collins's drama 
 ' Man and Wife,' first performed at that theatre in February 1873. 
 At the conclusion of his engagement at the Prince of Wales's he 
 was engaged by Mrs. John Wood to support her on her provincial 
 tour with Mr. Byron's comedy ' The American Lady,' playing 
 Harold Trivass, the part created by Mr. Byron in London. Mr. 
 Herbert was afterwards engaged by Mr. Horace Wigan for the 
 reopening of the Holborn Theatre, and later on by Mr. Burnand 
 for the Opdra Comique. At the Court Theatre he played in the 
 successful comedy ' A Quiet Rubber,' and the character of Hector 
 Placide in Boucicault's 'Led Astray.' In October 1876 he appeared 
 as a member of the company of the Haymarket Theatre, his most 
 successful impersonations during this engagement being Prince 
 Philamir (' Palace of Truth'), and Tom Dexter (' Overland Route '), 
 in revivals of those plays. In June 1877 Mr. Herbert went with 
 the Haymarket company on Mr. J. B. Buckstone's farewell tour 
 of the provinces, which lasted six months. During this time he 
 appeared with success at all the principal towns in England, Scot- 
 land, and Wales, in the following leading characters, viz. Charles 
 Surface, Voting Marlow, Captain Absolute, Pjgmalion {'Fygmaiion 
 and Galatea '),/'r/«« Philamir, Tom Dexter, Dazzle, &c. On his 
 return to London, in December, he fulfilled a short special engage- 
 ment, under Miss Ada Cavendish's management, at the St. James's, 
 playing the character of Charles Surface. In January 1878 Mr. 
 Herbert joined Mr. Toole, and acted in Mr. H. J. Byron's comedy 
 ' A Fool and his Money,' having been selected by the author for the 
 rdle of Percival Ransonte. 
 
 In August 1878 this actor was selected by Mr. Hare to play "on 
 tour " Squire Thornhill in ' Olivia ' — an uphill and ungrateful part 
 — in the presentation of which Mr. Herbert evinced much care and 
 judgment. He made his reappearance at the Court Theatre, 
 January 4, 1879, in his "original" character of Charles Kilclare 
 in 'A Quiet Rubber,' and on Saturday, February 15 of the same 
 year, at the same theatre, sustained the part o{ Henri de Flavigneul 
 in a revival of 'The Ladies' Battle,' a performance which the 
 Standard (February 17, 1879) noticed in the following terms ■— 
 " The other hero of the play, Henri de Flavigneul, was imper- 
 sonated by Mr. Herbert, who has we think never before acted with 
 such force and feeling. The animation with which he gave the 
 
HERTZ, IDA. !79i 
 
 description of his 'crime ' — the fastening upon the breast of his old 
 general a cross in place of that which had been rudely snatched 
 from it — was particularly good. The somewhat constrained action 
 which was once a drawback to Mr. Herbert's performance has 
 disappeared, and the freedom and appropriateness of his gestures 
 are very noticeable improvements." 
 
 HERTZ, IDA, was born in London, and made her first ap- 
 pearance on the stage, November 1870, at the Standard Theatre, 
 London, in the part of Polly Flamborough in a dramatized version 
 of ' The Vicar of Wakefield.' Subsequently she played at the same 
 theatre various characters in support of Mr. Sothern, Mr. B. 
 Webster, Mr. Creswick, and other leading " stars." Miss Hertz 
 has been a member of two travelling companies of comedians, the 
 ' Two Roses ' and the ' Pygmalion and Galatea ' ; the first under 
 Messrs. Montague, James, and Thome's management, the second 
 under Mr. J. L. Sefton's. She has fulfilled engagements at the 
 Theatre Royal, Hull, and at the Prince of Wales's Theatre, 
 Birmingham. In July 1876 she became a member of the company 
 of the Prince of Wales's Theatre, London, tinder Mr. and Mrs. 
 Bancroft's management, and is still (1879) playing there. 
 
 HIBBERT, LOUISE, was born May 12, 1855, at Cordova, in 
 Spain. She came to England at an early age, and having a 
 predilection for a dramatic career, studied the rudiments of acting 
 with Mr. Ryder. Having appeared at various theatres in the 
 provinces, on June 20, 1874, she made her dibut on the metro- 
 poHtan stage at the Queen's Theatre in the character of Juliet. 
 The impression she made upon her audience was most favourable, 
 according to the Times (June 22, 1874). " Her appearance is very 
 charming. She enters thoroughly into the various emotions of the 
 character, and evidently seizes the meaning of every situation. 
 Most satisfactory were the passages expressive of tenderness or 
 devotion." Afterwards Miss Hibbert accepted an engagement at 
 the Gaiety Theatre, under Mr. John HoHingshead's management, 
 to play Helena in ' A Midsummer Night's Dream.' In August 
 1875 she went to the United States of America with Mr. Barry 
 Sullivan, and with him played in several cities. New York, Boston, 
 Philadelphia, &c., Ophelia, Lady Macbeth, Pauline (' Lady of 
 Lyons '), Mrs. Beverley (' The Gamester '), &c. She returned to 
 England, and visited the provinces on a " starring " tour, playing 
 Beatrice, Rosalind, Lady Teazle, &c. Miss Hibbert sustained the 
 character of Lady Dedlock in the drama of ' Jo ' (founded on 
 Dickens's ' Bleak House ') on the occasion of its first perform- 
 ance at the Globe Theatre in London. (See Lee, Jennie.) She 
 subsequently accompanied Mrs. Stirling on a tour through Liver- 
 pool, Edinburgh, Glasgow, Dublin, &c., and acted in those cities 
 the following important parts, viz. Lydia Languish (' The Rivals "), 
 Constance (' The Love Chase '), and Mabel Vane (' Masks and 
 Faces '). In October 1877 she played a special engagement at the 
 Theatre Royal, Bristol, appearing as Helen in Charles Reade's 
 
 N 2 
 
i8o THE DRAMATIC LIST. 
 
 drama of ' The Scuttled Ship ' with much success. In 1878 she 
 went on tour with George Honey to play the character of Belinda 
 in W. S. Gilbert's comedy entitled ' Engaged.' 
 
 HILL, CAROLINE L. BROOK, was born at York, and 
 entered the dramatic profession when a child, playing such parts 
 as Mamilius in ' A Winter's Tale,' Arthur in ' King John,' &c., 
 at Sadler's Wells Theatre, during the last two years of the manage- 
 ment of Mr. Samuel Phelps. Afterwards Miss Hill obtained an 
 engagement at the Haymarket Theatre, under Mr. J. B. Buckstone. 
 At this theatre she remained during a long period, playing " ori- 
 ginal " parts in various comedies placed on its stage, and, it 
 may be added, with uniform success. Among important plays 
 performed in London, in which, on their first presentation. Miss 
 Caroline Hill sustained a leading character, the following are 
 entitled to notice, viz. ' The Favourite of Fortune,' ' Mary Warner,' 
 ' The Palace of Truth,' ' Pygmalion and Galatea,' and ' All for 
 Her.' In the two examples of W. S. Gilbert's " fairy-comedies " 
 mentioned, Miss Hill was especially successful. Her very effective 
 acting in the parts of Mirza {' Palace of Truth ') and Cynisca 
 (' Pygmalion and Galatea ') contributed in no slight degree to the 
 popularity which those plays subsequently attained. In 1879 Miss 
 Hill accepted an engagement at the Duke's Theatre, and ap- 
 peared in a play entitled ' New Babylon ' (P. Meritt), a piece 
 described as " a mixture of Moncrieff's ' Tom and Jerry ' and Mr. 
 Boucicault's ' Formosa,' " but which was, nevertheless, a considerable 
 success. 
 
 *HODSON, HENRIETTA, had earned some repute as an 
 actress in the provinces, chiefly in burlesque, previous to her dSut 
 in London, which took place in the second season of Miss Marie 
 Wilton's (Mrs. Bancroft) management of the Prince of Wales's 
 Theatre, December 26, 1866, in the character of Prometheus in 
 H. J. Byron's ' Pandora's Box,' designated by the author " a grand 
 new Christmas comicality." In the following year Miss Henrietta 
 Hodson was engaged at the Queen's Theatre,t Long Acre, and 
 appeared there on the opening night, October 24, 1867, in an 
 unimportant character (yacintha) in Charles Reade's drama ' The 
 Double Marriage,' the late Mr. Alfred Wigan in the leading r6le, 
 Captain Raynal. The same season at the same theatre she acted 
 Arabella Fotheringay in 'The First Night,' the same actor playing 
 Achille Talma Dufard, one of his most important impersonations. 
 , On January 8, 1868, at the same theatre. Miss Hodson was in the 
 " original " cast (the play had been essayed at Liverpool with a 
 view to presenting it on the London stage) of H. J. Byron's 
 'Dearer than Life' as Lucy. Mr. Toole, Mr. Irving, Mr. C. 
 Wyndham, Mr. Clayton, Mr. Lionel Brough, Mrs. E. Dyas, took 
 
 t This theatre, after eleven years of variable fortune under a succession 
 of managers, commencing in October 1867, and ending in the Spring of 
 1878, has now passed into the hands of a Limited Liabihty Company for 
 commercial purposes. 
 
'HODSON, HENRIETTA. 
 
 I8l 
 
 part in the performance. Miss Hodson appeared in the original 
 cast of the same author's play ' The Lancashire Lass,' first per- 
 formed at the same theatre July 24, 1868. She also acted, during 
 the term of her engagement here, in various extravaganzas and 
 burlesques, ' La Vivandifere ' (W. S. Gilbert), ' The Stranger ' 
 (Reece), ' The Gnome King' (W. Brough). On May 29, 1869, she 
 took part in the first performance, at the same theatre, of Burnand's 
 play ' The Turn of the Tide,' which had a considerable success. 
 In the following year (January 1870), at the same theatre, she was 
 in the original cast of Tom Taylor's play ' 'Twixt Axe and Crown,' 
 the late Mrs. Rousby in the leading rdle. Completing her en- 
 gagement at the Queen's Theatre August 10, 1870, on the 3rd of 
 the following month she opened the Royalty Theatre under her 
 management with a comedy by H. T. Craven and a burlesque by 
 F. C. Burnand. During the year following she acted in various 
 pieces, chiefly burlesque, at that theatre, and in 1872 returned to 
 the Queen's, " opening " January 8 as Nydia the blind girl in John 
 Oxenford's version of Lord Lytton's ' Last Days of Pompeii.' 
 During the same year at the same theatre Miss Hodson played 
 certain parts in the so-called " legitimate " drama : Virginia 
 (' Virginius '), Imogen (' Cymbeline '), &c. Of the latter character 
 she gave " a tender and graceful representation, failing only to 
 convey those subtle shades of character, duly to embody which 
 needs an actress of highest intellect and culture. She exhibited 
 much grace and not a little intelligence, but no inspiration." 
 {Athenisum, April 6, 1872.) Since this date Miss Hodson has 
 appeared at various theatres in London and the provinces, one 
 of her most successful later impersonations being that of Dick 
 Wastrell, in a romantic drama in five acts entitled ' Old London,' 
 adapted from ' Les Chevaliers du Brouillard ' (a French dramatiza- 
 tion of Harrison Ainsworth's 'Jack Sheppard'), produced at the 
 Queen's Theatre in February 1873. She was also very successful 
 in a revival of * Pygmalion and Galatea ' at the Haymarket, in 
 January 1877, in the character of Cynisca. Miss Henrietta Hodson 
 is an actress of ability, and has proved herself competent and 
 painstaking in various branches of her art. 
 
 HODSON, KATE (Mrs. Charles Fenton), is a daughter 
 of the late George Hodson, a favourite Irish comedian. She is a 
 younger sister of Henrietta Hodson,,and a niece of Henry Marston. 
 At the Queen's Theatre, Long Acre, when under the management 
 of Mr. Labouchere, she appeared as principal soubrette under the 
 name of Kate Gordon, and has played in other London theatres 
 from time to time. 
 
 HOLME, MYRA, made her first appearance on the stage 
 January 10, 1876, at the Olympic Theatre, where she acted minor 
 parts for some months. She was engaged to play Lady Hamerton 
 in ' The Great Divorce Case ' at the Criterion Theatre. She was 
 principal " walking lady " in other plays subsequently produced 
 there, and also took part in Mr. Wyndham's revivals of old 
 
i82 THE DRAMATIC LIST. 
 
 plays at the Crystal Palace, where she also appeared as Emily 
 St. Evremond in 'The Ticket-of-Leave Man' with Mr. Henry 
 Neville. Miss Holme afterwards took the part of Lady Lennox in 
 ' Family Ties ' at the Strand Theatre. Her next appearance in 
 London was in ' Pink Dominos ' at the Criterion. She afterwards 
 accepted an engagement at the Vaudeville, where she has appeared 
 in several hght juvenile leading characters. At the reopening 
 of the Lyceum Theatre by Mr. Irving, September 20, 1879, she 
 appeared in ' The Boarding School ' and ' The Iron Chest.' 
 
 HOLT, CLARANCE, was born in London January 12, 1826, 
 and entered the dramatic profession in 1842, making his first 
 appearance on the stage in that year at the Victoria Theatre as 
 Timothy in ' All at Coventry.' After playing in the provinces for 
 some years he went to the Australian colonies and fulfilled several 
 very lucrative engagements. In 1857 he returned to England and 
 assumed the management of the Marylebone Theatre, which he 
 " opened " on October 5 of the same year with John Wilkins's 
 successful five-act drama 'Civilization.' During the season Mr. Holt 
 appeared in ' Hamlet,' ' Othello,' ' Macbeth,' and other characters 
 of the legitimate drama; and on the 15th of February, 1858, 
 produced for the first time in England ' Ruy Bias,' in which he 
 performed the title r6le. His lease of the Marylebone having 
 expired in March 1858, he played several starring engagements in 
 the provinces, and in the following June left England to fulfil an 
 engagement at New York. Here he appeared in 'Belphegor' at 
 Burton's New Theatre with great Mat. Following this engagement 
 Mr. Holt returned to Australia, once more with very profitable 
 results. In January 1862 he became the pioneer of the English 
 drama in New Zealand. At Dunedin he built a theatre, and 
 opened with a full and efficient company. Here he played for two 
 years and two months with unusual success. Having resolved on 
 again returning to England, on the night of his last appeai-ance a 
 handsome testimonial was publicly presented to Mr. and Mrs. 
 Clarance Holt. " During their stay in Dunedin they had paid 
 away for benefits and charities over 2300/. To ' stars ' they had 
 paid 6000/. during the last fourteen months of the season. Having 
 left Dunedin in August 1864, they appeared, by special desire, 
 for one night only, in a grand performance at the New Hay- 
 market Theatre, Melbourne, given on the 25th of that month, Mr. 
 Holt taking the part of Rob Roy and Mrs. Holt that of Helen 
 Macgregor. Lady Don appeared as Francis Osbaldiston— the 
 Philharmonic Chorus, eighty in number, contributing their ser- 
 vices. After the performance Lady Don presented Mr. and Mrs. 
 Holt with a handsome silver vase, bearing the names of the 
 company, and wishing them a speedy voyage to Old England." 
 Arriving in London he entered upon an engagement at the Hay- 
 market Theatre, and played with Miss Amy Sedgwick as Master 
 Walter to her Julia in 'The Hunchback.' Mr. Holt then appeared 
 in conjunction with Miss Helen Faucit at the Theatre Royal 
 Manchester ; afterwards with Mrs. Scott-Siddons, then with Mdlle' 
 
HONEY, GEORGE. 183 
 
 Beatrice, and other tragediennes of the day, playing the opposite 
 characters to them. He then appeared at the New Adelphi 
 Theatre, London, as Ruy Gomez in Planch^'s favourite comedy 
 ' Faint Heart Never Won Fair Lady,' in which he proved himself 
 a very efficient actor, after which he turned his attention to giving 
 new and popular entertainments from the works of Shakespeare, 
 Scott, and Dickens. In September 1878, in conjunction with Mr. 
 Charles Wilmot (a comedian of standing in the colonies), he 
 entered upon the management of the Duke's Theatre, Holborn, 
 '■ opening " with an adaptation by Mr. Holt of Victor Hugo's ' Les 
 Miserables ' entitled ' The Barricade.' In February 1879 the 
 management produced " a new and original drama in a prologue 
 and four acts, illustrating scenes and incidents of modern life in 
 London, written by Paul Meritt, entitled ' New Babylon,' " which 
 was very successful. 
 
 ■* HONEY, GEORGE, is generally allowed by dramatic autho- 
 rities to have made his first appearance on the London stage at 
 the Princess's Theatre in November 1848, as Pan. in ' Midas.' 
 According to old play-bills, he was engaged at the Adelphi 
 Theatre in the summer season of 185 1, acting in a comic opera 
 entitled ' Good Night, Signor Pantalon,' and later in pantomime. 
 At the outset of his professional career he was regarded not only 
 as a comedian of much promise, but was also credited with no 
 ordinary skill as an operatic vocalist. He appeared with con- 
 siderable success in several of the English operas produced under 
 the joint management of Miss Louisa Pyne and Mr. Harrison at 
 Covent Garden Theatre ; and in Macfarren's ' Robin Hood,' per- 
 formed at Her Majesty's Theatre under the direction of the late 
 E. T. Smith, Mr. Honey rendered valuable assistance both by his 
 comic acting and excellent singing. Since the decline of English 
 opera, in England, Mr. Honey has devoted himself to performing 
 in comedy and extravaganza, in which he has been very generally 
 popular. Among other pieces that have obtained notice in which 
 he has appeared with more than ordinary success, the following 
 may be enumerated : In ' Miriam's Crime,' first performed at the 
 Strand Theatre, October 9, 1863, "as a discreditable limb of the 
 law Mr. Honey obtained much laughter by an exceedingly grotesque 
 assumption of intoxication" (Daily Telegraph, October 10, 1863). 
 In William Brough's burlesque entitled 'Prince Amabel,' performed 
 at the Royalty Theatre in September 1865, Mr. Honey played the 
 part of Turco the Terrible. On Monday, July 2, 1866, at the 
 Princess's Theatre, first performance of Watts Phillips's drama 
 ' The Huguenot Captain,' he sustained the part of Annibal Locust, 
 " a rather tiresome. Pistol-like part, which is very drunken and very 
 musical, with plenty of work for the lowest notes of the human 
 voice " {Daily News, July 3, 1866). 
 
 On Saturday, April 6, 1867, at the Prince of Wales's Theatre, 
 first performance in London of Mr. T. W. Robertson's comedy 
 ' Caste,' Mr. Honey played the part of Eccles. " Instead of the 
 conventional clowns who are put in by slop-work dramatists to 
 
1 84 THE DRAMA TIC LIST. 
 
 lighten the serious interest of their work, we have real characters 
 who think, speak, and act like human beings, and yet are intensely 
 amusing and interesting. The drunken father, evidently made up 
 from Mr. George Cruikshank's pictures of ' The Bottle,' is ad- 
 mirably played by Mr. George Honey, who made his first appear- 
 ance at this theatre, and who never acted better. The part wants 
 no such padding as the scraps of song, both comic and serious, 
 given to it in various situations. The make-up, the voice, the 
 manner, the savagery in one part, the hypocritical maudUn grief 
 in another, the toadying to wealth in another, the disgust and 
 abuse when wealth refuses to deposit even a sovereign, the exits 
 and entrances of this character, are things to be gratefully re- 
 membered by those whose melancholy duty it is to see all London 
 plays and all London performers." {Daily News, April 8, 1867.) 
 On the occasion of the opening of the Vaudeville Theatre under 
 the management of Messrs. Montague, Thorne, and James, Satur- 
 day, April 16, 1870, in a comedy entitled ' For Love or Money,' 
 he acted the part of Major Buncoinbe. In May 1875, in a revival 
 at the Prince of Wales's Theatre of ' Money,' he sustained the part 
 of Graves. This performance was alluded to in the Standard 
 (May 31, 1875) if' ^^ following terms : — "A noticeable and wel- 
 come feature in the revival is the return of Mr. George Honey, 
 who resumes his part of Graves, one of the most genuine and 
 unexaggerated examples of pure humour the modern stage has 
 witnessed. Before Mr. Honey has uttered three sentences the 
 character of Graves is distinctly placed before the spectator. The 
 manner in which the sigh of grief for the memory of ' sainted 
 Maria ' gives place to the approving criticism on the glass of sherry, 
 and the aspect of bereavement changes to a look of gratification as 
 his eye lights on the pleasant face of Lady Franklin, is irresistibly 
 amusing ; and the subsequent scene between the two is the per- 
 fection of comedy acting. Those who have not seen Miss Wilton 
 as Lady Franklin have no idea of the fund of humour which the 
 character contains ; and to see how these two excellent artists 
 play into each other's hands will afford entertainment to the most 
 blasi of playgoers. Each look and gesture is replete with sig- 
 nificance, and so artfully is Lady Franklin's little plot evolved 
 that the solemn Mr. Graves is led into his wild Scotch jig in the 
 most natural manner possible. At the end of the first act those 
 who have refused a few pounds to the poor secretary hasten to 
 offer them to the wealthy heir, and the only fault that can be 
 found with Miss Wilton's Lady Franklin is that she too, hke the 
 rest, eagerly puts her hand in her pocket to find the money." 
 
 Of Mr. Honey's later impersonations, one of the most popular 
 has been the part of Cheviot Hill in W. S. Gilbert's farcical comedy 
 entitled ' Engaged.' Mr. Honey has appeared at various theatres 
 in the United States. In 1879 (January 11) he commenced an 
 engjagement at the Prince of Wales's Theatre, appearing in a 
 revival of ' Caste ' as Eccles, of which character he was the original 
 representative. The " revival," continuing to May 30 of the year 
 last mentioned, was a complete success. 
 
HORSMAN, CHARLES. 185 
 
 HORSMAN, CHARLES, was born at Welchpool, Montgomery, 
 shire, October 21, 1825, his first recorded appearance on the stage 
 being at the Theatre Royal, Plymouth, in the year 1835, when he 
 appeared as Albert to Mr. Macready's William Tell. He continued 
 from that time, as a boy, to act occasionally such parts as Young 
 Norval, Selim in ' Barbarossa,' &c. ; but was principally engaged 
 in studying the rudiments of an artist's profession. In 1839 young 
 Horsman entered the painting-room of William Beverly — the 
 father of the present well-known scenic artist — on the so-called 
 ' Northern -Circuit,' and continued to serve under that gentleman 
 for some years. In 1845, on the occasion of the opening of the 
 Theatre Royal, Manchester, an epidemic among some of the 
 members of the company necessitated Mr. Horsman's taking a 
 place on the stage, and, in great measure owing to the genial advice 
 of Mr. Macready, he began to take a serious interest in dramatic 
 work. This was increased by the young actor's subsequent asso- 
 ciation with the late G. V. Brooke ; and in 1847 Mr. Horsman 
 finally adopted a dramatic career, accepting an engagement with 
 Mr. Simpson at the Theatre Royal, Birmingham, as " light come- 
 dian." Remaining at Birmingham and afterwards at Liverpool 
 for a considerable time, he subsequently visited the "York and 
 Worcester Circuits"; and in 185 1 made his first appearance in 
 London at Punch's Playhouse (now the Strand Theatre), as Henry 
 Thornton in ' Popping the Question.' After the season there he 
 was mainly engaged as " leading man " and " hght comedian " at 
 the Theatre Royal and Queen's Theatre, Manchester. In 1864 
 Mr. Horsman reappeared on the London stage, at Sadler's Wells, 
 under Miss Marriott's management, as Sir Rupert in ' Love.' The 
 following year at the Lyceum Theatre, under Mr. Charles Fechter's 
 management, he was engaged as " light comedian " and stage- 
 manager ; and remained a member of Mr. Fechter's company for 
 two seasons. Afterwards Mr. Horsman joined the " Princess's " 
 company, under Mr. G. Vining, and appeared at the first per- 
 formance of the dramatized version of ' Barnaby Rudge,' in the 
 character of Black Hugh — a part which he played with considerable 
 success. Mr. Horsman was manager of the New Theatre Royal, 
 Leeds, for a season. He has played various special engagements 
 with Miss Neilson, Miss Bateman, Miss Kate Rodgers, Mr. Barry 
 Sullivan, and others. In 1875 he joined the Messrs. Gunn as 
 manager of the Gaiety Theatre and Theatre Royal, Dublin, an 
 office which he fulfilled for two seasons, and resigned in May 1877, 
 owing to severe domestic affliction. Mr. Horsman has written 
 various dramatic works and pantomimes, and is the author of a 
 volume of poems descriptive of incidents of Irish life. 
 
 HORTON, PRISCILLA. See Reed, Mrs. GERMAN. 
 
 HOWE, HENRY (a nom de thiAtre; Henry Howe Hutchin- 
 son). Born at Norwich, March 31, 1812. He made his pro- 
 fessional ddbut, October 1834, at the Victoria Theatre, London, in 
 the part of Rashleigh Osbaldiston. Mr. Howe was engaged by 
 Mr. Macready to join his company when he entered upon the 
 
i 86 THE DRA MA TIC LIS T. 
 
 management of the Theatre Royal, Covent Garden, in 1837, and 
 played in the numerous pieces, both original and revived, produced 
 there during that eminent tragedian's administration of its affairs. 
 He was in the original cast of ' The Lady of Lyons,' first performed 
 at Covent Garden, February 15, 1838 ; and of ' Richelieu,' played 
 there for the first time March 7, 1839. (See Faucit, HELEN.) On 
 the occasion of Mr. Macready's farewell performances, Mr. Howe 
 played Marc Antony to the tragedian's Julius Caesar. So success- 
 fully was this part acted that Mr. Macready drew a ring off his 
 finger and presented it to Mr. Howe in token of his appreciation of 
 Mr. Howe's meritorious services. This ring was a valuable one 
 which had been found at Herculaneum.* After concluding his 
 engagement at Covent Garden, Mr. Howe joined the company of 
 the Haymarket Theatre, under Mr. Benjamin Webster's manage- 
 ment, and continued a member of its company for a period of 
 nearly forty years, without a break in the engagement. Such a 
 lengthened term of service to the interests and fortunes of one 
 theatre is unparalleled, we believe, in theatrical annals, and affords 
 very gratifying testimony of Mr. Howe's abilities as a member of 
 the dramatic profession. He was performing nightly at the Hay- 
 market Theatre during the engagement of the late Mr. Charles 
 Mathews and of his wife, Madame Vestris, in 1842-5 ; and he was 
 a leading actor of the same theatre down to the transfer by 
 Mr. J. S. Clarke of the unexpired term of his lease to Mr. Bancroft 
 in the summer of 1879. T'o mention all the various plays and 
 characters in which Mr. Howe has appeared in the interval would 
 necessitate the preparation of a complete list of all the comedies, 
 tragedies, interludes, and farces produced at the Haymarket during 
 forty years. The following characters, selected from among those 
 in which Mr. Howe first attracted attention as an actor at this 
 theatre, are deserving of being recorded, viz. Brandon, in Lovell's 
 comedy ' Look before you Leap,' first performed at the Haymarket, 
 October 29, 1846; Ernest de Fonblanche, in 'The Roused Lion' 
 (' Le Rdveil du Lion '), first performed at the same theatre, 
 November 15, 1847— Mrs. Keeley, Mr. B. Webster, and Mr. A. 
 Wigan were in the cast, and the piece attained an extraordinary 
 success ; Lord Arden, in ' The Wife's Secret,' by Lovell, first per- 
 formed at the same theatre January 17, 1848, Mr. and Mrs. Charles 
 Kean acting the principal characters. {See Kean, Mrs. CHARLES.) 
 On Monday, January 23, 1854, Miss Cushman acting the part of 
 Bianca, Mr. Howe sustained the character of Fazio in a " revival " 
 of Dean Milman's tragedy of that title. In June 1855 he appeared 
 in a new play entitled ' Love's Martyrdom.' " A few errors of tact 
 in the management of stage effect .... caused the success of the 
 play to be somewhat doubtful until after the conclusion of the first 
 three acts. But from that point all was triumph. The conception and 
 management of the fourth act were unexceptionable, the writing was 
 full of force and beauty, opportunity was given for a full display of 
 the powers of Miss Helen Faucit as an actress, and the house was 
 stirred into enthusiasm by her way of using it. In the same act all 
 
 * Letter from Mr. Howe to the Editor. 
 
HOWE, HENRY. 187 
 
 the point of the story, until then but dimly shown, was brought out 
 very distinctly, being indebted much for its distinctness, let us say, 
 to the excellent manner in which Mr. Howe delivered speeches that 
 expressed the entire spirit and meaning of the author. The fifth 
 act, although not equal to the fourth, untied the knot of the drama 
 cleverly, and left the audience so thoroughly well pleased, that after 
 the fall of the curtain there was nothing to be heard for some 
 minutes but hearty acclamation." {Examiner, June 16, 1855.) 
 
 In July 1855 Mr. Howe took part in the revival of Mrs. Centlivre's 
 comedy ' The Busybody,' at the Haymarket, and played the part of 
 Sir George Airey. In the following September (3rd) he was the 
 original Captain Hawkshaw, first performance of Stirling Coyne's 
 comedy 'The Man with Many Friends'; and in November he 
 played Lord Townly in a " revival " of Vanbrugh's comedy ' The 
 Provoked Husband.' " Miss Cushman was carefully supported by 
 Mr. Howe, who, in the part of Lord Townly, rose to a degree of 
 excellence that will serve to confirm the steady progress which he 
 has lately been making in the good opinion of the public. In the 
 pathos of the concluding scene he showed a power of producing a 
 state of feeling in the house not always possessed by actors of 
 greater name." {Athenaum, November 24, 1855.) The following 
 year (1856), January 5th, Mr. Howe played Archer in a " revival " 
 of ' The Beaux' Stratagem ' ; and in September (4th) Jaques in a 
 "revival" of 'As You Like It' — a performance by Mr. Howe so 
 meritorious as to deserve record in a contemporary journal as 
 furnishing " an instance of what long practice and conscientious 
 earnestness in art may ultimately achieve, even with limited means." 
 In 1857 (September 7th) he appeared as Benedick in a "revival" of 
 ' Much Ado About Nothing,' " sharing the honour [of an ovation] 
 and deserving it, for his Benedick was distinguished by many 
 felicities of expression which commanded the repeated plaudits of 
 the house. Mr. Howe's industry in his professional studies is now 
 bearing its natural fruit, and his assumptions have all the merit 
 of ripened talent." {Athenaum, September 12, 1857.) In 1858 
 (May) he appeared as Joseph Surface in a revival of 'The 
 School for Scandal ' ; and more recently in the characters of Sir 
 Anthony Absolute, Ingot ('David Garrick'), and Sir Peter Teazle. 
 During the succeeding twenty years Mr. Howe's name was seldom 
 absent from the " bills " of the Haymarket Theatre, either in the 
 announcement of new pieces or of revivals of old ones ; and he has 
 performed almost every line of character in comedy and farce 
 included in its dramatic collection.* In August 1879 Mr. Howe, 
 
 * Mr. Howe writes to me : — "I have been so long at the Haymarket that 
 now I play the ' old men.' I have played every part in the male rSle in 
 some of the pieces produced on its stage. For instance, in ' The Lady of 
 Lyons ' I began with the First Officer, then I played Gas far, Beauseant, 
 Claude Melnotte, and now Colonel Damas ; and in many other pieces the 
 same variety, as for instance 'The Stranger,' 'Money,' &c. I am now, 
 and have been for three years, stage-manager. Lately I made a success as 
 Sir Anthony Absolute and Sir Peter Teazle. I mention these parts, being 
 now engaged for the ' first old men,' after playing all the different ranges of 
 ch ■ " - . — . . .. "- 
 
i88 THE DRAMATIC LIST. 
 
 through changes in the management, ended his long, and in all 
 respects honourable, connection with the Hay market Theatre. It 
 is gratifying to record that this excellent actor has become asso- 
 ciated with a no less popular theatre in London— the Vaudeville. 
 Here he made his first appearance on Saturday, August 16, 1879, 
 in a comedietta by Richard Lee, entitled ' Home for Home,' and 
 as Josiah Clench (the part originally played by Mr. W. Farren) 
 in Byron's comedy ' Our Girls.' 
 
 HOWSON, EMMA, was born in Hobart Town, Tasmania. She 
 is a daughter of the late Frank Howson,* and niece of Madame 
 Albertazzi (Emma Howson), who some forty years ago was a 
 favourite mezzo-soprano singer at Her Majesty's Theatre; sister 
 also of the under-mentioned John Howson. As a child, Miss How- 
 son was possessed of considerable musical ability, which developed 
 under her father's instruction. At an early age she sang in concerts 
 in Australia in conjunction with him and her brothers. She made 
 her first appearance in English opera, June 1866, at Maguire's 
 Academy of Music, San Francisco, as Amina in ' La Sonnambula.' 
 After playing several successful engagements in California and 
 other cities on the Central Pacific Railway route to the Eastern 
 States {see HOWSON, John), Miss Howson made her dibut in New 
 York in 1869 in the opera of 'Maritana' at Fiske's Opera House. 
 A twelve months' season followed with the Riching's " Enghsh 
 Opera Combination." Subsequently Miss Howson entered into a 
 contract with Mr. C. D. Hess to play in English opera, and visited 
 all the principal cities of the United States and Canada, playing 
 the prima donna rSles in ' Maritana,' ' Fra Diavolo,' ' Bohemian 
 Girl,' 'Martha,' ' Oberon,' 'The Marriage of Figaro,' ' Der Frey- 
 schutz,' and ' Trovatore.' At Niblo's Theatre, New York, she acted 
 the character of Eily O'Connor in ' The Colleen Bawn.' At the end 
 of 1873 Miss Howson left the United States for Europe, and went 
 to Milan to study the Italian repertory and language under Signer 
 Lamperti. In March 1875 she made her ddbut in Italian opera at 
 the Teatro Manoel, Malta, in the part oi Amina (' La Sonnambula'). 
 Afterwards Miss Howson appeared at the same theatre in ' Martha,' 
 and during the season sang in these two operas. In the autunm of 
 the same year she went to Leghorn, and sang there in Meyerbeer's 
 'Dinorah' with considerable success. In the beginning of 1876 
 she accepted an engagement for a provincial tour in England in 
 Italian opera, during which she performed the prima donna rdles 
 in ' Le Nozze di Figaro,' ' Lucia di Lammermoor,' 'Rigoletto.,' 'Don 
 Giovanni,' ' Maritana,' ' Der Freyschutz,' ' Las Huguenots.' Her 
 various performances were very favourably noticed in the local 
 
 * Mr. Frank Howson was a baritone vocalist of no inconsiderable local 
 reputation, who left England in 1S42 for the Australian colonies, where 
 he engaged in theatrical pursuits. He was the first to present complete 
 English and ItaUan operas to an Australian public. He acted as stage- 
 manager to Madame Anna Bishop and the gifted Catherine Hayes, and 
 other ctlebrities who visited Australia many years ago. He died at 
 Omaha, Nebraska, U.S.A., September 16, 1869. 
 
HOWSON, JOHN. 189 
 
 press. Miss Howson made her dibut on the London stage at the 
 Opdra Comique, on Saturday, May 25, 1878, as Josephine, first 
 performance of ' H.M.S. Pinafore,' comic opera, by MM. W. S. 
 Gilbert and Arthur Sullivan, her "clear and pure soprano voice, 
 and refined and unaffected style, rendering full effect to the music 
 of her part" {Daily News, May 27, 1878). In this opera Miss 
 Emma Howson appeared from the date of its first performance 
 down to April 1879. She subsequently went to New York to appear 
 in the same role. 
 
 HOWSON, JOHN, was born in Hobart Town, Tasmania, 
 November 17, 1844, and is second son of the late Frank Howson 
 and brother of the above-named Emma Howson. He first ap- 
 peared on the stage as a lad at the Royal Victoria Theatre, Sydney, 
 N.S.W., under his father's auspices. During the period of the gold 
 fever in Australia, and the engagement of Catherine Hayes, he 
 sang in the chorus in ' La Sonnambula ' at the same theatre. After 
 various fortune incidental to colonial life, " serving for a time in a 
 lawyer's office, then a ship chandler's, afterwards, for two years, as 
 assistant to a fashionable dancing master, devoting spare hours to 
 education, the study of music, and practice of the violin," John 
 Howson formed, in conjunction with other members of his family, a 
 concert company to visit "the Diggings," Ballarat, Victoria, &c. 
 Of this organization he was the principal violinist and "general 
 utility" man. In 1865, at Brisbane, Queensland, "tasting the 
 sweets of applause in a burlesque character, that of Phineas in 
 ' Perseus and Andromeda,' " he decided on adopting the stage as a 
 profession. In March 1866 he left Australia with his family for 
 San Francisco. Touching at Tahiti, Society Islands, the Howsons 
 gave two concerts under the patronage of Queen Pomare and other 
 notabihties. Mr. Howson was for three years resident in San 
 Francisco, appearing at the theatre in the " usual round of comedy 
 and character business." In May 1869, en route to the Eastern 
 States, he played the part of General Boom in ' La Grande Duchesse ' 
 at the theatre Great Salt Lake City — " a piece which the Prophet 
 and President, Brigham Young, witnessed on three consecutive 
 nights." Mr. John Howson made his first appearance on the New 
 York stage in November 1869, at Wood's Museum, as Upton Spout 
 in the old Adelphi farce 'The Pretty Horsebreaker,' and as the 
 Widow Twankay in H. J. Byron's burlesque of 'Aladdin.' He 
 was for a time a member of the company of Booth's Theatre, and 
 in the orchestra of the Grand Opera House as violinist. During 
 the season of 187 1-3 he was first comedian of a travelling company 
 (Mr. Mark Smith's) in the United States, playing such parts as 
 Doctor Ollapod, Bob Acres, Mark Meddle, Zekiel Homespun, &c. 
 At the Varieties Theatre, New Orleans, he was engaged in the 
 earlier part of 1872 "in the useful capacity of second comedian 
 and character actor," supporting the leading " stars " of the American 
 stage — MM. Joseph Jefferson, John E. Owens, Lawrence Barrett, 
 &c. In the season of 1872-3 he travelled in the United States 
 with a Musical, Drama, and Opera Bouffe Company ; Characters : 
 
igo THE DRAMATIC LIST. 
 
 Sergeant Scalade in Buckstone's version of ' The Child of the 
 Regiment'; Mons. Choufleuri in Offenbach's operetta of that 
 name ; Princess Vindicta in the burlesque of ' Fortunio.' From 
 1873 to 1877 Mr. Howson was engaged in various theatrical enter- 
 prises in the United States which were more or less successful. He 
 first appeared on the English stage at Brighton, September 3, 1877, 
 in ' La Creole,' as Commodore Patatras, and made his debut in 
 London at the Folly Theatre, Saturday, September 15 of the same 
 year, in the same character. " In Mr. John Howson, who made his 
 first appearance in London as the Commodore Patatras, a capital 
 comedian has been discovered, and a comedian distinct and apart 
 from the conventional pattern. He does not struggle to be funny — 
 he is funny. He does not struggle to get his effects — they come 
 of themselves. Mr. Howson had clearly sketched out in his own 
 mind the character of the noisy, blustering, determined old gentle- 
 man who conceals beneath his autocratic manner a good heart and 
 a kindly disposition, and he produced, without the slightest effort, 
 all the fun of which the character was capable, particularly at that 
 notable point where the martinet at the very highest point of his 
 tyranny is continually summoned away to be bulhed by somebody 
 else [Mr. Howson's] was a comedy success." {Daily Tele- 
 graph, September 17, 1877.) In February 1878, first performance 
 at the same theatre of Reece and Farnie's version of ' Les Cloches 
 de Corneville,' he acted the Marquis. Easter Monday of the same 
 year, at the Prince of Wales's Theatre, Liverpool, he appeared as 
 Gaspard in the same piece, playing the role at several theatres in 
 the provinces. He is now (July 1879) appearing in his "original" 
 (as far as the English version is concerned) part of the Marquis 
 at the Globe Theatre, London. " Mr. John Howson is a genuine 
 artist, and one of the best actors that have for some time appeared 
 on our stage. He has a good voice and delivery, sings well and in 
 tune, acts to perfection, and lives in his parts in a way that gives 
 them reality and strength of no common degree." {Echo, Novem- 
 ber 24, 1877.) 
 
 'HUDSPETH, HENRIETTA (Mrs. EDMUND Phelps), is 
 the daughter of John Hudspeth, an actor who was for a long time 
 connected with the old Queen's (now Prince of Wales's) Theatre. 
 Her first London appearance was at the Lyceum Theatre, Novem- 
 ber 28, 1859, as Madeline Champi in 'Paris and Pleasure.' Since 
 then she has played in all the principal theatres in London and in 
 the provinces. 
 
 HUTCHINSON, HENRY HOWE. See HowE, HENRY. 
 
ILLINGTON, MARIE. 191 
 
 * ILLINGTON, MARIE, made her dibut at the Haymarket 
 Theatre in the comedy of ' Red Tape ' in the autumn of 1875. 
 Subsequently, at the Theatre Royal, Edinburgh, she played many 
 light comedy parts until, attracting the notice of Mr. Walter 
 Gooch, she was engaged to appear at the Princess's Theatre in 
 London. In the play of ' Guinea Gold,' which was produced there 
 September 10, 1877, she sustained an important part. She also 
 appeared in the play of ' Jane Shore ' at the same theatre. During 
 the indisposition of Miss Heath she took the place of that lady in 
 the principal character at very short notice. In the summer of 
 1878 Miss lUington went to the Vaudeville, where she acted the 
 part of Mary Melrose in ' Our Boys.' She was in the original cast 
 of Byron's comedy of 'The Girls,' produced April 19, 1879, a^nd has 
 since appeared as Lottie in a revival of Albery's ' Two Roses ' at 
 the same theatre. 
 
 INGRAM, ALICE (Mrs. J. R. Crauford), daughter of Mr. 
 F. Haywell, liegan her theatrical career at the T. R. Birmingham, 
 and afterwards held engagements at the Tyne Theatre, at Notting- 
 ham, and the T. R. Dublin, playing (among numerous other parts) 
 Mary IVurget with Charles Mathews, .and the Duchess Francesca 
 in ' The Fool's Revenge ' with Mr. Phelps. She then joined for a 
 short time Captain Disney Roebuck's company, and afterwards 
 the ' Caste ' company with Mr. F. Younge, playing the principal 
 parts in Mr. T. Robertson's pieces — Esther Eccles, Bella, Amanda 
 (in ' Play '), Ruth Daybrooke, Blanche Haye, &c. Her engagement 
 with the ' Caste ' company was continued under Mr. R. Younge, 
 with whom she made a successful appearance at the Charing Cross 
 Theatre as Milly Petworth in ' Time's Triumph.' Her subsequent 
 engagements have been at the Prince's, Manchester {Helen in ' The 
 Hunchback") ; at the Gaiety, Dublin {Edith in ' On the Jury' with 
 Mr. Phelps) ; as Titania for a run of five weeks at the T. R. 
 Birmingham ; at Plymouth ; the Prince of Wales's, Birmingham ; 
 the Prince of Wales's, Liverpool ; and the T. R. Manchester; on 
 tour with Mr. C. Wyndham (as Effie Remington in ' Brighton ') ; as 
 Henriette in ' The Two Orphans ' company ; as The Fool in ' King 
 Lear ' with Mr. Creswick at the Standard ; at the Corinthian 
 Theatre, Calcutta, for a season of five months ; at Bristol as Eliza 
 in 'After Dark'; at the opening of the new T. R. Cardiff, as 
 Cynisca in 'Pygmalion and Galatea'; and several engagements at 
 the Alexandra, Liverpool, as Pauline in ' The Lady of Lyons,' Olivia 
 in 'Twelfth Night,' and as Helen Macgregor. Miss Ingram has 
 also appeared for short engagements at the Crystal Palace, St. 
 James's, the Court, and Gaiety Theatres in London ; and lately 
 with Mr. Sothern on tour, as Florence in ' Our American Cousin,' 
 and Carrie Gresham in ' A Hornet's Nest.' 
 
192 THE DRAMATIC LIST. 
 
 IRISH, FRED. WILLIAM, was born in Leicester, 1835, and 
 entered the dramatic profession in 1853, appearing first at the 
 Theatre Royal, Leicester, as Marcellus in ' Hamlet.' After a short 
 season there he went to Derby, and from thence to Nottingham, 
 Sheffield, Blackburn, and Belfast, where he secured his first engage- 
 ment as "principal low comedian." He remained in Liverpool for 
 six years, acting principal low-comedy parts, and then accepted an 
 engagement at Newcastle-upon-Tyne in 1867-8, and acted a leading 
 part on the occasion of the opening night of the new Tyne Theatre. 
 Mr. Irish made his first appearance on the London stage, March 2, 
 
 1871, at the Holborn Theatre under Mr. Sefton Parry's manage- 
 ment, in the character of Dan in ' The Streets of London.' He has 
 since been engaged at the following London theatres : Alhambra, 
 Lyceum, Queen's, Astley'g, Charing Cross, Mirror, Princess's, Drury 
 Lane, and Haymarket, and also at the Crystal and Alexandra 
 Palaces. At the Lyceum, under Mr. Bateman's management, April 
 
 1872, he played the part of Sam in 'Raising the Wind.' In 
 December 1874 he undertook the part of Widow Mustapha in 
 ' Aladdin ' at the Charing Cross Theatre, and played it with a 
 decided flow of unexaggerated and original humour. 
 
 IRVING, JOHN HENRY BRODRIB, was born at Keinton, 
 near Glastonbury, Somersetshire, February 6, 1838, and educated at 
 a private school in London. He was originally intended for mer- 
 cantile life, and passed some few months in the office of an East 
 India merchant; but having exhibited a strong partiality for a 
 dramatic career, early forsook commerce for the stage, with which 
 he became professionally connected in 1856. He made his first 
 appearance on the stage that year at the Lyceum Theatre, Sunder- 
 land, in the part of Orleans in ' Richelieu.' Afterwards, at the 
 same theatre, he undertook the part of CUomenes in a revival of 
 ' A Winter's Tale.' Neither of these performances were alto- 
 gether satisfactory, and subjected Mr. Irving to unfavourable criti- 
 cism in the local press. Henceforward he earnestly devoted 
 himself to the study of dramatic art. In 1857 he was fortunate 
 enough to secure an engagement at the Theatre Royal, Edinburgh, 
 where he remained for two and a half years ; and during their 
 several " starring " tours had the advantage of acting with such 
 admirable artists as Miss Cushman, Miss Helen Faucit, Messrs. 
 Vandenhoff, Robson, Charles Mathews the younger, Benjamin 
 Webster, and Wright. In 1859 Mr. Irving entered upon a brief 
 engagement at the Princess's Theatre, London, then under the 
 management of the late Mr. Augustus Harris; but this engagement 
 being cancelled, he shortly afterwards became attached to the late 
 Mr. Edmund Glover's company at Manchester. In this city, for 
 the first time in his professional career, he essayed the character of 
 Hamlet. In 1866, ten years after he had first adopted the stage as 
 a profession, he made his appearance as an actor of recognized 
 merit at the St. James's Theatre in London. On Saturday, October 6 
 of that year, he played there Doricourt in a revival of 'The 
 Belle's Stratagem ' (Mrs, Cowley), " his mad scenes being truthfully 
 
iKl/nvu, JOHN HENRY B ROD RIB. 193 
 
 conceived and most subtilely t-yxcvXtA" {^Athenaum, October 13, 
 1866). In the following November, at the same theatre, first per- 
 formance in London of Dion Boucicault's drama ' Hunted Down,' 
 he acted the part of Rawdon Scudamore with considerable success. 
 In 1867, on Saturday, February 9, at the same theatre, he under- 
 took the character.of Harry Dornton in a revival of ' The Road to 
 Ruin ' ; and, in the succeeding April, the part of Count Falcon in 
 a drama entitled ' Idalia.' In January 1868, at the New Queen's 
 Theatre, London, first performance of Mr. H. J. Byron's play 
 ' Dearer than Life,' he sustained the character of Bob Gassitt — " a 
 most ungrateful part, acted with scrupulous care and artistic taste " 
 (Standard, January 9, 1868). At Drury Lane Theatre, August 5, 
 1869, Mr. Irving played Compton Kerr on the occasion of the first 
 performance of Boucicault's drama 'Formosa'; and in 1870, 
 Saturday, June 4, first performance at the Vaudeville Theatre of 
 Mr. Albery's play ' Two Roses,' he performed the part of Digby 
 Grant, the impersonation being so original in conception and so 
 masterly in execution as to entitle the actor to take rank among 
 the very best actors on the London stage. " The selfish arrogance, 
 the stuck-up hauteur, the transparent hypocrisy, and the utter 
 heartlessness of the character, made all the more odious from the 
 assuinption of sanctity, were depicted by Mr. Irving with exquisite 
 truthfulness of detail, and admirable brilliancy and vigour of 
 general effect. His make-up for the part was excellent, and his 
 whole performance spirited, characteristic, and life-like " {Morning- 
 Post, June 6, 1870). 
 
 In 1 87 1 Mr. Irving accepted an engagement at the Lyceum 
 Theatre, under the management of the late H. L. Bateman ; and 
 on Monday, September ii, "opened" there as Landry, in a piece 
 entitled 'Fanchette; or, the Will o' the Wisp.' On Monday, 
 October 23 of the same year, he appeared as Jingle in a dramatic 
 version of ' Pickwick,' by Mr. Albery. In the November following, 
 ' The Bells,' a version by Mr. Leopold Lewis of MM. Erckmann- 
 Chatrian's ' Le Juif Polonais,' was first performed at the Lyceum 
 Theatre. In this drama Mr. Irving undertook the character of 
 Mathias, as to which the Times (November 25, 187 1) remarked: — 
 " It will be obvious to every reader that the efficiency of this 
 singular play depends almost wholly upon the actor who represents 
 Mathias. . . . Mr. Irving has thrown the whole force of his mind 
 into the character, and works out bit by bit the concluding hours 
 of a life passed in a constant effort to preserve a cheerful exteripr, 
 with a conscience tortured till it has become a monomania. It is 
 a marked peculiarity of the moral position of Mathias that he has 
 no confidant, that he is not subjected to the extortions of some 
 mercenary wretch who would profit by his knowledge. He is at 
 once in two worlds, between which there is no link — an outer world 
 that is ever smiling, an inner world which is a purgatory. Hence 
 a dreaminess in his manner which Mr. Irving accurately represents 
 in his frequent transitions from a display of the domestic affections 
 to the fearful work of self-communion. In the dream his position 
 is changed. The outer world is gone, and conscience is all 
 
 O 
 
194 <; THE DRAMATIC LIST. 
 
 triumphant, assisted by an imagination which violently brings 
 together the anticipated terrors of a criminal court and the mes- 
 meric feats he has recently witnessed. The struggles of the miser- 
 able culprit, convinced that all is lost, but desperately fighting 
 against hope, rebelling against the judges, protesting against the 
 clairvoyant who wrings his secret from him, are depicted by Mr. 
 Irving with a degree of energy that, fully realizing the horror of the 
 situation, seems to hold the audience in suspense. It was not till 
 the curtain fell, and they summoned the actor before it with a 
 storm of acclamation, that they seemed to recover their self- 
 possession." On Monday, April i, 1872, in a revival of the farce 
 of ' Raising the Wind,' Mr. Irving played the character of Jeremy 
 Diddler J and the same year, Saturday, September 28, ' Charles 
 the First ' (W. G. Wills) was first performed at the Lyceum, in 
 which he- sustained the leading role. "Through 'Charles I.' runs 
 a melancholy beauty which finds expression in many musical 
 passages, and which intensifies, as the play proceeds, into absolute 
 pain. During the last act there was scarcely a dry eye in the 
 house. Women sobbed openly, and even men showed an emotion 
 which comported ill with the habitual serenity of the stalls. Much of 
 this uncomfortable gratification was due to the acting of Mr. Irving, 
 the hero of the play, who has once more created a great rdle. In 
 intensity of suggestiveness his Charles I. will compare with his 
 Mathias, while in breadth, dignity, and harmonious colour it sur- 
 passes it. . . . Nothing more regal can be desired than his bear- 
 ing, nothing more harmonious than the effect of every look and 
 gesture, nothing more touching than his delivery of the .poetic 
 beauties that abound. From the outward appearance of the king 
 (he might be an incarnate portrait of Vandyke) down to each little 
 detail of posture, everything is elaborated with conscientious care, 
 and the result is a vivid creation of art." (Daily News, September 
 30, 1872.) 'Charles the First' was so great a success that it was 
 performed during nearly seven months. 
 
 In April 1873 another of Mr. Wills's plays was undertaken by 
 Mr. Irving, 'The Fate of Eugene Aram.' In this again a remark- 
 able piece of acting was exhibited. Said the Spectator (April 19, 
 1873) : — "The acting of Mr. Irving in this character is wonderfully 
 fine, so deeply impressive that once only, by a bit of 'business' with 
 lights and a looking-glass, quite unworthy of the play and of him, 
 does he remind one that he is acting and not living through that 
 mortal struggle ; so various that to lose sight of his face for a 
 moment is to lose some expression full of power and of fidelity to 
 the pervading motive of the part. ... In the second act the 
 anguish of his mind is intensified with every moment, until in the 
 sudden outburst of his fury, his defiance of Houseman, his proud 
 boast of his character in the place and the influence of it, the 
 change, fierce yet subtle, from sad and dreamy quiet to the hard, 
 scoffing, worldly wisdom of the criminal at bay before his accom- 
 plice, there is a positive relief for him and for ourselves. Then 
 conies the terror, abject indeed for a while, with desperate, breath- 
 less rally, thick incoherent speech, faiUng limbs, ghastly face, dry 
 
IRVING, JOHN HENRY BRODRIB. 195 
 
 lips and choking throat, as dreadful as only fear can be, and 
 horribly true. ... In the concluding scenes, one, in which he 
 sends Houseman flying from the churchyard, appalled at the sight 
 of his suffering ; a second, in which, in accents of heartrending 
 grief and contrition, he implores Heaven for a sign of pardon, and 
 flings himself down by a cross, with an awful face, the white, mute 
 impersonation of mental despair and physical exhaustion ; and a 
 third, in which he makes confession to Ruth and dies — the play of 
 his features, the variety and intensity of his expression are most 
 remarkable." On the 27th September, 1873, 'Richelieu' was pro- 
 duced at the Lyceum, Mr. Irving sustaining the part of the 
 Cardinal. " Those who are familiar with the portrait of the 
 Cardinal must be at once struck by its presentation in a living 
 form when Mr. Irving makes his first appearance. ... His 
 defence of Julie de Mortemar when the minions of the king would 
 snatch her from his arms, the weight of sacerdotal authority with 
 which he threatens to 'launch the curse of Rome,' his self-trans- 
 formation into the semblance of a Hebrew prophet of the olden 
 time, with whom imprecations were deeds, combine together to 
 produce a most astounding effect. Here is tragic acting in the 
 grandest style, and it will be borne in mind that although ' Riche- 
 lieu ' is not a tragedy, it belongs practically to the tragical category, 
 as none can do justice to it but a tragedian. Before the effect of 
 the fulmination was subsided came the well-known lines — 
 
 ' Walk blindfold on — behind thee stalks the headsman. 
 Ha ! ha ! how pale he is ! Heaven save my country ! ' 
 
 The scornful laugh by which the flow of indignation is checked, 
 and which was a great point with Mr. Macready, had told with 
 surprising force, and when the Cardinal had fallen back exhausted 
 .... the old-fashioned excitement which we associate with the 
 days of Edmund Kean and his ' wolves ' was manifested once more 
 in all its pristine force. Enthusiastic shouts of approbation came 
 from every part of the house. The pit not only rose, but made its 
 rising conspicuous by the waving of countless hats and handker- 
 chiefs. Not bare approval but hearty sympathy was denoted by 
 this extraordinary demonstration ; and this sympathy nothing but 
 genius and thoroughly self-abandonment on the part of the artist 
 could have produced." {Times, September 30, 1873.) 
 
 On Saturday, February 7, 1874, Mr. Irving played Philip in a 
 romantic drama of that title from the pen of Mr. Hamilton Aidd. 
 In the autumn of the same year ' Hamlet ' was placed on the 
 Lyceum stage, and created a curiosity to witness Mr. Irving's im- 
 personation of the character altogether remarkable. The play had 
 the unprecedented run of two hundred nights— not only unpre- 
 cedented, but unapproached in the history of Shakespearian re- 
 vival. He continued to perform the part from October 30, 1874, to 
 June 29, 1875. "Mr. Irving's Hamlet is original throughout. It 
 is more than probable that he has never seen any predecessor of 
 extraordinary eminence enact the part. At all events, it is certain 
 
 O 2 
 
196 THE DRAMATIC LIST. 
 
 that the Hamlet in the play-book has been reahzed by Mr. Irving' 
 upon the stage without passing through any medium but that of 
 his own thought. . . . The learned will turn over their books to 
 discover what was done by Betterton, what by Kemble, what by 
 Charles Young; but their studies will avail them nothing tovvards 
 an estimate of Mr. Irving, who stands aloof from the pedigree 
 beginning with Betterton and ending with Charles Kean. . . . 
 Why then is Hamlet so irresolute? ... If we rightly interpret 
 Mr. Irving's performance his reply to the question is to the effect 
 that the nature of Hamlet is essentially tender, loving, and merciful. 
 He is not a weak man called upon to do something beyond his. 
 powers, but he is a kindly man urged to do a deed which, accord- 
 ing to the lex talionis, may be righteous, but which is yet cruel. 
 . . . There is a theory to the effect that Hamlet, while assuming 
 madness, is really somewhat insane. From this theory we entirely 
 dissent, at the same time admitting that his sensitive nature sub- 
 jects him to the highest degree of nervous excitement. This could 
 not be more clearly expressed than by Mr. Irving. . . . Most 
 powerfully is the nervous condition exhibited in the scene with 
 Ophelia. The pretended madness, the unquenchable love, and the 
 desire to utter stern truths seemed to hustle against each other. 
 The words seemed to be flung about at random, and the facial 
 movements correspond to the recklessness of the words. The 
 storm of applause which followed this display of genius denoted 
 not only admiration but wonder.'' (Times, Nbvember 2, 1874.) 
 Concerning this performance of ' Hamlet,' a writer in the Dublin 
 University Magazine of September 1877 thus remarked upon the 
 excitement its announcement produced : — " Mr. Irving's Hamlet 
 was not the essay of a tyro, but the culminating point of a career 
 in which genius and arduous study had marked every stride. As 
 early as three o'clock in the afternoon of the 31st of October the 
 crowd began to form at the pit door of the Lyceum, and soon a 
 struggling, seething mass of human beings extended down the 
 covered way right out into the Strand. The pit that night was a 
 memorable spectacle. Never had that tribunal been so highly 
 charged with anxiety, impatience, and enthusiasm. The entire 
 audience was an extraordinary assemblage, for the fact that Mr. 
 Irving had set his reputation on a cast which was also to decide 
 whether the times were indeed too degenerate for Shakespeare to 
 be popular, had brought most of the representatives of art and 
 letters to witness the hazard of the die. The actor's welcome was 
 an outburst of unfeigned admiration of the courage with which he 
 was about to grapple with the most difficult and exacting of Shake- 
 spearian creations. But for a time the novelty of the conception 
 and the absolute independence of familiar traditions bewildered the 
 audience. This sad and self-distrustful Hatnlet, who gave natural 
 and constant expression to his thoughts as they occurred to him, 
 instead of delivering a number of unnatural ' points ' like stones 
 from a catapult excited a growing interest ; but two acts had 
 almost passed before he began to be understood. It may be re- 
 marked here as a striking trait of a conscientious artist, that after 
 
IRVING, JOHN HENRY B ROD RIB. 197 
 
 the scene with the Ghost, Mr. Irving came off the stage depressed 
 not by the silence of the auditory, but by the thought that he had 
 fallen below his ideal. But when the tender, sympathetic nature of 
 this Hamlet fairly revealed itself, the affections of all were won. It 
 was the most human Hamlet they had ever known. . . . The 
 performance was now one long success .... and when the curtain 
 fell upon the consummation of the tragedy the immense assembly 
 clamoured its delight till nearly one o'clock in the morning." 
 
 In June 1875 'Hamlet 'was erased from the Lyceum play-bills, 
 and in the following September ' Macbeth ' was revived, Mr. Irving 
 sustaining the principal role. T'hQ A thentsum (October 2, 1875), 
 discussing the merits of the performance, said: — "In Mr. Irving's 
 conception there is intention, but it is wrong ; and there are individual 
 merits which will not compound for systematic error. This objec- 
 tion, might, however, be vanquished in another part — might even 
 be removed by further study and practice. Mr. Irving must learn, 
 however, that his mannerisms have developed into evils so formid- 
 able, they will, if not checked, end by ruining his career. His slow 
 pronunciation and his indescribable elongation of syllables bring 
 the whole occasionally near burlesque. In one speech, that in 
 which Macbeth speaks of false Thanes gone to 'mingle with the 
 English epicures,' absolute laughter was evoked, and a similar 
 calamity was on another occasion scarcely avoided. Mr. Irving 
 has youth, intelligence, ambition, zeal, and resolution. These things 
 are sacrificed to vices of style which have strengthened with the 
 actor's successes, and like all weeds of ill growth have obtained 
 excessive development. It is impossible to preserve the music of 
 Shakespeare if words of one syllable are to be stretched out to the 
 length of five or six. Mr. Irving's future depends greatly on his 
 mastery of this defect." 
 
 The Daily News (September 27, 1875) found more to praise in 
 the performance, according to the subjoined criticism : — " But the 
 secret of the spell which this extraordinary actor exercises over the 
 imaginations of audiences is not difficult to discover. It lies in 
 the imaginative power with which he is able to depict the most 
 terrible passions of the human soul in a great crisis 6f action, and 
 in the wonderful expressiveness of countenance which on these 
 occasions never deserts him. To the playgoer whose memory is 
 haunted with the Macbeths of the past there is a peculiar pleasure 
 in the total absence in all Mr. Irving's performances of mere con- 
 ventional details. We believe it has always been customary in the 
 dagger scene to confront the audience looking upwards, as if the 
 imaginary weapon were hovering in the air somewhere between the 
 performer and the audience. Mr. Irving, on the contrary, sees the 
 dagger at a much lower point as he follows it across the stage, 
 drawn as it were by its fascination towards the arched entrance to 
 the chamber of the king — a fine point being his averted hands, as 
 if the man, ' infirm of purpose,' and conscious of the spell that is 
 around and about him, could not trust himself to ' clutch ' the airy 
 weapon save in words. . . . The touches of tenderness and of 
 regretful remorse, which add greatly to the beauty of these latter 
 
igS THE DRAMATIC LIST. 
 
 scenes, seemed indeed to miss some of their effect ; but the final 
 combat and death struggle has probably never been equalled for 
 picturesque force and intensity." 
 
 In February 1876 'Othello' was revived at the Lyceum with 
 Mr. Irving as the Moor. Probably this has been the least suc- 
 cessful of Mr. Irving's impersonations, and was the subject of much 
 unfavourable comment in the public press. It was conceded, how- 
 ever, that there were powerful passages in Mr. Irving's acting, and 
 that he had bestowed his usual careful study upon the representation 
 which he gave. " To ask of one man to represent night after night 
 for many weeks or months such characters as Hamlet, Macbeth, or 
 Othello, is as to require of the English arniy to fight a battle of 
 Waterloo every day. From Hamlet Mr. Irving proceeded, in- 
 advisedly as, at the time, we thought, to Macbeth, and our antici- 
 pations were before long justified by the public verdict. With still 
 greater want of judgment, we fear, has he now attempted Othello, 
 for which he either altogether lacks, or at least has failed as yet to 
 exhibit, the qualifications which such a character demands. In his 
 pathos he is monotonous without being tender, in his rage violent 
 without being dignified, while his love for Desdemona has alto- 
 gether to be taken on trust from the words that are put into his 
 mouth. In many passages, moreover, and especially in the third 
 act, where he demands from her slanderer some tangible proof of 
 his wife's guilt, his violence is such as to render him almost ludi- 
 crous, and altogether unintelligible. This latter fault is, indeed, 
 most unhappily prominent throughout the performance. It has been 
 said, and well said, that the great masterpieces of Shakespeare, 
 even when most indifferently acted, cannot altogether fail to please, 
 provided only the actors will suffer the audience to hear the words 
 of the author. But from the mouth of Mr. Irving, unfortunately, 
 we cannot hear them. In repose he is as much too slow of speech 
 as in action he is too tumultuous, while in both he has of late 
 acquired a peculiarity of pronunciation, for which, in all humility, 
 we confess ourselves totally unable to conceive any authority. In 
 his description to the Duke of the only arts he employed to gain 
 Brabantio's daughter, and in that magnificent farewell to content, 
 it is possible indeed to hear what is said ; but throughout the third 
 and fourth acts we are denied even this consolation. Our eai's are 
 stunned by an empty noise which only a knowledge of the text can 
 possibly allow us to accept as the passionate outpourings of a noble 
 mind overthrown in the keenest of all mortal anguish. In harmony 
 with so much indeed, but how out of harmony witli Shakespeare's 
 Othello are the actions and gestures in which Mr. Irving indulges ! 
 The movements of his body are as the movements of his voice ; 
 when slow, so slow as to excite the impatience— when quick, so 
 quick as almost to excite the laughter— of the spectator. Once 
 only did Mr. Irving appear to us to have caught the spirit of 
 Othello— axidi Othello, be it remembered, is not, as Hamlet is a 
 character of many and diverse readings ; there can be but one true 
 Othello. As he sits writing at his table at the opening of the third 
 act, and when lago first begins to pour the ' mixture rank ' into his 
 
IRVING, JOHN HENRY BRODRIB. 199 
 
 too open ear, both in Mr. Irving's face and in his attitude, and very 
 nearly in his voice, the first faint flushings of the dawn of jealousy 
 are not unskilfully marked. Yet the dawn broadens into no perfect 
 day, but rather into an indescribable chaos of painful and in- 
 harmonious elements. In the torrent, tempest, and whirlwind of 
 this passion there is no temperance, and so no smoothness. We 
 can well remember, on the first night this actor played Hamlet, our 
 admiration at the manner in which he delivered the famous counsel 
 to the players ; as we sat the other night through the five acts of 
 'Othello 'we could not but wonder whether Mr. Irving's memory 
 was as good as ours. It would have been easier, and certainly far 
 pleasanter, to have written in a more complimentary fashion, but 
 we have felt it our duty to speak plainly. We can believe that 
 three years ago Mr. Irving would have pleased us as Othello, but 
 for the sake of Hamlet we are sorry he has attempted it now." 
 {Times, February 17, 1876.) 
 
 In a critical review of Mr, Irving's appearance as Othello in 
 the Standard (February 11, 1876) the writer found somewhat to 
 praise in it : — " And here Mr. Irving made one of those subtle points 
 which add such remarkable strength to his impersonations. 'If 
 more thou dost perceive, let me know more,' Othello says, and then 
 ' pauses. . . . He turns away that lago may not see his face, and 
 speaks in a hasty whisper, ' Set on thy wife to observe. Leave me, 
 lago.' . . . Suddenly Desdemona stands before him. As he looks 
 at her his doubts disperse. . . . 
 
 ' If she be false, oh, then Heaven mocks itself ; 
 I'll not believe it.' 
 
 The utterance' of these last words was marvellously fine, and it 
 would be difficult to describe the tremendous effect they had upon 
 the audience. It is impossible to deny the power of an actor who 
 by the delivery of three or four simple words can so deeply move 
 the hearts of a crowded and certainly a critical house. . . . Another 
 special success was made in the speech where, goaded to madness, 
 he seizes lago by the throat, ' Villain, be sure thou prove.' . . . 
 All that most perilous business of the trance, which must be fatal 
 to any but an actor of very exceptional powers, was most skilfully 
 managed, and the transitions of emotion during the scene with 
 Desdemona, beginning, 'My lord, what is your will?' were in- 
 
 igeniously traced in expression of voice and feature. . . . The 
 conclusion of the tragedy may also be warmly commended. . . . 
 The performance will add to the high reputation Mr. Irving has 
 won, but it is gravely affected by the mannerisms of pronunciation, 
 on which comment has been made." 
 
 In April of the same year, ' Queen Mary,' an historical play in 
 five acts, by Mr. Tennyson, was performed for the first time, Mr. 
 Irving sustaining the part of Philip of Spain. This piece was but 
 a partial success. " To Mr. Irving was assigned the small part of 
 Philip, in which there is little to say but much to look. . . . This 
 was indeed the very Philip — harsh, cold, satirical, of facile, unre- 
 
 ; lenting, and exquisite cruelty, His mannerisms apart — those 
 
200 THE DRAMA TIC LIST. 
 
 unhappy mannerisms that have been spoken of already — not a 
 touch was wanting to the completeness of the portrait. The play- 
 goer should very specially mark the bitter and dry humour of every 
 taunt and threat, the Spanish and kingly rigidity of physique to 
 which the portraits of the time bear witness, the alertness and eager 
 watchfulness of mind, the concentration of purpose, in the scene in 
 which Philip broaches the question of the hand of Elizabeth. It 
 is the most complete piece of ' character acting ' now on the stage." 
 (Academy, April 22, 1876.) 
 
 " Mr. Irving's stately, scornful, and frigid, but yet brutal Philip, 
 is as faultless as we could well imagine it. It has been objected 
 that he makes his disgust for the Queen too evident .... but that is 
 evidently the self-deception of a mind too haughty and careless of 
 others to be aware of the disgust which his language has really 
 implied. ... As far as we can judge, it would have been im- 
 possible for Mr. Irving to represent the poet's conception of Philip 
 more perfectly than he has done." {Spectator, April 22, 1876.) In 
 the autumn of 1876 Mr. Irving played Hamlet in the provinces, and 
 his interpretation of the character was everywhere welcomed with 
 acclamation. It was estimated that, during his stay at Manchester, 
 nearly eighteen thousand persons visited the theatre at which he 
 performed. In Scotland and Ireland his reception was no less 
 gratifying. On November 29 an address was presented to him 
 by the graduates and undergraduates of Trinity College, Dublin. 
 "To the most careful students of Shakespeare," they said, "you 
 have, by your scholarly and original interpretation, revealed new 
 depths of meaning in Hamlet, and aroused in the minds of all a 
 fresh interest in our highest poetry. . . . Acting such as yours 
 ennobles and elevates the stage, and serves to restore it to its true 
 function as a potent instrument for intellectual and moral culture. 
 Throughout your too-brief engagement our stage has been a school 
 of true art, a purifier of the passions, and a nurse of heroic senti- 
 ments; you have even succeeded in commending it to the favour of 
 a portion of society, large and justly influential, who usually hold 
 aloof from the theatre." The last night of Mr. Irving's engagement 
 in Dublin he played Hamlet in compliance with a " command " 
 from Trinity College. 
 
 In 1877, January 29, Shakespeare's 'Richard the Third' was 
 placed on the Lyceum stage, Mr. Irving as Richard Duke of 
 Gloucester. The Morning Post (January 30, 1877) thus alluded to 
 the performance : — " There are, of course, blemishes as well as 
 beauties in Mr. Henry Irving's impersonation of Richard III., but 
 viewing it in its entirety — the only fair way of regarding any work 
 of art on which a general opinion is to be pronounced — it is, we 
 think, a fine performance, brilliant, energetic, impassioned, and full 
 of life and character. . . . Mr. Irving would seem to have bestowed 
 minute care upon his personal portrait of Richard, in which he 
 reproduces not only the usurper's historic ungainliness of form 
 and feature, but also such smaller singularities as the frequent 
 twitching of the hands — a physical denotement of the restless spirit 
 within. . . . The grim, sardonic humour of the poet, which has 
 
IR VINGy, JOHN HENR Y BRODRIB. 201 
 
 always been an element of enjoyment with the populace, is dis- 
 tinctly marked in the present impersonation, though not so dis- 
 tinctly as to become the most salient attribute of the character. 
 Mr. Irving is very judicious in his delivery of the opening speech, 
 ' Now is the winter of our discontent,' &c., which as spoken by him 
 does not sound like a set recital on studied philosophy, but rather 
 resembles what the poet probably intended — the unconscious medi- 
 tative utterances of a man thinking aloud while wrapt in a fit of 
 profound abstraction. In the courting scene with Lady Anne .... 
 Mr. Irving, unlike most of his predecessors in the part, represents 
 Richard making love less with the bluntness of a soldier than with 
 the tenderness and impressment of an impassioned suitor. . . . 
 The scornful exultation with which, contemplating his triumph and 
 finding in it a subject for egotistical congratulation, he utters the 
 famous words, ' Was ever woman in this humour wooed ? was ever 
 woman in this humour won?' provokes a shout of derisive applause. 
 . . . The look of concentrated rage and hatred which he cast 
 upon the ' parlous ' young prince, whose doom he foreshadows in the 
 ominous reflection, ' So wise, they say, and so young, ne'er live 
 long,' bespeaks the true character of the usurper more eloquently 
 than could the most poignant words. . . . The apparition scene in 
 the fourth act is exceedingly impressive, and in his representation 
 of the mental anguish which RzcAard endares from the visitation of 
 the shadows Mr. Irving depicts the terrors of a guilty conscience 
 in appalling colours." 
 
 , , In May of the same year Mr. Irving undertook the dual parts of 
 Joseph Lesurques and Dubosc in the drama of ' The Lyons Mail,' 
 rearranged by Mr. Charles Reade from ' Le Courier de Lyon.' 
 " The difficulties in the way of the adequate representation of two 
 Such characters as those of Lesurques and Dubosc are, as will 
 easily be understood, extremely severe, but they are managed by 
 Mr. Irving with consummate art. . . . Not only in voice, but in 
 expression, in bearing and in gesture, Dubosc and Lesurques are 
 two people, the latter courteous, suave and gentle in manner, 
 tenderly affectionate to his daughter and pleasantly at ease with his 
 friends ; the former a swaggering ruffian, clumsy and abrupt in 
 action, husky and coarse in voice. The most remarkable feature 
 in the assumption is the final scene in the first floor of a cabaret 
 overlooking the place of execution. Dubosc is inflamed by drink, 
 excitement, and the prospect of the sight he is to see, into a state 
 of absolute madness ; his attack on Fouinard is simply an out- 
 break of the savagery of a wild beast, and after the brutal fury 
 comes despairing terror to find himself tracked, and furious rage 
 against his betrayers. Passion convulses his limbs and distorts 
 his features ; yet scarcely more than ten seconds after Dubosc 
 has rushed behind the opening door Lesurques enters, calm and 
 collected and utterly free from any trace of excitement. . . . The 
 word marvellous is certainly not too strong to describe the command 
 of feature and demeanoilr which enables him thus to change his 
 identity, to say nothing of dress, in such a space of time." 
 {Standard, May 20, 1877.) 
 
202 THE DRAMATIC LIST. 
 
 In 1878 (March 9) Mr. Irving appeared for the first time as 
 Louis XL, in a version of M. Casimir Delavigne's play of that 
 title by Boucicault. It was the opinion of the Saturday Review 
 (March 16, 1878) that the part might very well have been written 
 for Mr. Irving, who had seldom presented a performance with 
 which there was less opportunity of finding fault. In saying this, 
 the Saturday Review did not mean that in Louis XL Mr. Irving 
 had reached a height which he had not attained before. " On 
 the contrary, the character affords no kind of opportunity for the 
 display of that fiery passion and force of inspiration which have 
 asserted themselves sometimes in performances in which on other 
 grounds there has been something to blame. The part oi Louis XL. 
 never rises to grandeur ; it rests on a dead level of hypocrisy, mean- 
 ness, and craftiness, which the dramatist has been at no pains to 
 diversify, except by touches of grim humour. He has represented 
 only one side of Louis's character, and has given no hint of the 
 qualities which enabled him to hold other countries besides his 
 own in his grasp ; and it is the actor's merit, not the author's, that 
 the Louis whom we see has about him an intangible and mysterious 
 fascination which makes it possible to reconcile the low tone of his 
 speeches and deeds with the gift for government which he must 
 have had. . . . Mr. Irving's appearance was a first sign of the 
 study which he had bestowed on the part. He had managed 
 somehow to disguise his height, and his face indicated the singular 
 mixture of ferocity, cunning, and grotesque sense of the ludicrous 
 which, in the first part of the play, marks Louis's character. . . . 
 His worming out of Marie's secret knowledge of the identity of 
 Nemours with Rethel was intensely true to nature, and his delight 
 at finding Nemours within his grasp was most effectively con- 
 trasted with his order for the Court to wear mourning for a week 
 for the Duke of Burgundy. Here Mr. Irving brought out with rare 
 skill the characteristic appreciation on the King's part of the grim 
 wit of his own proceedings to which he throughout gives promi- 
 nence. ... As a piece of complete mastery of the science of acting 
 in gesture and expression, Mr. Irving's recognition of Nemours' 
 threatening figure, which he sees as he sinks down into his chair, 
 was especially remarkable. The convulsive but restrained grasping 
 of the chair, the look of dumb horror, the low thrilling cry of 
 'Merciful God!' led finely up to the more noisy and abandoned 
 expressions of terror with which the interview closes, and to the 
 half-insane reaction of violence at the end of the act." 
 
 We cannot resist adding here, even at the risk of trying the 
 reader's patience, extracts from an able and thoughtful piece of 
 criticism of Mr. Irving's performance in the same character, 
 published in the Liverpool Daily Post (September 17, 1878) : 
 " The Louis XL of Mr. Irving will probably be regarded here- 
 after as his most distinctive masterpiece," remarks the writer. 
 "The play of Casimir Delavigne, as adapted into EngUsh blank 
 verse for Mr. Charles Kean by Mr. Dion Boucicault, gives the 
 actor no wings with which to soar. The play is a commonplace 
 and somewhat meagre sketch, crudely outlined, not always with 
 
IRVING, JOHN HENRY BRODRIB. 203 
 
 strict conformity to nature, from the traces left by Comines and 
 worked up by Scott and Victor Hugo. But within this bare outline 
 what a marvellous work of creative art has been elaborated by Mr. 
 Irving — bold in conception, strong in light and shade, and filled in 
 with details of infinite nicety and variety! Naturally, the first 
 question that will be asked is how the representation compares 
 with that of Charles Kean, which must be vividly remembered 
 by all who saw it. The answer is, that while as remarkable as 
 Mr. Kean's Louis for the vivid strength and truth of its general 
 conception, Mr. Irving's is more delicately and minutely wrought, 
 and the general features of Louis have with greater care and close- 
 ness of observation been associated with a life-like assumption of 
 increasing senility. But besides this it must be recorded that the 
 last act is vastly superior to anything that it entered into the mind 
 of Charles Kean to effect. If there is any point in which the latest 
 English Louis XI. is inferior to the first, it is in the abject pleading 
 to Nemours for life, to which Mr. Kean's peculiar power of rapid 
 and impetuous utterance gave thrilling effect. There is no other 
 point at which Mr. Irving must yield the palm. It was, indeed, 
 suggested by certain of the London critics that the incident of 
 Louis suddenly praying to the images of the saints stuck in his hat, 
 when interrupted in his directions for the murder of Nemours by 
 the sound of the Angelas, was spoilt by Mr. Irving's appearance of 
 grimacing insincerity. Remembering well, and with admiration, 
 the intense and superstitious fetishism with which Mr. Kean .en- 
 acted this episode, we awaited with some curiosity Mr. Irving's 
 treatment of it. The London critics seem to have grossly mistaken 
 him at this juncture. He is just as devout and intense as was Mr. 
 Kean. What these writers took for ironic antics are really earnest 
 movements of the head such as a very superstitious old man would 
 make in such a situation. It is only one instance among many 
 in this play in which Mr. Irving uncompromisingly realizes what 
 the King must have been in his ill-favoured old age, according 
 to the abundant accounts of him which we possess, and which 
 distinguished novelists have used with great power. Mr. Irving 
 has preferred to follow Victor Hugo rather than Sir Walter Scott. 
 His Louis is a shambling, ill-held-together, down-at-heel old man, 
 whose attitudes are never gainly and mostly mean ; who slips down 
 miserably with hollowed stomach into the seat of a throne during a 
 critical diplomatic interview, and warms himself squalidly over the 
 fire on a low stool ; who, in fact, never thinks of appearances, and 
 never chances to become an agreeable picture. A close skull-cap 
 helps Mr. Irving to assume an aspect of ill-conditioned age, which 
 is supported by a wonderful make-up of the face, while a con- 
 temptible and at the same time contemptuous gait and many rude 
 and uncanny gestures and grins complete the study, which, as soon 
 as the actor speaks, is imbued with absolute life and being. This 
 Louis XL is as individual to every spectator who saw him as ever 
 was any human being who was known to his fellow-creatures by 
 .his ways and his talk. 
 
 *' Louis does not appear in the first act, which, indeed, is dull and 
 
204 THE DRAMATIC LIST. 
 
 uninteresting. In the second act are illustrated the violence of the 
 old king's rage, tempered by his fear of his doctor; his prompt and 
 ever wily cunning; his readiness to use sentiment, and to throw- 
 it cynically aside; his remorseless cruelty and faithlessness, and 
 many other execrable points of his character. Mr. Irving manages 
 . all the contrasts and transitions with great art, taking for his guide 
 a clear idea of the character, and developing its many oddly- 
 assorted peculiarities by telling changes of voice and manner. 
 The sudden ' There, that'll do ; sit down,' after the Dauphin has 
 just burst forth into patriotic defiance of Burgundy, and the King 
 has caressed him as the child of France, must be heard to be 
 appreciated, and it is only one of many illustrations of Mr. Irving's 
 success in realizing the King^s cynical humour. The third art 
 introduces the episode of the peasants, in which, of course, the 
 actor revels, for Louis's varied reception of the supposed sincerities 
 of the rustics affords not a little scope. Equally characteristic is 
 the manner in which the old fox elicits from Marie de Comines the 
 name of her lover, and the fact that the Burgundian envoy is 
 Nemours. Act the fourth is far more onerous. Here the King 
 is seen in the solitude of his bed-chamber. Here takes place 
 his extraordinary confession to Frangois de Paule, delivered with 
 great effect in all its blood-chilling frankness and incorrigible im- 
 penitence. And here, when the holy father has retired, the monarch 
 is suddenly frozen into abject terror by the appearance of the 
 avenging Nemours. A terrible scene ensues — first of wild pleading 
 for mercy, and then, when Nemours has with contempt and loath- 
 ing granted the king his life, a fearful paroxysm of rage and 
 hallucination, as the old man, suddenly young again with desperate 
 excitement, rushes up to what he supposes to be the Due de 
 Nemours, and violently stabs the air until he falls fainting into 
 the arms of those around him — a situation of great power most 
 startlingly enacted. Great as the performance is in every phase, 
 it is grandest in the fifth act, where King Louis enters robed and 
 sceptred, with death written in his countenance, and his physique 
 reduced to the lowest stage of feebleness. The skull-cap has been 
 abandoned. Long grey locks stream somewhat wildly on the 
 King''s shoulders. His countenance derives a sort of dignity, not 
 seen before, from these changes — though such a figure can never 
 be truly venerable — and also from the absorbing nature of the 
 conflict which Louis wages with visibly declining powers. In this 
 hour of extreme mental exhaustion, deepening momentarily into 
 actual stupefaction and afterwards into coma and then into death, 
 the extraordinary resolution and will of the King still display 
 marvellous power. But never was there such a picture of moving 
 prostration and animated decay. The back of a couch lost hold of 
 for a moment, and the tottering form stumbles forward in a manner 
 which sends a painful start through the whole audience. The 
 sceptre drops, after being used head downwards as a staff, and 
 is forgotten. Then the King is induced to be seated on a couch, 
 and with extraordinary elaborated graduations of insensibility, 
 violently interrupted occasionally by spasms of vigour, he gradually 
 
IRVING, JOHN HENRY BRODRIB. 205 
 
 loses his consciousness. No physical detail is neglected that can 
 help to realize a sinking of mind and body into annihilating death. 
 The voice and articulation have the weird, half-drunken thickness 
 of paralysis. Even the effect observable in age and sickness of 
 drawing the retreating lips in over the sunken teeth is somewhat 
 simulated. The difficulty of carrying out such a conception of 
 dissolution in a scene in the course of which such matters have 
 to be dealt with as the final sentence of Nemours, and an interview 
 with Coitier, the leech, who comes from a dungeon with the rust of 
 fetters on his wrist, at the summons of the King who sent him 
 there, must be extreme; but Mr. Irving triumphantly surmounts 
 it, and gives a picture of gradual and placid yet horrible death 
 such as we believe has never been achieved before. Perhaps the 
 greatest success of all is the still and silent impassibility into which 
 the King sinks so absolutely that the courtiers and his son suppose 
 it to be death. The actual death is not placid. The King 
 struggles on his feet, and falls forward on a cushion, with his head 
 toward the audience, as the low murmur, ' The King is dead, long 
 live the King,' proclaims the close of the long, long struggle of a 
 mind that seemed indomitable with the frailties and tortures of 
 a body racked for years with the worst tortures to which humanity 
 can be a prey, and consoled by none of the assuagements to which 
 the suffering are most indebted. Such, lit up in the earlier passages 
 by infinite comedy and artistically elevated by several tragic 
 episodes of the highest power, is this famous impersonation." 
 
 On Saturday, June 8, 1878, a new English version of ' Der 
 Fliegende Hollander,' by Messrs. Wills and Percy Fitzgerald, 
 under the title of ' Vanderdecken,' was produced at the Lyceum 
 Theatre, Mr. Irving sustaining the leading role. " His appearance 
 was splendidly picturesque and impressive, his aspect in the 
 stronger scenes being absolutely lurid. His performance was, how- 
 ever, wanting in variety, and was marred by the peculiarities which 
 in ' Louis XI.' he appeared to have shaken off. If the play 
 succeeds it must be on the strength of its weirdness and the 
 admirable scenery supplied it. Mr. Irving's performance will 
 certainly not rank with his best efforts." {AthencEum, June 15, 
 1878.) The piece did not prove attractive. In the following month 
 of the year last mentioned the management of the Lyceum Theatre 
 revived Mr. Albery's adaptation of 'Pickwick,' designed to illus- 
 trate the character and career oi Alfred Jingle. Mr. Irving had 
 appeared in this character before, as has been already noticed, but 
 the setting was a new one. The impersonation, however, was not 
 of a kind to merit critical attention, and was possibly undertaken 
 as a relief to Mr. Irving's more arduous duties. 
 
 In the autumn of 1878 Mr. Irving became manager of the 
 Lyceum Theatre, in succession to Mrs. Bateman, and opened 
 Monday, December 30, with a revival of ' Hamlet,' in which Mr. 
 Irving played Hamlet, Miss Ellen Terry Ophelia, Mr. Chippen- 
 dale Polonius, Mr. Mead the Ghost, Mr. Forrester Claudius, Mr. 
 F. Cooper Laertes, Miss Pauncefort Gertrude. Mr. Irving's 
 reception was enthusiastic. On Thursday, April 17, 1879, he 
 
2o6 THE DRAMATIC LIST. 
 
 placed ' The Lady of Lyons ' on the stage, himself enacting the part 
 of Clattde Melnotte. The play was presented with every possible 
 advantage in the way of scenic illustration and appropriate cos- 
 tumes. No applause could have been more vigorous, and no out- 
 ward marks of appreciation more complimentary than Mr. Irving 
 received on the first night and during the progress of the play. 
 His Claude was, in all respects, an interesting performance, and for 
 its own artistic value fully deserved the recognition that it gained; 
 but it can hardly be claimed that it ranks with other characters in 
 which Mr. Irving has appeared, in point either of the general 
 interest it inspired or the permanence of its success.* " Mr. 
 Irving, to tell the truth, is habitually inclined too much to seriously 
 didactic tones and to the use of excited gestures of the sterner kind 
 to attain an ideal standard of excellence in playing the part either 
 of the ecstatic or the penitent lover. That his performance was 
 distinguished by much force of the picturesque sort cannot be 
 denied, and never, perhaps, has the fencing scene been rendered 
 with more graceful dexterity, but Claude Melnotte is probably not 
 destined to take high rank among Mr. Irving's impersonations." 
 {Daily News, April i8, 1879.) 
 
 Another journal, the AthencEum (April 26, 1879), remarked of 
 Mr. Irving's performance of Claude Melnotte that it " will not add 
 to his reputation. Had his impersonation, indeed, possessed the 
 gifts it lacked, there would have been waste in employing his 
 powers in this supremely artificial work, which has the fatal defect 
 of displeasing more every time it is seen. As it proved, however, 
 the character from the author's standpoint was not reahzed, the 
 Claude Melnotte being a virile and passionate man instead of a 
 dreamy and sentimental boy. ... In Claude Melnotte a triumph, 
 if obtained, would have been uninteresting as regards art, however 
 flattering it might have been to the artist. As it is, the warmest 
 admirers of Mr. Irving speak of it apologetically rather than with 
 open advocacy." 
 
 During the continuance of the summer season 1879 Mr. Irving 
 occupied himself with revivals of ' Hamlet,' ' Lady of Lyons,' 
 ' Eugene Aram,' ' Richelieu,' ' Louis XL,' ' Charles I.,' ' The Bells,' 
 ' The Lyons Mail.' One of these performances, that of ' Richelieu,' 
 attracted the attention of M. Jules Claretie, the eminent French 
 dramatic critic (who was in England during the visit of the 
 Comddie Franfaise in the summer of 1879), in his weekly /£«///^/o« 
 to La Presse (June 22, 1879). The translated passage of what he 
 wrote is as follows : — " The great Cardinal, lean, eaten up with 
 ambition, less for himself than for France, is admirably rendered 
 by the actor. His gait is jerky, like that of a dying man racked by 
 fever, his eye has the depths of a visionary, a hoarse cough under- 
 mines that frail body, which is yet made of steel. When Richelieu 
 
 * Since writing the foregoing I have been informed, on unquestionable 
 authority, that the representations of ' The Lady of Lyons ' at the Lyceum 
 Theatre in 1879 have been most successful ; and that on every evening 
 during the season when it was played "the theatre was thronged."— Ed." 
 
IRVING, JOHN HENRY BRODRIB. 207 
 
 appears in the midst of the courtiers, when he flings scorn in the 
 face of the mediocre man who is to succeed him, when he suppli- 
 cates and adjures tlie wealc Louis XIII., Irving gives that grand 
 figure a striking majesty. And laow profound an artist the tragedian 
 is ! I went to see him in his dressing-room after the performance. 
 I found him surrounded by portraits of Richelieu. He had before 
 him the three studies of Philippe de Champaigne, which are pre- 
 served in the National Gallery : Richelieu seen full face, right-hand 
 profile and left-hand profile, and also a photograph of the full-length 
 portrait of the Cardinal by the same Philippe de Champaigne. 
 When he plays Louis XL he studies Comines, Victor Hugo, 
 Walter Scott, and all those who have spoken of the bourgeois and 
 avaricious king who wore out the elbows of his ratteen pourpoint 
 on the oak tables of his companions the fell-mongers and shoe- 
 makers. . . . 
 
 " Mr. Irving, in spite of his superb, energetic and fine head, has 
 an air rather elegant than robust. He is as charming outside the 
 theatre as he is touching on the stage. His dressing-room, with 
 the pictures that are hung there, and the hospitality that awaits 
 visitors, reminds one of the artistic loge, such as it is figured in 
 Madame Sand's novel ' Pierre qui roule,' or in Dumas' famous drama 
 ' Kean.' Only here we must not place as a sub-title ' Ddsordre et 
 Gdnie,' for you feel in Irving and in his company the correct recti- 
 tude of the gentleman beneath the inspiration of the lettered artiste. 
 We were asking him the other night what historical personage 
 would tempt him, what physiognomy, he who excels in what I call 
 resurrections, he would like to make alive again. ' What person- 
 age ?, ' he asked. ' Yes ; which is the hero that seduces you ?' He 
 reflected a moment, his fine head becoming suddenly pensive. 
 ' French or English ? ' he asked again. ' French or English, it does 
 not matter.' ' Well,' he replied, after a moment's reflection, I 
 should like to create a Caraille Desmoulins.' He has, indeed (adds 
 M. Claretie), the energetic type and also the fineness of the men 
 of the eighteenth century. With his long black hair and his fine, 
 witty smile, he is a very hving Camille. Perhaps there is more 
 kindness in his features than there was in those of the malicious 
 author of ' Revolutions de France et de Brabant' It is the Camille 
 of the ' Vieux Cordelier.' He would gladly incarnate that en- 
 thusiastic journalist, and Miss Ellen Terry, who plays Ophelia 
 with him in Hamlet, would make a touching Lucile. But the 
 little success obtained by the piece on Camille Desmoulins that 
 was played at Paris deters Henry Irving, who feels himself attracted 
 rather by the physiognomy of Andrd Chdnier. He would be, and 
 I hope will be, absolutely admirable if he has confidence in him 
 who writes these lines, and who would regard it as a good fortune 
 to have such an actor for an interpreter." M. Claretie further 
 expressed himself as delighted with Mr. Irving's Hamlet and the 
 splendour of the mi^e en scene. He compared the gravedigger's 
 scene to a picture by Jean-Paul Laurens ; he had never seen any- 
 thing so profoundly, so tragically true. , , ^ 
 
 Mr. Irving's first season as manager termmated on July 26. 
 
2o8 THE DRAMATIC LIST. 
 
 His annual benefit took place on the 25th and 26tli. On the 
 former evening he appeared in the fourth act of ' Richelieu,' and the ' 
 third act of 'Louis XI.'; also (in association with Miss Ellen 
 Terry) in the first act of ' Richard III.,' the fourth act of'Charles I.,' 
 and the third act of ' Hamlet,' terminating with the play scene. 
 The entertainments on each evening concluded with the farce of 
 ' Raising the Wind,' in which Mr. Irving represented the leading 
 character. On the last night of the season he and Miss Ellen 
 Terry appeared in Mr. Wills's ' Eugene Aram.' In an address 
 from the stage on the previous evening, Mr. Irving stated that the 
 receipts of the theatre during the seven months it had been opened 
 under his management amounted " to the large sum of36,ooo/." 
 
 IRWIN, KATHLEEN, was born at Exeter, and was specially 
 educated for the stage. In singing she was a pupil of Mr. Joseph 
 Wood (the husband of Miss Paton) and of Signer Lago, of the 
 Royal Italian Opera. She entered the dramatic profession at 
 Newcastle in 1868, playing there a round of characters with con- 
 siderable success, and was engaged afterwards for the opening of 
 the Charing Cross Theatre. Miss Irwin made her first appearance 
 in London, June 19, 1869, at that theatre, as Patty Mayberry in 
 the operetta ' Coming of Age.' On the same occasion she appeared 
 also as Ferdinand in Cheltnam's comedy of ' Edendale,' and as 
 Adalgisa in Gilbert's burlesque of ' Norma.' " In each of the three 
 pieces the most unequivocal proof of ability was afforded " {Daily 
 Telegraph, June 21, 1869). Since 1869 Miss Irwin has fulfilled 
 important engagements at the Vaudeville, Drury Lane, Globe, 
 Prince of Wales's, and Haymarket Theatres, in London. She has 
 several times accompanied Mr. Toole on his provincial tours, 
 playing leading characters in all his pieces ; and was a member of 
 the so-called ' Caste ' company. Among principal parts Miss Irwin 
 has played the following at various theatres in the provinces, viz. : 
 May Edwards (' Ticket-of- Leave Man '), Marguerite (' Turn of the 
 Tide '), Little Don Giovanni, Aladdin, Mary Belton (' Uncle Dick's 
 Darling'}, xMaria ('Twelfth Night'), Ophelia, Polly ('Beggar's 
 Opera '), Phcebe (' Paul Pry '), and Little EmUy in the play of that 
 name. To these may also be added : Diana Vernon (' Rob Roy '), 
 Clairette (' Madame Angot '), Esther and Polly Eccles (' Caste '), 
 Mary Netley and Blanche Haye (' Ours '), Bella and Naomi Tighe 
 (' School '), Black-Eyed Susan, Violet (' Life of an Actress '), Lydia 
 Languish, &c. 
 
 During the greater part of 1877 Miss Irwin was a member of the 
 Haymarket company, and accompanied Mr. Buckstone on his 
 farewell tour through the provinces, playing leading parts in ' The 
 Rivals,' ' Pygmalion and Galatea,' &c. 
 
JAMES, DA VID. 209 
 
 JAMES, DAVID (a nom de tMdtre), made his first appearance 
 on the London stage at the Princess's Theatre during the manage- 
 ment of Mr. Charles Kean in a subordinate part. He was after- 
 wards engaged at the Royalty Theatre, where, in Mr. Burnand's 
 burlesque ' Ixion ; or, the Man at the Wheel,' he played the part of 
 Mercury. Mr. James subsequently joined the company of the Strand 
 Theatre, of which he remained a member for nearly six years, and 
 where he attained some distinction as an actor, chiefly in burlesque. 
 Among pieces in which he was more than ordinarily successful 
 during this engagement may be mentioned, ' One Tree Hill ' 
 (H. T. Craven), produced April 1865, in which Mr. James played 
 the part of Tom Foxerj an operatic extravaganza by Mr. Burnand 
 entitled 'Windsor Castle,' first performed June 5, 1865, in which 
 he played the part of Will Somers, the Court Jester ; the same 
 author's burlesque of ' L'Africaine,' produced November 18, 1865, 
 in which Mr. James was Neluska; ' The Heir-at-Law,' revival in 
 February 1870, in which he sustained the part of Zekiel Homespun 
 " in a quiet natural manner, which at once brushes from the mind 
 all remembrance of the vigorous dancer of 'breakdowns'" (Times, 
 February 7, 1870). In this part Mr. James achieved a sort of 
 surprise, according to the Daily News (February 7, 1870), " by 
 giving to this character, which is merely the conventional and 
 intensely artificial stage-countryman of bygone times, a vitality and 
 interest which few could have expected. The scene in which he 
 rejects with scorn and loathing, mingled with sorrow at the dis- 
 covery of the baseness of an old friend, the offensive proposal of 
 the Honourable Dick Dowlas for a formal liaison with his sister, 
 was really a powerful piece of acting." 
 
 In conjunction with Messrs. Montague and Thome, Mr. James 
 entered upon the management of the Vaudeville Theatre in 1870. 
 On Saturday, April 16 of that year, the management opened the 
 theatre with a farce entitled ' Chiselling '; a new comedy by the late 
 Andrew Halliday entitled ' For Love or Money '; and a burlesque 
 entitled ' Don Carlos ; or, the Infante in Arms.' Since his con- 
 nection with the Vaudeville Theatre Mr. James has played the 
 following parts with considerable success, viz. Mr. Jenkins, in 
 Albery's comedy 'Two Roses,' produced June 4, 1870; Bob Proui, 
 in a comedy by the same author entitled ' Apple Blossoms,' first 
 performed September 9, 1871 ; Sir Benjamin Backbite, in a very 
 successful revival of 'The School for Scandal,' July 18, 1872 ; Gold- 
 jfinch, in 'The Road to Ruin,' revived in 1873; Sir Ball Brace, in 
 a comedy by James Albery entitled ' Pride,' first performed April 
 1874; and Perkyn Middlewick, in H. J. Byron's comedy 'Our 
 Boys,' produced at the Vaudeville Theatre Saturday, January 16, 
 1875, and removed from the playbills Friday, April 18, 1879— the 
 most extraordinary " run " ever attained by a play. " The Perkyn 
 Middlewick of Mr, David James and the lodging-house servant of 
 Miss Cicely Richards would be unworthily treated by merely a passing 
 
2IO THE DRAMATIC LIST. 
 
 word of conventional praise. The artistic impulse of Mr. David 
 James is so keen that it refuses to be fettered. In spite of the fact 
 that the character of the old butterman is often awkwardly por- 
 trayed — though his pathetic utterances are not naturally introduced, 
 springing out of nothing, governed by little motive, and marred by 
 the wilful introduction of some verbal eccentricity — the artist is 
 determined to fix the man vividly on the mind, and to show how 
 thoroughly humour is appreciated. In walk, manner, gesture, in- 
 tonation, and dress we perceive Pcrkyn Middlewick, the butter- 
 man. Clever lines were never more admirably spoken, and carica- 
 ture seldom conveyed with less exaggeration. Well might the 
 audience appreciate the twinkle of delight with which the old fellow 
 questions his boy on the details of his foreign trip, with an honest 
 sense of pride in the possession of his hard-earned capital; the 
 fussy vulgarity of the ex-tradesman when he finds himself on the 
 same social platform as his friend the baronet ; his irritation under 
 correction ; his natural and tender love for his boy, which will 
 come welling up, swamping all the obstinacy and deterrnination for 
 which he considers himself famous ; his "horror to find that the 
 eggs the lad has been taking in his poverty are merely ' shop 'uns,' 
 and that his bread has been buttered with ' Dosset.' These are 
 but few of the points of a thoroughly characteristic and intelligent 
 specimen of acting. One more character has been added to the 
 list of successes achieved by Mr. David James in Perkyn Middle- 
 ■wici, the retired butterman." {Daily Telegraph, January i8, 1875.) 
 On Saturday, April 19, 1879, first performance at the Vaudeville 
 Theatre of ' Our Girls,' " a new and original " comedy, by Mr. H. J. 
 Byron, designed to take the place of ' Our Boys,' Mr. James 
 played with great effect the part of Plantagetiet Potter — a hard 
 and literal representation of an uncultivated, but lucky and powerful, 
 commercial gambler. " In all his actions this individual proves 
 himself a vulgar, illiterate, pretentious hound, without a redeem- 
 ing feature. Insolent in his prosperity, he is in his defeat cowardly 
 and abject, and he treats with absolute brutality the wife who has 
 sunk herself low enough to share his fate. Inasmuch, however, as 
 this character has to be played by Mr. James, who presents it with 
 artistic truth and sincerity, it is sought to give it some claim on 
 sympathy." {Atketiceum, April 26, 1879.) 
 
 JAMES, MRS. LITHGOW. See St. JOHN, MARGARET 
 
 Florence. 
 
 JECKS, CLARA, daughter of Mrs. Jecks (HARRIET COVENEY), 
 commenced her dramatic career in July 1873 at the Opdra Coniique 
 in Burnand's ' Kissi-Kissi.' In the same year, during the autumn, 
 she played a round of soubrette parts at Drury Lane Theatre ; and 
 at Christmas sustained a leading part there in Blanchard's panto- 
 mime of ' Jack-in-the-Box.' She has appeared in other pantomimes 
 at the same theatre. At the Adelphi Theatre in 1877, i" the 
 character of Lord Eden in ' Formosa,' she " displayed both good 
 taste and spirit in a considerable degree" {Times, November 2, 
 
ySFFERSON, JOSEPH. 211 
 
 1877) ; and in the two following years acted there in ' Proof,' ' The 
 Crimson Cross' (as Gontratz), 'The Ticket-of- Leave Man' (as 
 Sam), 'Amy Robsart ' (as Janet Foster), &c. Miss Clara Jecks is a 
 promising pianist and vocalist, a pupil of Madame Helene Greiffen- 
 hagen. 
 
 JECKS, MRS. Sie COVENEY, HARRIET. 
 
 JEFFERSON, JOSEPH, was born in Philadelphia, February 20, 
 1829. He is descended of an old theatrical family, his grandfather, 
 Joseph Jefferson, comedian, having been a special favourite at the 
 Chestnut Street Theatre in that city in the first years of the present 
 century.* Mr. Jefferson's father was a scenic artist who became, 
 by design, a manager, and subsequently, by accident, a player. It 
 has been remarked of him (' At and After the Play,' L. Clarke Davis, 
 LippincotCs Magazine, July 1879), that he began too late and died 
 too early to make a great reputation as an actor, though he was 
 accounted a fair one. The subject of the present record very early 
 entered the dramatic profession in the United States, and earned 
 distinction in a great variety of comic parts, ranging from Bob 
 Acres, in the higher range of English comedy, to Caleb Phimmer 
 in the domestic drama of more recent years. When only three 
 years old he appeared on the stage as Rolla's child. Like most 
 English actors, Mr. Joseph Jefferson studied the rudiments of his 
 profession "strolhng." In 1849 "^^e entered into partnership with 
 Mr. John EUsler to take a company over the Southern Circuit, 
 which included all cities south of Richmond between the Atlantic 
 and the Gulf. The writer from whom these facts are quoted (Mr. 
 Clarke Davis) says : — " Now it was that ' hard times ' ceased knock- 
 ing at his door, and for the first time in his life he began to gather 
 in money faster than butcher or baker could take it from him." 
 From 1852 to 1856 Mr. Jefferson was in Baltimore, first at the 
 Holiday Street Theatre, then at the Museum; the next year he 
 was in New York at Laura Keene's Theatre, " opening " the season 
 for her as Dr. Pangloss. " But his thorough recognition by the 
 public as a great and original artist of comedy was delayed in that 
 city until the next season, when, on October 18, 1858, was produced 
 for the first time on any stage Tom Taylor's play of ' Our American 
 Cousin.' The cast was a remarkable one, embracing the names of 
 Jefferson, Sothern, Couldock, and Peters ; and Laura Keene and 
 Mary Wells, Effie Germon and Sarah Stevens." Mr. Jefferson 
 
 * "Mr. Joseph Jefferson was an actor formed in Nature's merriest 
 mood, a genuine son of Momus. There was a vein of rich humour running 
 through all he did which forced you to laugh despite yourself. . . . His 
 excellent personation of old men acquired for him before he had readied 
 the meridian of life the title of Old Jefferson. . . . His versatility was 
 astonishing — light comedy, old men, pantomime, low comedy, and occa- 
 sionally juvenile tragedy. . . . He was the reigning favomrite of the 
 Philadelphia Theatre for a longer period than any other actor ever attached 
 to the city, and left it with a reputation all might envy." — Wemyss's 
 Theatrical Biography. 
 
 P 2 
 
2 1 2 THE DRA MA TIC LIS T. 
 
 played Asa Trenchard on the occasion, and, discarding all the 
 traditions of the theatre, ''presented to the audience a Yankee 
 entirely new to them." In i860 he first began playing his inimit- 
 able impersonation of Rip Van Winkle^ from a play founded on 
 Washington Irving's story by Charles Burke, an American actor of 
 some repute in his day. During the Civil War Mr. Jefferson pro- 
 fessionally visited the Australian colonies, and returning home by 
 way of Liverpool, rested for a few days in London, where Mr. 
 Benjamin Webster offered him an engagement at the Adelphi 
 Theatre if he would appear in a new play. Writes Mr. Clarke 
 Davis : — " He had none, but instinctively turned to Rip, for he had 
 played the old version of Burke's, as altered by himself, with great 
 success in the British colonies. He asked Boucicault to reconstruct 
 it, and give it the weight of his name. Many of the suggestions of 
 changes came from Jefferson, and one at least from Shakespeare. 
 Boucicault shaped them in a week, and in the end received three 
 thousand pounds for doing it ; but he had no faith in the success 
 of his work, and told Jefferson that it could not possibly keep the 
 stage for more than a single month." 
 
 It is in the character of Rip Van Winkle Mr. Joseph Jefferson is 
 best known to Englishmen, and he made his first appearance in 
 that part before a London audience, at the Adelphi Theatre, on 
 Monday, September 4, 1865. A drama under the same name had 
 been performed at the elder establishment, the old Adelphi, in the 
 month of October 1832. The cast had included the late Mr. Yates 
 — whose representation of Rip in old age is mentioned in contem- 
 porary journals as having been marvellously fine in its natural and 
 artistic power — and Messrs. John Reeve, J. B. Buckstone, O. Smith, 
 W. Bennett, and Miss Novello. Mr. Bernard was the author of 
 the earlier adaptation. Mr. Jefferson achieved a triumphant success 
 on the first night of his appearance in London. He has now the 
 reputation in this country of being one of the most genuine artists 
 who has at any time appeared on the English stage. "In Mr. 
 Jefferson's hands," remarked the Times (September 6, 1865), "the 
 character of Rip Van Winkle becomes the vehicle for an extremely 
 refined psychological exhibition. In the first act he appears as 
 a fine hearty man, aged about thirty years, with a frank, open 
 countenance, rendered rather picturesque than otherwise by his 
 dishevelled hair and tattered garments. He is so confirmed a 
 drunkard that he has not so much as a sober interval. He will 
 drink in company or he will drink alone ; but under any circum- 
 stances, if a cup of Schiedam comes within his reach, he will not 
 let it go till it is empty; and yet his vicious inclination can 
 scarcely be called morbid. His potations rather improve than 
 spoil his temper ; and, far from seeking to drown care in the bowl, 
 he is such a happy-go-lucky sort of wight that he has no care to 
 drown. He is beaming with a perpetual good nature, to which 
 alcohol seems to be the necessary aliment, and which is rendered 
 additionally unctuous by his dialect — a dialect, we may observe, 
 that seems to be more German than Dutch in its character. Even 
 though he greatly fears his wife, and almost execrates her in the 
 presence of his boon companions, we perceive that there is nothine 
 
JEFFERSON, JOSEPH. 213 
 
 very harrowing in his terror, and that his disUke cannot approach 
 malignity. The expression of any emotions is accompanied by a 
 chuckle, as if he thought with Rabelais, that life is at best a farce, 
 and was determined to take things easy. It is only when his wife, 
 exasperated by his persistent inebriety, turns him out of doors into 
 a stormy night that he is stricken to the heart, and even then he is 
 only hurt — he is neither desperate nor vindictive. This freedom 
 from malice always enlists the sympathies of the audience on the 
 side of disreputable Rip, and however the declamations of his 
 wife may delight teetotallers, impartial observers, who see such very 
 good-humoured vice placed in juxtaposition to such very cross 
 virtue, cannot help siding with the former. Let it not be supposed, 
 however, that Rip is altogether a fool. A roguish money-lender, 
 who, by making him a shade more drunk than usual, hopes to trap 
 him into an alienation of important rights, is suddenly met by a 
 petrified smile, plainly showing that business is impossible. The 
 man is as void of expression as a toad ; but he is also as immovable. 
 In the short second act, which is occupied by the meeting of Rip 
 Van Winkle with the ghostly Hudson and his spectral crew, there 
 is no further development of character; but when the Dutchman 
 wakes in the third act, after a sleep of twenty years, the portraiture 
 progresses. He is now an aged man, with white flowing hair and 
 beard, who must be seventy or eighty years of age ; and although 
 the change from the Rip of the first act is greater than could 
 possibly have been effected by the mere lapse of four lustra, we 
 would rather attribute the completeness of the transformation to 
 the effect of Hudson's infernal beverage than suggest a correction 
 of the seeming exaggeration. . . . The aged ^z^ has not altogether 
 lost the disreputable peculiarities of his younger days. He cannot 
 even now resist the temptation of a cup of schiedam when one is 
 presented to him; but his former nature is toned down, and his 
 affectionate disposition is more visible on the surface. Thinking 
 that the woman whom he has so often execrated is dead, he honours 
 her with a tear, and his love for the daughter, whom he left a little 
 girl, crying over his expulsion, and whom he finds a full-grown 
 woman, asserts itself with all force." 
 
 The Press was unanimous in praise of Mr, Jefferson. The 
 Saturday Review (September 23, 1865) thus alluded to the per- 
 formance : — " If we state that every possible detail of character that 
 could be produced under the circumstances supposed is represented 
 with the most perfect ease — an art that thoroughly conceals art 
 being aided by a happy union of natural qualities — we shall have 
 implied that Mr. Jefferson has already taken a high position among 
 modern theatrical artists. . . . There is no doubt that Mr. Jefferson 
 will for some time to come remain the leading object in the eyes of 
 the playgoing world ; and in the meanwhile we may praise Mr. 
 Boucicault for the clever manner in which he has fitted an old 
 story,'twice dramatized already, to the peculiarities of so original an 
 actor." The Examiner, September 23, 1865,* considered that the 
 
 * Compare Journal of a London Playgoer, Professor Henry Morley, 
 p. 380. 
 
314 THE DRAMATIC LIST. 
 
 drama in the third act was at its poorest, but Mr. Jefferson was at his 
 best. " Retaining his old Dutch English with a somewhat shriller 
 pipe of age in its tone, he quietly makes the most of every oppor- 
 tunity of representing the old man's bewilderment His timid 
 approaches to an understanding of the change he finds ; his faint 
 touch of the sorrow of old love in believing his wife dead, and 
 reaction into humorous sense of relief; his trembling desire and 
 dread of news about his daughter ; and, in a later scene, the pathos 
 of his appeal to her for recognition, are all delicately true. It is 
 doubtful whether, in such a drama, more could be done by the 
 best effort of genius to represent the Rip Van Winkle of whom 
 Washington Irving tells. It is certain that in a play more closely 
 in accordance with the spirit of the story, Mr. Jefferson's success, 
 real as it is, would have been yet more conspicuous." Since Mr. 
 Jefferson's first appearance in London as Rip Van Winkle he has 
 appeared only in this character during his periodical visits to 
 England, with the following exceptions, namely, at the Prince's 
 Theatre, Manchester, where he appeared, for one night only in 
 May 1866, in a piece by Boucicault called 'The Parish Clerk'; and 
 at Drury Lane Theatre, in March 1877, and at the Haymarket 
 Theatre, in June, when he played Mr. Goligktly in ' Lend me Five 
 Shillings,' and (at the last-named) Sir Hugh de Brass in 'A 
 Regular Fix.' 
 
 JOHNSON, SAMUEL, born in Ayrshire; son of a well-known 
 actor and manager of a circuit of theatres in the west of Scotland. 
 He first appeared on the stage at the theatre at Maryport, in 
 Cumberland, at the age of fourteen, in the part of Bartolo in ' The 
 Wife.' In 1853 Mr. Johnson became partner with Mr. John Cole- 
 man in the management of the Theatre Royal, Sheffield, and pro- 
 duced there a version of ' Uncle Tom's Cabin,' which was played 
 for forty nights, " at that time considered an extraordinary ' run ' 
 in the provinces for anything but pantomime." In 1855 he joined 
 Mr. E. D. Davis's company at the Lyceum Theatre, Sunderland, 
 opening as Touchstone in ' As You Like It.' After the destruction 
 of that theatre by lire at Christmas in the same year, Mr. Johnson 
 went to Newcastle-on-Tyne under the same management, returning 
 when the " Lyceum," which had been rebuilt in the interval, re- 
 opened in September 1856. It was on this occasion that Mr. 
 Henry Irving made his first appearance on the stage. Mr. John- 
 son made his debut on the London stage at the Lyceum Theatre in 
 1859 in the Savage Club burlesque of ' The Forty Thieves,' in which 
 he acted the part of Cassim Baba. In i86o he accepted a three 
 years' engagement at Edinburgh Theatre Royal, where, in addition 
 to the usual round of low comedy, he played an extensive series 
 of Scotch characters, Nicol Jarvie, Dumbiedikes, Jock Howie- 
 son, &c. Returning to London, Mr. Johnson was subsequently 
 engaged at St. James's Theatre under the management of Frank 
 Matthews, " opening " in an original farce, ' The Carte-de-Visite,' by 
 Montague Williams, and as Golden-hair the Good in a " fairy tale " 
 by H. J. Byron. 
 
JOHNSTONE, JAMES. 215 
 
 In 1864 Mr. Johnson joined the company of the Theatre Royal, 
 Dubhn, "opening" there on October 10 as the First Gravedigger 
 in ' Hamlet.' He was attached to this theatre for ten years, playing 
 all the legitimate comedy, more particularly Zekiel Homesptm, Dr. 
 Ollapod, Bob Acres, Touchstone, Dogberry, &c. ; and during the 
 summer months visiting the provincial towns in the south of 
 Ireland, adding to his r^ertoire the characters ai Myles-na-Coppa- 
 leen, Shaun the Post, Conn the Shaughraun. It is worthy of 
 mention that this engagement of Mr. Samuel Johnson is noticed in 
 appreciative terms in an interesting little volume. History of the 
 Theatre Royal, Dublin, published in that city in 1870. At the 
 end of his long period of service there, Mr. Johnson went in 1874 to 
 Belfast, opening at the Theatre Royal as Bail lie Nicol Jar vie, and 
 afterwards, with Mr. Warden's company, visiting Edinburgh and 
 Glasgow and appearing in a series of the old comedies. In July 
 
 1878 he was engaged by Miss Bateman for a short season at the 
 Lyceum Theatre, playing Inspector Follit in ' Mary Warner ' ; and 
 on the opening of the same theatre under Mr. Irving's management, 
 December 30, 1878, reappeared there as the First Gravedigger 
 {' Hamlet'), a part which he played throughout the summer season 
 
 1879 with much success. 
 
 JOHNSTONE, JAMES, was born in London, 1817, and made 
 his first appearance on any stage in 1837, at Pym's private theatre, 
 in the character of /ago. He made his dSut on the London stage 
 in August 1847, at the Marylebone Theatre, then under the 
 management of Mrs. Warner, as Polixenes in ' A Winter's Tale.' 
 He has since appeared "in all the principal theatres of England, 
 Scotland, and Ireland." In the year 1866 he was engaged by Mr. 
 F. B. Chatterton, and was for five years stage-manager under him 
 at Drury Lane Theatre. In 1876 he was stage-manager at the 
 Princess's Theatre during an engagement of Mr. Jefferson {Rip 
 Van Winkle). In 1878 Mr. Johnstone was engaged at the Park 
 Theatre (London), playing in Irish drama, 'Peep o' Day,' 
 'Shaughraun,' &c. At Easter of the same year he accepted an 
 engagement at the Adelphi Theatre, and played in the drama of 
 ' Proof during the successful run of that piece (241 nights). 
 
 JOSEPHS, FANNY (a nom de the&tre), entered the dramatic 
 profession at a very early age, under the tutorage of her father, who 
 held a position at the Dublin Theatre. She made her cUbut on 
 the London stage Saturday, September 8, i860, at Sadler's Wells 
 Theatre, in the part of Celia in a revival of ' As You Like It.' 
 Afterwards at the same theatre she played Perdita in a revival of 
 'A Winter's Tale.' In 1861 Miss Josephs joined the company of 
 the Strand Theatre, of which she continued a member for some 
 time, attaining considerable popularity, chiefly as an actress in 
 burlesque. In 1866, on the opening night of the Holborn Theatre, 
 under Mr. Sefton Parry's management, Saturda)-, October 6, she 
 played the part of Lord Woodbie, first performance of Boucicault's 
 drama ' Flying Scud.' In 1868 she entered upon the management 
 
2 1 6 THE DRA MA TIC LIS T. 
 
 of the same theatre, and produced on the opening night ' The Post 
 Boy,' by H. T. Craven, and a burlesque by F. C. Burnand entitled 
 'The White Fawn.' In 1871, October 7, Miss Josephs appeared at 
 the Globe Theatre in H. J. Byron's comedy 'Partners for Life,' 
 then performed for the first time. Two years later she accepted an 
 engagement at the Prince of Wales's Theatre, and in September 
 1873 appeared there as Bella in a revival of 'School'; and at 
 Easter, 1874, as Lady Sneerwell in a revival of 'The School for 
 Scandal.' " Special mention should be decidedly reserved for the 
 Lady Sneerwell of Miss Fanny Josephs — a small character, it is 
 true, though what character is small in the hands of an artist? 
 Following the example so frequently and unselfishly set by Mrs. 
 Bancroft for so many years. Miss Josephs took the small and, as it 
 is called, ungrateful character, and made her mark. The dancing 
 of Miss Fanny Josephs in the introduced minuet would have 
 astonished the most critical grandmother. One can well believe in 
 the old-fashioned horror of valses and polkas when we see such 
 charming grace and true elegance as this." {Daily Telegraph, 
 April 6, 1874.) In 1876 Miss Fanny Josephs appeared at the 
 Olympic Theatre in a play, adapted by Mr. W. Muskerry from 
 the French of M. BarriSre, entitled ' The Gascon ; or. Love and 
 Loyalty.' On Saturday, March 31, 1877, first performance at the 
 Criterion Theatre of ' The Pink Dominos,' adapted from the French 
 of MM. Hennequin and Delacour (' Les Dominos Roses'), she 
 played the part of Lady Marie Wagstaff. Miss Josephs appeared 
 in the same character at the same theatre during the run of the 
 piece. In the summer season of 1879 Miss Josephs became lessee 
 and manager of the Olympic Theatre, "opening" in July with a 
 five-act drama, by Paul Meritt and Henry Pettitt, entitled 'The 
 Worship of Bacchus,' described in a contemporary journal as "a 
 good specimen of a poor class of work, its chief fault being the 
 absence of originality." It proved unattractive. On its withdrawal 
 Mr. Mayo, an American actor of some celebrity, appeared in a piece 
 in which he had been very successful in the United States, entitled 
 'Davy Crockett,' "an Idyll of the Backwoods." This likewise 
 failed to enlist the support of the public. 
 
KEAN, MRS. CHARLES. 217 
 
 KEAN, MRS. CHARLES {nde TREE, Ellen), relict of the late 
 Charles Keati ; born in 1806. She first appeared in public at the 
 Theatre Royal, Covent Garden, in the character of Olivia in 
 Shakespeare's play of ' Twelfth Night.' Having subsequently ful- 
 filled various engagements at Edinburgh and Bath, in 1826 she 
 was engaged at Drury Lane Theatre, and made her first appear- 
 ance there as Violante in ' The Wonder.' Writing of her in that 
 year, Talfourd remarked of Ellen Tree : — " She has not the vocal 
 power of Miss M. Tree [Maria Tree, afterwards Mrs. Bradshaw], 
 nor that peculiar crispness of tone and delicacy of style which 
 enabled her almost to hint how the women of Shakespeare should 
 be played ; but she is much handsomer, and is better adapted both 
 by figure and manner to represent the heroines of comedy. It has 
 been her misfortune to appear at the commencement of the season 
 when the company was incomplete and when there was occasion 
 for her services in a greater range of parts than she is as yet pre- 
 pared to fill. She has played successively Violante, Letitia Hardy, 
 Rosalie Somers, A Ibina Mandeville, Lady Teazle, and Jane Shore, 
 risking fearful odds in every trial, and, of course, with unequal 
 success, but exhibiting in all good sense, feeling, and taste. Of 
 these we think Albina Mandeville — which is an excellent picture 
 of the hoyden softened by the lady — the best, and her Lady Teasle 
 considerably the worst. Her Jane Shore, graceful, unpresuming, 
 and feeble, gave no reason to believe that tragedy will ever be her 
 i forte, but afforded assurance that she will beautifully express the 
 milder sorrows of the sentimental drama." In 1829, at Covent 
 Garden Theatre, Miss Ellen Tree sustained the part of Lady 
 Townley in ' The Provoked Husband ' with much success. She 
 was the " original " Mariana in Sheridan Knowles's play of ' The 
 Wife ' ; the Countess, in the same author's play of ' Love ' ; the 
 heroine of Miss F. Kemble's ' Francis the First,' &c. Between 
 1836 and 1839 Miss E. Tree visited the United States of America. 
 She was an actress of considerable repute previous to her marriage 
 with the late Charles Kean, which took place on January 29, 1842. 
 In that year she appeared with her husband at the Haymarket 
 Theatre, under Mr. Benjamin Webster's management, in various 
 Shakespearian plays and other examples of the poetic drama — 
 ' Twelfth Night,' ' Hamlet,' ' Macbeth,' ' The Stranger,' ' The Lady 
 of Lyons,' 'The Gamester,' &c. Mrs. Charles Kean was at that 
 time considered, according to the Athenaum (April 16, 1842), the 
 most gentle and affecting representative of Mrs. Beverley on the 
 stage — " she sets the ladies sobbing for sympathy with her sorrows." 
 On Saturday, June 4, 1842, first performance at the Haymarket of 
 Sheridan Knowles's play 'The Rose of Arragon,' Mrs. Charles 
 Kean sustained the character of the heroine. "The Olivia of 
 Mrs. Kean was pervaded by an earnest and thrilling expression of 
 womanly feelirig. Her parting with her husband, her terrible scene 
 with Almagro, and that blushing passage in her scene with her 
 
2 1 8 THE DRA MA TIC LIS T. 
 
 brother, where she reveals the outrage that had been committed 
 upon her by Ahiiagro, were alike distinguished by the purity and 
 pathos of their dehvery." {Atlas, June ii, 1842.) 
 
 During the seasons 1842-3, 1843-4 she acted with her husband 
 in the several revivals produced under his superintendence at the 
 Haymarket and Drury Lane Theatres. In 1846, during Mr. and 
 Mrs. Charles Kean's visit to the United States, they produced at 
 the Park Theatre, New York, the play of 'The Wife's Secret,' 
 written specially for them by Mr. Lovell. On Monday, January 17, 
 1848, this piece was performed for the first time in England at the 
 Haymarket Theatre— Ar Walter Amyott, Mr. C. Kean ; Lady 
 Eveline Amyott, Mrs. C. Kean ; Jabez Sneed, Mr. Benjamin 
 , Webster; Maud, Mrs. Keeley ; Lord Arden, Mr. Howe. The 
 TUnes (January 18, 1848), noticing the performance, said : — -^^ Lady 
 Eveline, the wife, is played to perfection by Mrs. Charles Kean. 
 She makes the character exquisitely gentle and feminine, rising on 
 occasion to haughtiness of conscious right, and looking with abhor- 
 rent indignation at the imputation of wrong. It was by the admir- 
 able preservation of the tenderer side of the character that the 
 sterner traits produced their effect, for in her whole performance 
 there was nothing forced or exaggerated. While conscious that 
 she has a secret which she cannot disclose to her husband, the 
 honest fearlessness with which, in one of the critical situations of 
 the piece, she looks unshrinkingly into her husband's face is beauti- 
 fully conceived, and when, towards the end, she is plainly accused 
 of infidelity, the change in her countenance, and the deliberate 
 manner in which she says, 
 
 ' I did not think 
 I could so nearly hate thee,' 
 
 is exceedingly fine. It should be observed that although she is 
 aware she is suspected of harbouring a fugitive, it is not until late 
 that she finds a doubt is entertained as to her virtue, and the dis- 
 closure of this doubt comes upon her like a thunderbolt, the shock 
 of which her pure soul is unable to sustain. The intrinsic goodness 
 of the Lady Eveline is never lost sight' of by Mrs. Kean, who 
 endows virtue with all its cheerfulness and all its indignation." 
 The Morning Herald (January 18, 1848) remarked of her acting : — • 
 " Mrs. Charles Kean has not lost any of those native traits which 
 were always so becoming and fascinating. . . . Her portraiture of 
 the heroine was a delicate sketch of feminine goodness and purity, 
 winningly gentle in the moments of love' and confidence, though 
 weighed down with the burthen of an unwilling 'secret'; but almost 
 subUme in the tearful and impassioned vindication of her truth in 
 the closing scenes of the drama. A more exquisite and touching 
 performance than this is not to be found in the records of the 
 stage." 
 
 Commenting upon Mrs. Kean's performance at the Haymarket 
 Theatre, in June 1848, of the part of Clara Douglas in 'Money,' 
 a contemporary journal remarks of it that " nothing more perfect 
 was ever witnessed on the stage. It was nature itself, refined and 
 
KEAN, MRS. CHARLES. 219 
 
 idealized ; but still nature.'' On November 1 1 of the same year, at 
 the same theatre, she played Viola in a " revival " of Shakespeare's 
 'Twelfth Night.' "Mrs. Charles Kean was the Viola, and her 
 excellent impersonation of the character is now traditional. Of 
 modern actresses Mrs. Kean is the only one who presents it in its 
 sweetness and its depth. The poetry and the melancholy are there, 
 as well as the assumed gaiety. Not a tone of her voice but touches 
 the heart. . . . Viola with Mrs. Kean puts not off the woman with 
 her attire, but becomes yet more womanly." {Athenaum, Novem- 
 ber 18, 1848.) On Wednesday, June 20, 1849, she played at the 
 Haymarket the character of Katharine Lorn, first performance of 
 Westland Marston's tragedy ' Strathmore.' This piece was a con- 
 siderable success. The following year, in conjunction with Mr. 
 Keeley, Mr. Charles Kean entered upon the management of the 
 Princess's Theatre, and on the opening night of his first season 
 there produced Shakespeare's ' Twelfth Night,' and a farce entitled 
 ' Platonic Attachment.' In the first-named comedy the cast in- 
 cluded the following admirable players : — Mr. Keeley, Sir Andrew 
 Aguecheek J Mr. Harley, the Clown; Mr. Ryder, Antonio; Mr. 
 Addison, Sir Toby Belch; Mr. Meadows, Malvolio ; Mr. J. F. 
 Cathcart, Sebastian; Mrs. Charles Kean, Viola. The house was 
 crowded to excess. The piece of the evening formed the inaugural 
 performance of a series of Shakespearian representations at the 
 Princess's Theatre produced under Mr. Kean's superintendence, 
 which, in the completeness and magnificence of their display, have 
 never been excelled in the history of the Enghsh stage. Mrs, 
 Charles Kean's acting of her favourite character on this occasion 
 was thus spoken of : — " Mrs. Charles Kean's Viola is one of those 
 charming impersonations which silence criticism. Skilful distribu- 
 tion of light and shade, mixed gaiety and sadness, naivet^ and 
 poetry are the attributes which in this part present her to us as an 
 inimitable actress. These qualities, combined with the touching 
 tones of her voice and the strong passion of her delivery, make her 
 irresistible in characters of the kind. Her power in all these 
 respects was never more perfectly exhibited than on the present 
 occasion." On Monday, September 30, 1850, she played the part 
 of Ophelia at the Princess's Theatre ; and on Saturday, November 9 
 of the same year, the part of Isoline in ' The Templar ' of A. R. 
 Slous, a play which met with extraordinary success. 
 
 During the season Mrs. Kean played Lady Percy (' Henry the 
 Fourth') ; Violante ('The Wonder') ; Rosalind ('As You Like It"), 
 spoken of as being " one of the most original of her performances. 
 In buoyancy, vivacity, and sweetness it can scarcely be surpassed." 
 In 185 1, Monday, 17th March, she played the heroine in John 
 Oxenford's drama ' Pauline,' then first performed in London at the 
 Princess's Theatre ; and on Wednesday, June 4, Mdlle. Lestelle de 
 Belle Isle, in 'The Duke's Wager' (A. R. Slous), a version of 
 M. Dumas' ' Mdlle. de Belle Isle.' On Monday, February 9, 
 1852, Mrs. Kean sustained the part of Constance in ' King John,' 
 which was produced at the Princess's on a scale of magnificence 
 never before surpassed, either by Macready or Phelps, and with a 
 
220 THE DRAMA TIC LIST. 
 
 profusion of accessories that even in those days of special attention 
 to mise en seine was pronounced to be unexampled. Said the 
 Spectator (February 14, 1852) : — " Altogether, great care and artistic 
 conscientiousness are the leading characteristics of Mr. Charles 
 Kean's present career. They are now even the distinguishing 
 marks in his acting. . . . The same spirit of completeness extends 
 to Mrs. Kean's Coyistatice. She has a more complete management 
 of her voice than on many former occasions, and while she gives 
 full play to the rage and pathos of the character, she does not force 
 us to reflect on an inadequacy of physical force to meet the requisi- 
 tion of mental energy." The Times (February 10, 1852) wrote of 
 Mrs. Kean's impersonation of Constance as follows : — " As for 
 Mrs. Kean, it is long since she had a part displaying her to such 
 advantage as Constance. The mother's fondness was constantly 
 kept in view in the earlier scenes, as a preparation for the storms 
 of grief and rage that were to arise when the loved object was 
 snatched away. The tone in which she addressed Austria, after 
 she had vented her first indignation at the French for their deser- 
 tion of her cause, was finely discriminated. Her wrath had hitherto 
 been vehement, but here it grew calm with intensity and slow of 
 utterance ; it was rage accompanied with contempt. The agonies of 
 grief were commanding in their force, and we seldom see nowadays 
 such a complete abandonment of the actress to the spirit of the 
 scene as in the torrent of woe with which she bewailed the loss of 
 her son. It was a grief exulting in its own abundance, and claiming 
 reverence from all who beheld it." 
 
 During the same year two new pieces were produced at the 
 Princess's Theatre, in which Mrs. Kean sustained a principal role, 
 viz. 'The Trial of Love' (Lovell), on June 7, 1852; and 'Anne 
 Blake' (Westland Marston), in October 1852. On Saturday, 
 January 12, 1853, was performed Douglas Jerrold's play 'St. Cupid,' 
 first represented on the stage at Windsor Castle, before the Queen, 
 Prince Consort, and royal household. Mrs. Kean played her ori- 
 ginal character, Dorothy Bt-tdd. The Spectator (January 29, 1853), 
 examining the merits of this production, said : — " To a man of real 
 literary genius like Mr. Jerrold, the aspect of the drama at the time to 
 which we more especially refer — the time immediately preceding 
 Mr. Macready's management of Covent Garden — must have been 
 particularly revolting. The large theatres were professedly devoted 
 to opera and spectacle. ... In that evil day Mr. Jerrold stood as 
 one of the very few practical representatives of the literary drama. 
 What wonder, then, that finding ' effects ' and the melodramatic 
 aids of the art in the hands of the enemy, he should eschew them 
 and endeavour to make language alone the important affair in a 
 dramatic work ? . . . . Hence originated his good qualities and his 
 defects. The power of repartee has been developed in him to a 
 degree that claims unmixed admiration, the author having so used 
 it as to have formed a distinctive style of his own, almost as 
 peculiar as that of Mr. Thomas Carlyle ; but his story and his 
 characters rarely lay a strong hold on the sympathies. What we 
 have just said generally will apply particularly to Mr. Jerrold's new 
 
KEAN, MRS. CHARLES. 221 
 
 three-act piece of ' St. Cupid,' played yesterday week before the 
 Queen at Windsor, and on the following night (last Saturday) at 
 the Princess's. It is a sort of pendant to 'The Housekeeper,' 
 having, like that favourite drama, the contest between Hanoverians 
 and Jacobites as an historical background. The heroine of ' The 
 Housekeeper' is a young lady who adopts the position of a superior 
 servant to captivate the heart of a recluse ; the hero of ' St. Cupid ' 
 is a young gentleman of fortune and family, who assumes the dis- 
 guise of an usher to make an impression on the daughter of a 
 suburban schoolmaster. In both the leading female character is 
 one of those combinations of sentiment and repartee which no one 
 can personate better than Mrs. Charles Kean, who so well under- 
 stands how to convey an emotion by a glance, and a point by an 
 accent. When we look for differences, the advantage is on the side 
 of ' The Housekeeper,' as being the more compact of the two." 
 
 On Monday, February 14, 1853, one of the grandest and most 
 original revivals of the Kean regime took place at the Princess's 
 Theatre, in the performance of ' Macbeth.' Mrs. Kean played the 
 heroine. According to the Athenceum (February 19, 1853), there 
 are two modes of acting Lady Macbeth. One is the cool and 
 witheringly sarcastic under which Macbeth writhes and winces, the 
 other the impassioned and determined by which he is attracted 
 and hurried on to the assassination. Mrs. Kean adopted the^ latter 
 reading. She employed great action and energy in the temptation 
 scenes, displayed much agitation during the banquet, and in the 
 somnolent soliloquies affected attitudes that were picturesque and 
 imposing. In the embodiment of this impersonation she was 
 remarkably successful ; not at all deficient, as might have been 
 expected, in the requisite physical force. 
 
 " The acting of the tragedy," said the Times (February 15, 1853), 
 "is perhaps less a-subject of curiosity than the decorations, inas- 
 much as Macbeth and his lady were favourite characters with 
 Mr. and Mrs. Charles Kean shortly before they opened the Prin- 
 cess's Theatre. But unless our memory very greatly deceives us, 
 it seems to us that Mrs. Charles Kean has adopted a version of 1 
 Lady Macbeth which differs essentially from the one which she gave ; 
 a few years back, as being much more terrible and much more ' 
 tragic. The countenance which she assumed last night when I 
 luring on Macbeth to his course of crime was actually appalling in ! 
 intensity, as if it denoted a hunger after guilt. When remorse had ; 
 taken off the first bloom of reckless courage, and she appeared I 
 heartsick in the midst of worldly success, her features were less | 
 savage, but they were not the less stern ; and her appearance at the \ 
 banquet, when by a feigned hilarity she strove to divert the atten- 
 tion of the guests from Macbeth's aberrations, was singularly 
 impressive. . . . The sleep-walking scene, calm and dignified, an 
 incarnation of agony, was admirably played, and, what is a great 
 point in this scene, was admirably looked." On Monday, June 13, 
 1853, Lord Byron's Assyrian tragedy of ' Sardanapalus ' was pro- 
 duced at the Princess's. Nothing so gorgeous, striking, and charac- 
 teristic was ever before put on the boards. It is stated to have 
 
222 THE DRAMA TIC LIST. 
 
 cost the management not less than 3000/. in its production. 
 Mrs. C. Kean sustained the part of Myrrha. Lord Byron's 
 ' Sardanapalus ' had been used by Mr. Charles Kean as a vehicle 
 for presenting to the public a series of tableaux based on the 
 researches of Mr. Layard. The scenes were of the most costly and 
 elaborate kind ; and it was said that the public, who would not 
 have gone to see the play as a tragic production, were likely to be 
 tempted to it as a sort of Panorama of Assyria. (Examiner, 
 June 18, 1853.) In May 1855, after an absence of many months 
 from the stage owing to ill-health, Mrs. Charles Kean reappeared 
 on the stage of the Princess's Theatre as Queen Katharine, in a 
 revival of Shakespeare's ' Henry the Eighth,' produced with a 
 degree of elaboration in its accessories and illustrations never before 
 exceeded in the presentation of this play. Said the Times (May 17, 
 1855) : — " We will run the risk of being charged with exaggeration by 
 declaring in most unequivocal terms that the play of ' Henry VIII.,' 
 as produced last night at the Princess's Theatre, is the most 
 wonderful spectacle that has ever been seen on the London stage. 
 Our readers may, if they please, shake their heads and shrug their 
 shoulders, but when they have become spectators as well as readers 
 we are perfectly certain of their suffrages. . . . Altogether, it was a 
 grand occasion at the Princess's. Mrs. Charles Kean, who had 
 been absent for nearly eighteen months, reappeared as Queeti 
 Katharine, and the dignified manner in which she went through 
 the trial, and the truthful details of the death, rendered this one of 
 the most striking characters in which she has yet been seen. . . . 
 If we now speak only in these general terms, it is because we 
 intend, at a future opportunity, to recur to the subject, and to state 
 in something like detail the merits of this most remarkable produc- 
 tion. Such a revival demands a careful study to appreciate its 
 various excellencies ; we now merely wish to convey the fact of an 
 extraordinary success." In a second notice of the same performance 
 — it may be remarked that the revival was eminently successful, 
 and had a " run " of 100 nights — published in the same journal, the 
 acting of Mrs. Charles Kean is thus reverted to : — " ' Pomp,' says 
 Dr. Johnson, dribbling out his little meed of praise, 'is not the only 
 merit of this play ; the meek sorrows and virtuous distress of 
 Katharine have furnished some scenes which may be justly 
 numbered among the greatest efforts of tragedy.' The return of 
 Mrs. Charles Kean to the stage in the part of Queen Katharine is 
 one of the great features of this revival, and her delineation of the 
 'meek sorrows' and 'virtuous distress' is as refined and touching as 
 possible. In her first scene (the council chamber), when she tries 
 to damp the ill-feeling against the Duke of Buckingham, she 
 conveys by her firmness, and, at the same time, by the mild tone of 
 her remonstrance, that combination of a strong sense of rectitude 
 with excessive mildness of disposition which makes the entirety of 
 her character. The revival of the scene in the third act — omitted 
 of late years— in which the Queen receives the visit of the two 
 cardinals, is most judicious, as it gives the part a development 
 which is generally missed. In the trial scene the wrongs of 
 
KEAN, MRS. CHARLES. 223 
 
 Katharine have so completely aroused the dignified element of 
 her nature, that the gentle constituent is almost forgotten, and she 
 must be followed to her own apartment in the palace, where she 
 enjoys a comparative privacy, that the extent of her suffering may 
 be appreciated. The revelation of sorrow is exquisitely made by 
 Mrs. Charles Kean. The indignation against her visitors passes 
 away, and the whole misery of her position rushes upon her at the ' 
 words, 
 
 'I am the most unhappy woman living,' 
 
 with an intensity that could not be surpassed. The last scene is, of 
 course, the most elaborate study of the whole ; she has to indicate, 
 by visible signs, the gradual but sure approach of death ; and the 
 feeble movements, the involuntary play of the hands, and the 
 uncertain gaze, are admirably sustained throughout. The dignity of 
 character, which has been so prominent at the trial, is now dis- 
 played by the offence taken by the Queen at the unmannered 
 entrance of the ' saucy fellow,' as she calls the messenger, and Mrs. 
 Kean has taken care to show how the high feeling of a lady, who, 
 though meelc, is still an Arragonese, may be tempered down by 
 physical debility into invalid pettishness ; there is even something 
 of puerile spite in her request : ' But this fellow let me ne'er see 
 again ; ' when after being seemingly pacified, she returns to the 
 subject of offence. This scene is, unquestionably, one of the most 
 arduous in the whole cycle of the English drama. All the emotions 
 that have previously influenced the Queen are brought together 
 within its limits, but the expression of these is so much altered by 
 suffering that each requires a new interpretation. There is, more- 
 over, one failing which is peculiar to the scene, and that is the 
 sentiment of rehgious resignation. Mrs. Charles Kean makes this 
 sentiment especially valuable in completing the effect produced by 
 the descent of the angels in the vision. The attitude in which, 
 half- rising from her couch, she follows with her eyes the departing 
 forms, might serve as a study for some picture of a saint's 
 'ecstasy.' " 
 
 On April 28, 1856, 'A Winter's Tale' was represented on the 
 stage of the Princess's, with such elaboration, completeness, and 
 skill, as to astonish even those who were familiar with the glories of 
 ' Sardanapalus ' and ' Henry the Eighth.' The fact that the scene, of 
 , the play is laid in Sicily had been seized upon with avidity by the 
 enterprising manager as a pretext for converting the greater portion 
 of the piece into a most costly exhibition of Grecian antiquities ; 
 while " Bohemia," changed for stage purposes into Bithynia, was 
 made to contrast the pastoral life of Asia Minor with the town 
 existence of Syracuse. In the piece Mrs. Charles Kean sustained 
 the part of Hermione. "The 'Winter's Tale,' produced at the 
 Princess's Theatre with extraordinary magnificence of decoration, 
 has revived the question of the artistic legitimateness of those 
 gorgeous accessories with which Mr. Kean has more than once 
 decked out the Shakespearian dramas. The point is by no means 
 settled, as some critics seem to think, by the consideration that 
 
224 THE DRAMA TIC LIST. 
 
 Shakespeare himself could never have, in fact, contemplated such 
 a representation of his play. If any test at all can be applied', it 
 must be furnished by the dramatist's own conception of the scene 
 in which his personages moved — by the manner in which they were 
 ideally presented to his mind ; and if we can convince ourselves 
 that Shakespeare — with whatever vagueness — conceived his Leontes, 
 his Hermione, and his Perdita, as surrounded by the very life and 
 scenery of actual Greece, we must be grateful to Mr. Kean for 
 supplying an element which the poet himself was only forced to 
 exclude by the imperfect mechanism of the Elizabethan stage. . . . 
 The first three acts of ' A Winter's Tale ' are occupied with the 
 causeless jealousy of Leontes, and the suffering resignation of 
 Hermione. This series of scenes could hardly have been written by 
 any dramatist of a period in which the events of Henry the Eighth's 
 reign were not fresh in men's minds, and the modern reader finds 
 them unaccountable and unnatural. The last two acts are, how- 
 ever, among the most charming in Shakespeare|; and it is by their 
 performance in this part of the play that the actors will probably 
 be judged. Autolycus — an old part of Mr. Harley's, we imagine — 
 overflows with humour. The beauty and rusticity of Perdita, and 
 the boyish petulance of Florizel, are not unworthy of the' exquisite 
 scene in which the dramatist has made them the principal figures. 
 Hermione — but it is superfluous to praise Mrs. Kean — is full of 
 womanly gentleness and tenderness." {Saturday Review, May 3, 
 1856.) In 1857, Thursday, March 12, 'Richard the Second 'was 
 produced to a crowded audience. This revival was, if possible, 
 more imposing, and even a greater success than its predecessors 
 had been. " Long before the performance had reached its termi- 
 nation the opinion was murmured through the stalls that all past 
 glories were eclipsed by the lustre actually present, and that 
 ' Richard the Second ' was, in fact, ' the best thing that Mr. Kean 
 had ever done.' " Mrs. Kean sustained the part of the Queen, " a 
 little more than nominal character, but made a vehicle for the 
 finest acting by the mere force of her own genius." " When in front of 
 an admirable picture, representing the ' Traitor's Gate' of the Tower, 
 and coming in mournful contrast with the glittering displays that 
 have preceded it, the Queen bids farewell to her deposed husband, 
 we find out at last why Mrs. Charles Kean has undertaken a part 
 so. unpromising. The horror which she has evinced in the fourth 
 act, while Ustening to the gardener's conjectures as to the fate of 
 Richard, is, indeed, finely portrayed ; but one start is, after all, a 
 small object. The character has been left as a mere sketch by the 
 poet, and, far from any historical association being connected with 
 it, an inaccuracy has been committed by making a child of nine 
 years old a full-grown woman. In the parting scene, however, 
 Mrs. Kean shows how a consummate artist can make a great deal 
 out of a scanty material. This shadowy unsubstantial Queen can 
 be supposed a remarkable instance of feminine devotion, and the 
 words she utters, though not many, bear out the supposition. On 
 this hypothesis Mrs. Kean, when Richard is torn from her arms, 
 displays such an agony of tearful grief, is so completely broken up 
 
KEELEY, MRS. 225 
 
 with heartrending sorrow, that, although the pageantry of the play 
 is over, this scene is one of the most effective of the whole perform- 
 ance. When the hapless King has departed she carries out still 
 further her illustration of the feeling by rushing towards the parapet 
 and leaning, over it to catch a last glimpse of the beloved object, 
 while the succeeding decoration closes upon her." {Times, March 
 16, 1857.) 
 
 . Towards the close of Mr. Kean's management of the Princess's 
 Theatre, in March 1859, "naturally desirous of crowning his series 
 of Shakespearian revivals with his greatest effort," he placed upon 
 the stage ' Henry the Fifth.' Mrs. Kean in the play undertook the 
 part of Chorus, her acting in which was very highly commended. 
 On Monday, August 29, 1859, the last of the famous Shakespearian 
 revivals of Mr. Charles Kean's administration of the Princess's 
 Theatre took place. His management had continued for nine years, 
 and during that time Mrs. Kean had necessarily shared with her 
 husband all the anxieties inseparable from so great a responsibility. 
 In one season alone fifty thousand pounds were expended in the 
 production of plays. Whilst some of these were being performed 
 the management had given employment, and consequently weekly 
 payment, to nearly five hundred and fifty persons. Each important 
 piece, from the moment it first suggested itself to the mind of Mr. 
 Kean until its first public performance, had occupied not far from 
 a twelvemonth in preparation. Said Mr. Kean, in a farewell 
 address : — " It would have been impossible on my part to gratify 
 my enthusiastic wishes in the illustration of Shakespeare had not 
 my previous career, as an actor, placed me in a position of com- 
 parative independence with regard to speculative disappointment. 
 Wonderful as have been the yearly receipts,* yet the sums ex- 
 pended — sums I have every reason to believe not to be paralleled 
 in any theatre of the same capacity throughout the world — make it 
 desirable that I should now retire from the self-imposed responsi- 
 bility of management, involving such a perilous outlay, and the 
 more especially as a building so restricted in size as the Prin- 
 cess's renders any adequate return utterly hopeless." Mrs. Kean, 
 by her great professional accornplishments, contributed, in no slight 
 degree, to render her husband's period of management eminently 
 prosperous in a monetary sense ; and to her a share of the 
 honour also belongs of helping to make it in all respects the most 
 brilliant, and from first to last remarkable, of any in dramatic 
 annals. Mrs. Kean retired from the stage on the death of her 
 husband, which took place January 22, 1868. 
 
 KEELEY, MRS. {n^e Goward), bom at Ipswich, in 1806; 
 relict of the late Robert Keeley, the popular comedian, who died 
 in 1869. She made her professional d^but at the Lyceum Theatre 
 in 1825, as Rosina in the operetta of that name. Mr. J. R. Planch^, 
 in his Recollections (vol. i. p. 81), writing of the production in 
 
 * 200/. was considered a large nightly receipt, and 250/. an extra- 
 ordinary one. 
 
 Q 
 
226 THE DRAMATIC LIST. 
 
 London of Weber's ' Oberon,' remarks : — " A young lady, who sub- 
 sequently became one of the most popular actresses in my recollec- 
 tion, was certainly included in the cast ; but she had not a line to 
 speak, and was pressed into the service in consequence of the 
 paucity of vocalists, as she had a sweet, though not very powerful 
 voice, and was even then artist enough to Ise entrusted with anything. 
 That young lady was Miss Goward, now Mrs. Keeley, and to her was 
 assigned the exquisite Mermaid's song mthejinale." In 1832 Mrs, 
 Keeley was engaged at the Theatre Royal, Covent Garden, appear- 
 ing there in such pieces as 'The Tartar Witch and the Pedlar 
 Boy'; 'The Clutterbucks ; or, the Railroad of Love,' &c. In 
 March 1833 at that theatre she played a subordinate part in Poole's 
 farce ' A Nabob for an Hour,' with sufficient energy as to merit 
 the following notice from a contemporary journal : — " One joyous, 
 bubbling, triumphant rush of Mrs. Keeley upon the stage to 
 announce Mr. Frampton to her .mistress is admirable." In 1834 
 she acted at the old Adelphi Theatre for a season the comic female 
 rdle in ' Agnes de Vere ; or, the Broken Heart,' with Mr. Buckstone, 
 the author of the piece, as leading low comedian. At the English 
 Opera House in 1835 she appeared in Serle's drama 'The Shadow 
 on the Wall,' her acting in which was noticed as of a very high 
 order indeed. Said the Athenceufn (May 2, 1835) : — " If Mrs. Keeley 
 continues to act so admirably in parts like this of domestic pathos 
 there will be a sad struggle for her between the tragic and comic 
 muses of humble life. To those who know how clever she is in 
 low comedy we cannot pay her a greater compliment than we do in 
 saying that as far as the public is concerned it matters little which 
 gets her." The same year at the Adelphi Theatre, the first year of 
 the late Charles Mathews the younger's managerial experiences, 
 Mrs. Keeley appeared on the opening night, September 28, in a 
 new domestic burletta, entitled ' The London Carrier ' ; Mr. Buck- 
 stone, Mr. Keeley, and Mr. O. Smith were in the cast. At the 
 same theatre in the following month she played a part in the late 
 John Oxenford's first melodramatic attempt, ' The Castilian Noble 
 and the Contrabandista.' When Mr. Charles Mathews joined 
 Madame Vestris in the management of the Olympic Theatre, 
 Mrs. Keeley went with them for a brief season, and appeared there 
 in October 1837 in a piece written by Mr. Charles Mathews, 
 entitled ' Truth.' Returning to the Adelphi in November 1838, she 
 played Smike, in a dramatic version of Charles Dickens's ' Nicholas 
 Nickleby,' the late Mr. Yates sustaining the part of Mantalini, and 
 O. Smith that of Newman Noggs. The following year (still at the 
 old Adelphi Theatre) she personated with immense success the 
 house-breaking hero in Buckstone's drama of ' Jack Sheppard.' 
 In 1841 Mrs. Keeley was "making merry the visitors at the new 
 Strand Theatre," then recently opened. In January 1842 she took 
 part in the performances inaugurating the Macready management 
 of Drury Lane Theatre, and appeared there as Nerissa (' The 
 Merchant of Venice '), and subsequently as Mrs. Placid in Mrs. 
 Inchbald's comedy ' Every One has his Fault.' The same year 
 at the same theatre she -sustained the part . of Poll Palltuall in 
 
KEELEY, MRS. 227 
 
 bouglas Jerrold's comedy ' The Prisoner of War.' Mrs. Keeley's 
 acting of this character confirmed her rising reputation, and 
 stamped her as an artist in critical estimation. In March 1842, at 
 Drury Lane, she played Th^rise in ' The Students of Bonn,' with 
 "the ease, volubility, and dryness of Ddjazet without Ddjazet's 
 effrontery " {Athenceum, April 2, 1842). 
 
 In the second season of Macready's management of Drury Lane 
 Theatre, Mrs. Keeley appeared as Audrey in a "revival" of 'As 
 You Like It.' In 1844 she and her husband entered upon the 
 management of the Lyceum Theatre, which, under their regime, 
 became famous for dramatic parodies and burlesques, written, for 
 the most part, by Charles Dance and J. R. Planchd. On the 
 opening night, Easter Monday, 1844, 'The Forty Thieves' was 
 produced ; and throughout the season a variety of pieces written 
 especially for Mr. and Mrs. Keeley received well-deserved support. 
 On Saturday, December 20, 1845, Mrs. Keeley played Mrs. Peery- 
 bingle in ' The Cricket on the Hearth,' dramatized at the request 
 of Charles Dickens, by Albert Smith, with express reference to the 
 Lyceum company. The following year at Christmas a dramati- 
 zation by Albert Smith of Charles Dickens's story ' The Battle of 
 Life ' was produced, Mrs. Keeley sustaining the part of Clemency 
 Newcome. " The acting of Mrs. Keeley is one of those admirable 
 examples of histrionic art which almost reconcile an audience to 
 every fault in the scenes that give occasion to their exhibition. 
 The part of Cle?nency Newcome was the life, the soul, the salvation 
 of the new drama. The actress was unwearied in her exertions. 
 Her costume was picturesque, her action and by-play were every- 
 where appropriate,, her tones were full of feeling, honesty, and 
 earnestness. There was the eccentric, hard-working, faithful little 
 body — an unmistakable identity!" {Athenceum, December 26, 1846.) 
 In August 1847 Mrs. Keeley retired from the management of the 
 Lyceum Theatre, and accepted an engagement under Mr. Webster 
 at the Haymarket. On Monday, November 15, 1847, she appeared 
 there as Mdlle. Suzanne Grasset de Villedieu in 'The Roused 
 Lion,' a comic drama, adapted from the French, ' Le Rdveil du 
 Lion.' The extraordinary success of this piece was, in the main, 
 . attributable to the acting of Mr. B. Webster and Mrs. Keeley. 
 On January 17, 1848, first performance at that theatre of 'The 
 Wife's Secret ' (Lovell), Mr. and Mrs. Charles Kean in the prin- 
 cipal parts, Mrs. Keeley played the waiting-maid Maud with 
 great excellence. {See Kean, Mrs. Charles.) Said the Times 
 (January 18, 1848) : — "That admirable actress, Mrs. Keeley, plays 
 a lady's-maid forced into puritanism by the manners of the time, 
 yet dropping the garb of sanctity at every possible opportunity. 
 The alternation of the nasal twang with her own merry little voice 
 tells with excellent effect, and the piquancy of the actress renders 
 this trifling part one of the most interesting in the piece." 
 
 In 1849, during the engagement of the Keans at the Haymarket, 
 Mrs. Keeley played, among other characters, Nerissa (' Merchant 
 of Venice'); Jane ('Wild Oats'); Rachel ('The Rent Day'), &c. 
 On Thursday, May 9, 1850, first performance of Douglas Jerrold's 
 
 Q 2 
 
228 THE DRAMATIC LIST. 
 
 comedy ' The Catspaw,' she sustained the part of Rosemary, and 
 the same year, at the Princess's Theatre, Maria in ' Twelfth Night.' 
 From 1850 to 1855 Mrs. Keeley was a member of the company of 
 the Adelphi Theatre. On Thursday, March 8, 1855, she appeared 
 there as Betty Martin, in a farce of that name, derived from a 
 French vaudeville, ' Le Chapeau de I'Horloger,' from the pen of 
 Madame Girardin, a little piece converted into a great one by the 
 force of Mrs. Keeley's acting. " The little farce of ' Betty Martin,' 
 though its action depends on the smallest possible motive, is 
 remarkable for one of the most perfect histrionic exhibitions that 
 could be found upon the modern stage. Betty Martin is a house- 
 maid in the service of Major Miltiades Mohawk, an irascible 
 gentleman who has lately taken unto himself a young ?jid charm- 
 ing wife. Betty Martin breaks the family clock, which is a choice 
 work of art, and that it may be mended clandestinely sends for a 
 clockmaker, intending to defray the charges out of her own pocket 
 Somebody arrives during the interview with the clockmaker, who 
 is accordingly concealed by Betty Martin in her mistress's chamber, 
 and leaves his hat behind him. The hat, a very shabby one, is 
 picked up by the peppery major, whose domestic peace is at once 
 annihilated, as from sundry causes he believes that the concealed 
 party is a lover of Mrs. Mohawk's. When he has gone through 
 a due course of jealous anguish he learns the real state of the case, 
 and is so pleased at being relieved from his horrid suspicions, 
 that, far from discharging the destructive Betty Martin, he actually 
 doubles her wages. All this drily narrated looks, no doubt, trivial 
 and commonplace ; but the filling up of Mrs. Keeley converts the 
 slight sketch into a work replete with life and truthfulness. The 
 agonized terror with which she rushes upon the stage when she 
 has just broken the clock, is all but tragical, and her weeping is 
 such weeping that we feel could not exist in any other situation. 
 The clock has been her fate, and seems to rule all her actions. 
 She steals about like a 'guilty thing'; she is always nervously 
 ready to check any revelation of the dreadful deed; she empties 
 the sugar-basin into the teapot, and commits other discrepancies 
 as if she were possessed by a demon ; and when at last the major, 
 believing that she is an accomplice in his wife's infidelity, flings 
 down her wages and bids her quit the house, the reaction is tre- 
 mendous. She feels that she is no longer a servant, and therefore 
 no longer responsible to the major, a vast load of care has fallen 
 from her heart, and with a haughty, defying look, she bids him 
 take back his money, as it may go towards the damages. The 
 whole character is a complete creation from beginning to end; 
 there is not a weak point about it." {Times, March 10, 1855.) 
 
 On Monday, February 11, 1856, at the Adelphi, Mrs. Keeley 
 played Mary Jane, first performance of Moore's farce ' That 
 Blessed Baby.' In 1857, March, at Drury Lane, revival of 
 Morton's comedy ' A Cure for the Heartache,' she sustained the 
 part of Frank Oatlands. As late as 1859 Mrs. Keeley was playing 
 in burlesque at the Lyceum Theatre, as Hector, in ' The Siege 
 of Troy,' by Brough. Since that year Mrs. Keeley has rarely 
 
KELLY, CHARLES. 229 
 
 appeared on the boards except on benefit occasions, in aid of some 
 deserving player. The late Mr. G. H. Lewes, in his work 
 On Actors and the Art of Acting (pp. 80-87), makes mention of 
 Mrs. Keeley as follows : — " Among my very pleasantest recollec- 
 tions of the stage arise the figures of Keeley and his wife, each 
 Standing alone as a type of comic acting, and each markedly 
 illustrating the truth so little understood, that acting, because it is 
 a representative art, cannot be created by intelligence or sensibility 
 (however necessary these may be for the perfection of the art), but 
 must always depend upon the physical qualifications of the actor, 
 these being the means of representation. It matters little what 
 the actor feels ; what he can express gives him his distinctive 
 value. . . . Mrs. Keeley had little or none of the unctuousness 
 of her husband, but she also was remarkably endowed. She was 
 as intense and pointed as he was easy and fluent. She con- 
 centrated into her repartees an amount of intellectual vie and 
 ' devil ' which gave such a feather to the shaft that authors must 
 often have been surprised at the revelation to themselves of the 
 force of their own wit. Eye, voice, gesture, sparkled and chuckled. 
 You could see that she enjoyed the joke, but enjoyed it rather as 
 an intellectual triumph over others than from an impersonal 
 delight in the joke itself. Keeley was like a fat, happy, self- 
 satisfied puppy, taking life easily, ready to get sniffing and enjoy- 
 ment out of everything. Mrs. Keeley was like a sprightly kitten, 
 eager to make a mouse of every moving thing. '. . . Did the 
 reader happen to see her play the maid-of-all-work in ' Furnished 
 Apartments ' ? He will not easily forget such a picture of the 
 London ' slavey,' a stupid, wearied, slatternly, good-natured drab, 
 her brain confused by incessant bells, her vitality ebbing under 
 overwork. He wiU not forget the dazed expression, the limp 
 exhaustion of her limbs, the wonderful assemblage of rags which 
 passed for her costume. There was something at once inexpressibly 
 droll and pathetic in this picture. It was so grotesque, yet so 
 real, that laughter ended in a sigh. ... It is an inestimable loss 
 our stage has suffered by the departure of two such actors." 
 
 Mrs. Keeley's last appearance on the stage was at the " Testi- 
 monial Benefit " to Mrs. Alfred Mellon {nde Woolgar), on May 15, 
 1878, at Drury Lane Theatre. 
 
 KELLY, CHARLES (a nom de thi&tre; Charles Wardell), 
 the son of a clergyman living in the north of England, was born 
 in 1839. Prior to entering the dramatic profession he held a 
 commission in Her Majesty's Army. He made his first appearance 
 on the stage at the Theatre Royal, Hull, in 1868, in the character 
 of Montana (' Othello '). In London he has played at the Surrey, 
 Holborn, Globe, Queen's, Royalty, Court, St. James's, Adelphi, 
 and Haymarket Theatres in many parts, of which the following 
 are deserving of particular mention. In October 1873, at the 
 Globe Theatre, Mr. Kelly sustained his " original " part of Richard 
 Arkwright in the drama of ' Arkwright's Wife ' (Tom Taylor), 
 first performed at the Leeds Theatre Royal {see Barry, Helen). 
 
23° THE DRAMATIC LIST. 
 
 Mr. Kelly's acting in this part was noticed in the Gldbe (October j, 
 1873) as " a genuine surprise. His insight into character and his 
 powers of representation were those of a true artist, who has seen 
 clearly the thought he seeks to realize, and has accurately measured 
 the means at his command. . . . There was room for quiet 
 artistic excellence, and that the actor knew how to supply. His 
 tender, fond enthusiasm for the machine he had invented, and the 
 sudden grief and despair at its destruction, were striking points in 
 a piece of acting which was thoroughly interesting throughout." 
 Having previously appeared in Charles Reade's plays of ' Rachel 
 the Reaper ' and ' Griffith Gaunt ' at the Queen's Theatre in Long 
 Acre, in 187; Mr. Kelly accepted an engagement at the Court 
 Theatre, under the management of Mr. Hare. On Saturday, 
 March 13 of that year, Mr. Kelly appeared there as Lord Melton 
 in an original comedy by Charles F. Coghlan entitled ' Lady 
 Flora,' in which he won the honours of the evening. In January 
 . 1876, at the same theatre, first performance of 'A Quiet Rubber' 
 (C. F. Coghlan), adapted from the French ' La Partie de Piquet,' 
 Mr. Kelly played Mr. Sullivan. " In one point at least Mr. 
 Coghlan's version is remarkably happy. By changing the scene 
 to Irish ground he has converted the father of the intended bride 
 into an admirable type of an Irish kind — a good-natured, quick- 
 tempered, retired man of business, with a fund of native wit, and 
 no less abundance of native readiness and warm feeling. These 
 words, it is true, describe nothing new, and yet there is a great 
 freshness in the sketch, thanks partly to the dramatist, but 
 certainly in equal measure to Mr. Kelly, who plays his part with 
 an overflowing, but unforced, vivacity, and with so many modest 
 but effective touches of -nature, that it would be difficult to imagine 
 anything more perfect in its way." {Daily News, January 10, 
 1876.) In December of the same year, at the same theatre, in a 
 revival of ' New Men and Old Acres ' (Tom Taylor and A. 
 Dubourg), the part of Mr. Samuel Brown was sustained by 
 Mr. Kelly. It may be remarked that the revival of this play was 
 very successful, and that it remained on the " bills " of the Court 
 Theatre for 250 consecutive nights. At the same house Mr. 
 Kelly appeared as Darnley in ' The House of Darnley.' At St. 
 James's Theatre, in ' Such is the Law,' he gained further reputation 
 by his careful acting of Tom Goacher. At the Adelphi Theatre in 
 1878 he played for a time the part of Pierre Lorance in ' Proof.' 
 The same year, on Monday, December 2, at the Haymarket 
 Theatre, first performance of 'The Crisis ' (James Albery), adapted 
 from M. Emile Augier's ' Les Fourchambault,' Mr. Kelly presented 
 m a remarkably able and finished way the character of John 
 Goring. Easter Monday, April 14, 1879, at the same theatre, in 
 an original comedy-drama in five acts, by W. G. Wills, entitled 
 ' Ellen ; or. Love's Cunning,' he played the part of Thomas Pye 
 with admirable earnestness. This character and that of Ladv 
 Breezy (sustained by Miss Blanche Henri), and the excellent 
 acting which was displayed in their presentation, probably sug- 
 gested to Mr. Wills to reconstruct his play, and reproduce its 
 
KEMBLE, FRANCES ANN. 231 
 
 " comedy " scenes under the title of ' Brag,' Mr. Kelly playing his 
 " original " character. ' Brag,' however, like ' Ellen,' failed to 
 enlist the support of the public, and was immediately withdrawn. 
 
 KELLY, MRS. CHARLES. 5«« TERRY, ELLEN. 
 
 KEMBLE, FRANCES ANN; better known as FANNY 
 KEMBLE. (Mrs. Fanny Butler.) Bom in London, 1809. 
 Elder daughter of the late Charles Kemble, and niece of Mrs. 
 Siddons. She made her first appearance on any stage, Monday, 
 October 5, 1829, at the Theatre Royal, Covent Garden, then under 
 the management of her father, in the character of Juliet (' Romeo 
 and Juliet '). Her performance of the part was a great success. 
 " The house was crowded before the curtain drew up. . . . On 
 her (Miss Kemble's) first entrance she seemed to feel very sensibly 
 the embarrassment of the new and overwhelming task she had 
 undertaken. She ran to her mother's arms* with a sort of in- 
 stinctive impulse, but almost immediately recovered her composure. 
 From that time, although there was occasionally something like 
 timidity inhermanner,there was not the slightest portion of awkward- 
 ,ness or even want of self-possession which might have been well 
 pardoned in so young an actress. Her first scene with Romeo was 
 very delicately and intelligently acted. In the garden scene she gave 
 the exquisite poetry of the part with a most innocent gracefulness, 
 and acted quite as well as she spoke. The scene with the Nurse 
 was full of delightful simplicity. In the scenes which ensue Miss 
 Kemble rose with the part. . . . Upon the whole we do not 
 remember to have seen a more triumphant dibut. That Miss 
 Kemble has been well and carefully instructed, as of course she 
 would be, is clear ; but it is no less clear that she possesses qualifi- 
 cations which instruction could not create, although it can bring 
 them to perfection." {Times, October 6, 1829.) ' Romeo and Juliet ' 
 was played to crowded houses (with Miss Fanny Kemble in the 
 leading r6le) three times weekly until December 9, when Otway's 
 ' Venice Preserved ' was produced. Miss Kemble played the part 
 oi Belvidera. Said the Marning' Chronicle (December 10, 1829): — 
 " Belvidera, as our readers are aware, does not enter until near the 
 close of the third act, and she is first heard speaking without. The 
 moment the sound of her voice was caught the whole house was 
 in a tumult, and boxes, pit, and galleries joined in one common 
 endeavour to grace Miss Kemble's entrance. . . . The conclusion 
 of the third scene of this act (the fifth) was marked with many 
 vehement rounds of applause— where Belvidera imagines herself 
 drowning, and the waves 'buzzing and booming round my sinking 
 head.' We well remember and shall never forget the manner in 
 which Mrs. Siddons uttered this line, and the fearful action with 
 which that majestic woman accompanied it. Miss Fanny Kemble 
 could not venture in her inexperience so near the boundary of the 
 
 * Mrs. Charles Kemble was acting the character of Lady Capulet on this 
 occasion, after several years' absence from the stage. 
 
232 THE DRAMATIC LIST. 
 
 sublime ; but, nevertheless, her manner was most striking and 
 impressive, and she rushed from the stage with a terrific energy of 
 action that has never been equalled in boldness and picturesque- 
 ness from the time of Mrs. Siddons to the present hour." 
 
 In January 1830 Miss Kemble appeared as Euphrasia in ' The 
 Grecian Daughter.' According to the Athenaum (January 23, 
 1830), her performance of Euphrasia confirmed more fully even 
 than her acting in Belvidera the opinion formed on her first 
 appearance in Juliet. " She has immense power, and cannot fail, 
 if she continue on the stage, to prove an actress of the very first 
 quality. . . . Her own taste will warn her against the effects of 
 public applause when judiciously bestowed. We concur in the 
 opinion which we find general that her Euphrasia in ' The Grecian 
 Daughter' is her chef-d'oeuvre." The season closed May 1830, 
 having been a most prosperous one for the management. In the 
 following season Miss Kemble played these among other characters, 
 viz. Mrs. Haller, Lady Townley, Calista ('The Fair Penitent'), 
 Mrs. Beverley, Juliana (' The Honeymoon '), Lady Macbeth, 
 and one or two Shakespearian parts. The year 1832 was a 
 remarkable one in the annals of the Kemble administration of 
 Covent Garden Theatre. On Thursday, March 15, was produced 
 there ' Francis I.,' a tragedy written by Miss Fanny Kemble her- 
 self ; and on Thursday, April 5, was performed for the first time 
 Sheridan Knowles's play ' The Hunchback,' in which she was the 
 " original " Julia. In the intervening period, Fanny Kemble had 
 played a new part, The Duchess of Guise, in Lord Leveson-Gower's 
 adaptation of A. Dumas' (the elder) tragedy, ' Henry III.' This 
 play was unsuccessful. Nor was ' Francis I.,' in which Miss 
 Kemble appeared as Louise of Savoy, a satisfactory success. It 
 lacked a general interest, mainly owing to the unalloyed wicked- 
 ness of nearly all the principal characters. Criticising the work as 
 a literary effort, the Athenoeum took leave to doubt that it would 
 be permanently successful. It lacked concentration. " There are 
 eff'ective situations and clever scenes, but they have no connecting 
 interest. . . . Much of it is just such dramatic poetry as a girl (a 
 clever girl) of seventeen would write, the language of the poets, not 
 of poetry ; and, as was very natural with a Kemble, the language of 
 Shakespeare, fuU of ' By my fay,' and ' Sith you say,' and ' Wend 
 your way,' and ' Go to, go to !' and ' Many, this means,' and all the 
 other outward and visible signs of a school exercise. But of the 
 living, breathing language of passion and nature there is little, and 
 there is less of poetry, hardly the melody of the voice which we 
 had anticipated and believed would have characterized the work, 
 because it is the true mark of poetical feeling.''' {AthencBum, 
 March 17, 1832.) Of Sheridan Knowles's production, the same 
 journal had something of far greater moment to say. 'The 
 Hunchback ' is a most delightful production — " every way a most 
 delightful production ; good in plot, dramatic in composition, 
 elegant, vigorous, and poetical in language, deep in knowledge of 
 human nature, varied in display of the passions and affections 
 which adorn or disfigure it, and admirable in their development." 
 
KEMBLE, PRANCES ANN. 233 
 
 As to Miss Fanny Kemble's creation of the part of Julia, we sub- 
 join the following excerpt : — " Of Miss Fanny Kemble it gives us 
 real gratification to speak in temis of unqualified commendation. 
 She has never appeared to so much advantage. We followed her 
 throughout with constantly increasing satisfaction, and may truly 
 affirm that a more perfect piece of acting has seldom been witnessed 
 than her earnest and impressive appeal to Master Walter in the 
 commencement of the fifth act. Genuine feeling took the place of 
 laboured and measured emphasis — the picture was true to nature — 
 it was difficult to imagine that she uttered any words but those 
 which the emergency of the moment called forth, and at the close of 
 her address, its truth and beauty were acknowledged by shouts of 
 ■ 'Bravo !' from all parts of the house." (Athenceum, April 7, 1832.) 
 During the comparatively short period (three years) that Fanny 
 Kemble was a member of her father's company, she revived the 
 English national attachment to the stage, and achieved for the 
 fallen fortunes of Covent Garden what the genius of the elder Kean 
 enabled him to do for Drury Lane. In the autumn of 1832 with 
 her father she visited America, and made her first appearance on 
 the American stage, September 18 of that year, at the Park Theatre, 
 New York, in the character of Bianca in ' Fazio.' Her first 
 appearances at Philadelphia and at Boston were in the same part. 
 From first to last, this joint venture of father and daughter was a 
 triumph. January 7, 1834, Miss Kemble married Mr. Pierce 
 Butler, a Southern planter, who died in Georgia, U.S.A., in 1867. 
 Her married life was not altogether a happy one, and there was a 
 separation, which ended (in 1848) in judicial proceedings for a 
 divorce at Mrs. Butler's instigation. In 1847 she returned to 
 England, and after thirteen years' absence from the stage made 
 her reappearance at the Theatre Royal, Manchester, February 16, 
 1847, in the character of Julia in 'The Hunchback.' She was 
 welcomed with a warmth of applause which must have assured her 
 of the sympathies of her English compatriots in regard to her then 
 recent domestic troubles. " Long before the curtain rose last 
 evening the house was crammed to the ceiling. On Mrs. Butler's 
 entrance the excitement was immense. Round after round of 
 applause, cheer after cheer welcomed her to this her first audience 
 after so long an absence. Her first efforts showed how keenly she 
 felt the warmth of her reception. . . . Her voice has lost none of 
 its exquisite music, her attitudes and action are still as graceful 
 and picturesque. . . . She showed that she had in the retirement 
 of private life lost none of her intelligence, none of that fine poetic 
 spirit with which her remembrance is linked." {Manchester Courier, 
 February 17, 1847.) 
 
 During the engagement which followed, she appeared in a round 
 of her favourite characters, Juliana ('The Honeymoon'), Lady 
 Macbeth, Juliet, Queen Katharine, &c. In May of the same year 
 she reappeared at the Princess's Theatre, in London, and continued 
 to act there during the season. She returned for a brief period to 
 America, and once more came to England. In April 1848 Mrs. 
 Butler commenced a series of Shakespearian readings at Willis's 
 
.234 THE DRAMATIC LIST. 
 
 Rooms, which, although well attended, did not attract the critical 
 attention of the Press. October 1849 she gave her first Shake- 
 spearian reading (from ' King John') in America, at Sansom Street 
 Hall, Philadelphia. After this date she resumed her maiden name, 
 and retired to Ler^iiox, Mass., U.S.A., where she resided for nearly 
 twenty years. In 1868 Miss Fanny Kemble reappeared as a 
 reader at Steinway Hall, New York. In 1873 she went to reside 
 near Philadelphia; and in 1877-8 again returned to England. 
 Miss Kemble is the author of the following works : — ' Francis I.' 
 (a tragedy); 'Journal of a Residence in America' (1835); 'The 
 Star of Seville' (1837); ' A Year of Consolation' (1847): 'Mary 
 Stuart,' translated from the German of Schiller ; ' Mademoiselle 
 de Belle Isle,' a paraphrase in prose of Dumas' work; 'Residence • 
 on a Georgian Plantation in 1838-9,' published in 1863; 'Records 
 of a Girlhood,' published in 1 878. "In the late Justice HalUburton's 
 ' Letter-bag of the Great Western,' giving life-like portraits of indi- 
 viduals, their manners, style, feelings, and expression, will be found 
 ' The Journal of an Actress,' in which the cleverness and audacity, 
 refinement and coarseness, modesty and bounce, pretty humility 
 and prettier arrogance of Miss Fanny Kemble were touched off in 
 a style which all the world could identify, and the lady herself 
 could not turn her lip at except to smile at the skill with which her 
 literary merits and affectations were imitated so as to be like reality." 
 {Aihenaum, September 22, 1865.) 
 
 KEMBLE, HENRY, was born June i, 1848, and is a son of 
 Captain Henry Kemble (son of Charles Kemble, the eminent 
 tragedian). He was educated at Bury St. Edmunds and King's 
 College, London, and, afterwards, was for a period of two years in 
 the Civil Service of the Crown. He resigned his official appoint- 
 ■ment, and entered the dramatic profession in 1867, making his first 
 appearance on the stage at the Theatre Royal, Dublin, on the 
 7th of October of that year. From 1867 to 1869 he was a member 
 of the company of the above-named theatre; from 1869 to 1871 of 
 the company of the Theatre Royal, Edinburgh; and from 1871- to 
 1873 of the company of the Theatre Royal, Glasgow; the line of 
 " business " ordinarily undertaken by him being " first old men and 
 character parts." During the probationary period of his professional 
 career, Mr. Kemble appeared with success at the Theatres Royal, 
 Newcastle-on-Tyne and Scarborough. He made his dSut in 
 London August 29, 1874, at the Theatre Royal, Drury Lane, in 
 the part of Tony Foster, in Andrew Halliday's play 'Amy Robsart.' 
 During the season 1874-5, at the same theatre, he played the 
 following parts, viz. Cedric the Saxon, in ' Rebecca ' ; Philip of 
 France, in 'Richard Coeur de Lion'; the ist Actor, in 'Hamlet'; 
 Old Capulet, in ' Romeo and Juliet ' ; and Dr. Caius, in ' The 
 Merry Wives of Windsor.' This- latter impersonation was very 
 successful, and secured for Mr. Kemble favourable notice in various 
 journals. On March 13, 1875, he joined Mr. Hare's company, on 
 that gentleman's entering upon the management of the Royal 
 Court Theatre. Here Mr. Kemble "opened " as Short, in a piece 
 
KENDAL, MRS. W. H. 23$ 
 
 entided ' Short and Sweet,' and as Binns, in ' Lady Flora.' This 
 part, although a subordinate one, was performed by Mr. Kemble 
 with excellent judgment, and may be recorded among his legitimate 
 successes on the stage. Another part, also, in which his careful 
 acting received approval, at the same theatre, was that of Dr. Pen- 
 guin, in 'A Scrap of Paper' (A. Wigan), adapted from M. Sardou's 
 play ' Les Pattes de Mouche.' Subsequently Mr. Kemble joined 
 the company of the Prince of Wales's Theatre, of which he still 
 remains a member. He has performed at that theatre the following 
 characters, viz. Crossby Beck, in ' Peril ' ; Sir Sowerby Honeywood, 
 in ' An Unequal Match ' ; Waddilove, in ' To Parents and Guar- 
 dians ' ; Sir Oliver Surface, in ' The School for Scandal ' ; John 
 Chodd, in ' Society ' ; and Algie Fairfax, in ' Diplomacy ' — each iii 
 a way deserving of recognition. 
 
 KENDAL, MRS. W. H. (Mrs. W. HUNTER Grimston, nie 
 Robertson, Margaret [' Madge ']), was born at Great Grimsby, 
 March 15, 1848, and was educated to the stage as a profession from 
 early childhood. At the age of four (in 1852) she appeared at the 
 Marylebone Theatre as the Blind Child, in ' The Seven Poor 
 Travellers'; and in 1855 at the Bristol Theatre as Eva, in a 
 dramatic version of ' Uncle Tom's Cabin.' It may be remarked 
 that Mrs. Kendal's early tuition as an actress was principally 
 received at the Theatres Royal Bristol and Bath, under the manage- 
 ment of the late Mr. J. H. Chute. On Saturday, July 29, 1865, she 
 made her professional dibut in London at the Haymarket Theatre 
 as Ophelia, in a revival of ' Hamlet ' by the late Walter Mont- 
 gomery, who played the leading rdle. Her acting on that occasion 
 created a favourable impression; and on Monday, August 21 of 
 the same year, at the same theatre, she acted the part oi Desdemona, 
 Mr. Ira Aldridge sustaining the role of Othello. After fulfilling 
 engagements at Nottingham and Hull, in 1867 Miss Robertson 
 returned to London, and on Easter Monday of that year, at Drury 
 Lane Theatre, played the part of Edith, the heroine, on the occasion 
 of the first performance of 'The Great City' (Andrew Halliday). 
 The following year, at the Haymarket Theatre, first performance 
 (Saturday, March 14) of Dr. Westland Marston's play ' A Hero of 
 Romance,' Mr. Sothern in the leading character, she acted the part 
 of Blanche Dumont, being " more than equal to the character, and 
 investing it with beauty and pathos " {Athenceum, March 21, 1868). 
 At the same theatre, in July, she sustained the part of Hypolita, in 
 a revival of CoUey Gibber's comedy ' She Would and She Would 
 Not'; and on Monday, December 21, 1868, at the opening of 
 the Gaiety Theatre, appeared in a piece entitled ' On the Cards,' 
 then performed for the first time. In March of the following 
 year (1869), at the same theatre, Miss Robertson sustained the 
 part of Lady Clara Vere de Vere, in her brother, the late T. W. 
 Robertson's play entitled 'Dreams.' On Monday, October 25, 
 1869, at the Haymarket Theatre, first performance of Messrs. Tom 
 Taylor and Dubourg's comedy of ' New Men and Old Acres,' Miss 
 Robertson undertook the character of Lilian Vavasour. "The 
 
236 THE DRAMATIC LIST. 
 
 theme of Messrs. Taylor and Dubourg's comedy is the very old one 
 of contrast and conflict between the old class and the new — the 
 aristocratic landed gentry and the wealthy self-made men of our 
 day. . . . The comedy, though wanting anything hke that view of 
 serious interest which can alone take hold of the hearts of an 
 audience, is lively and amusing throughout, while the dialogue, 
 which is generally clever and pointed, sometimes attains even 
 higher merits. But the acting of Miss Robertson, who sustained 
 the part of Lilian, might alone have sufficed to secure success for 
 a work of far inferior merits. A young lady who talks slangy 
 corrupted by the society of a sporting cousin, would be a dangerous 
 part in ordinary hands ; but Miss Robertson's performance in ho 
 part degenerated into anything like vulgarity. There was a neat- 
 ness and a finish not only in her delivery of the words, but in all 
 her movements, including that indefinable filling up of time known 
 to the actors as ' business,' which belong to the very best school of 
 comedy-acting. Nor is she much less at home in the more pathetic 
 portions of her part, particularly in the scene in which, in view of 
 the wealthy parvenu's succession to her father's property, sha 
 bespeaks his favour and kindness for old objects of her bounty, not 
 forgetting her dog and the peacock with one eye ; and, again, in a 
 later portion, in which she freely offers herself, when rich, to the 
 man who loves her, and who had not disdained her when presump- 
 tively poor — both of which dramatic situations were greeted by the 
 house with well-merited applause." (Daily News, October 26; 1 869.) 
 In 1870, at the same theatre, in a revival of 'The Rivals' 
 (Monday, October 24), Miss Madge Robertson appeared as Lydia 
 Languishj and on Saturday, November 19 of the same year, at 
 the same theatre, she sustained the part of Princess Zeolide, first 
 performance of Mr. W. S. Gilbert's play ' The Palace of Truth,' 
 which was a complete success. In the same author's play of 
 ' Pygmalion and Galatea,' first performed at the same theatre, 
 „_ Saturday, December 9, 1871, she acted the leading female r6le, 
 ^ ' Galatea; and in ' The Wicked Woi'ld,' by the same author, first 
 performed Saturday, January 4, 1873, Miss Robertson played the 
 part oi Selene. In each of the three plays Miss Robertson's acting 
 was admirable. On Saturday, January 3, 1874, in a new play by 
 Mr. Gilbert, entitled ' Charity,' she played the principal character, 
 Mrs. Van JBrugh, and, according to the Athenmum (January 10, 
 1^174), obtained at the end of the third act a triumph more spon- 
 taneous and overwhelming than has often been accorded an artist.- 
 " The audience literally rose to greet her. Dehght in finding 
 deeper qualities in an actress known principally for her comic 
 personations must be accepted as the reason for this. In fact, 
 the acting was not equal to the reception. Miss Robertson's pathos 
 was studied. The actions were good but not affecting until the 
 very close of the situation. Momentarily she then reached in- 
 spiration, producing upon the audience the mai-vellous effect de- 
 scribed." The Daily Telegraph (January 5, 1874), discussing the 
 merits of the same performance, said : — " The Mrs. Van Brugh of 
 Miss Robertson was in many respects so admirable, and, from a 
 popular point of view, such a triumph, that we have the less hesita- 
 
KENDAL, MRS. W. H. lyj 
 
 k\ 
 
 tion in asking this most intelligent lady to consider the character 
 / as a whole ; to live in it, and breathe in it throughout, and to work 
 up every scene and half-scene to the same pitch of excellence as 
 I that great burst of combined power and pathos which took the 
 j house by storm at the close of the third act. This great scene was 
 1 a complete and successful study, and will be still more remark- 
 able a study when the anxious excitement of a first night does 
 not exist. We do so want power ; we do so ask for expression ; 
 we do sd demand acting which shall soar above commonplace, 
 that we are grateful for -this remarkable outburst. As an example 
 of study of light and shade, it is extremely interesting ; as an 
 instance of change of key and contrast of harmony, it is most 
 I creditable. The pleading, agonized despair of the detected woman, 
 \ the outburst of rage and scorn, the quick hysterical summons 
 \ to the family, the wealth of love over the innocent child, and the 
 I sad, yet solemn confession, are rapid instances of successful art 
 ; rarely seen nowadays on the stage. The true ring of genius was 
 ; perhaps wanted, but the acting made a dull English audience leap 
 [ to its feet, and wave hats and handkerchiefs. The audience was 
 ,; possibly not familiar with inspired genius, and looked for an out- 
 I burst at the close of the third act. With so much gained. Miss 
 I Robertson may surely avoid staginess, passim. The perpetual roll 
 ; of the eyes, the stilted walk, and the seeming neglect of many scenes 
 i of high comedy, astonish those who so much admire individual 
 i passages. There is acting to be done in moving, in speeches which 
 j have no particular weight, and even in listening. The important 
 scene in which Smailey first suggests a fault on the part of Mrs. 
 Van Brugh was worth mastering ; and when we remember the true 
 and admirable expression of the actress on hearing of Ted Athel- 
 ney's love for her daughter, we know well what the actress can do. 
 In these new-fangled days it is not the highest art to rush at the 
 telling speeches, or at the obvious acting positions ; a Descl^e has 
 taught us how an actress can live and breathe in a character. 
 Miss Robertson's Mrs. Van Brugh is a very remarkable perform- 
 ance, eminently superior to the ordinary run of English art, 
 graceful and highly intelligent. If it were only less stagey in parts, 
 the performance would be more acceptable." 
 
 At Christmas 1874 Miss Robertson left the Haymarket Theatre 
 for a short engagement of eight weeks at the Opdra Comique, 
 commencing Monday, January 18, 1875. During this engagement 
 she appeared as Pauline Deschapelles in ' The Lady of Lyons ' ; 
 as Rosalind in 'As You Like It'; and as Miss Hardcastle ifl 
 ' She Stoops to Conquer,' considered one of the most successful 
 of her impersonations. In March 1875 she joined the company 
 at the Court Theatre, under the management of Mr. Hare, and 
 played during the season in ' Lady Flora,' ' A Nine Days' 
 Wonder,' 'Broken Hearts,' 'A Scrap of Paper,' 'Uncle's Will,' 
 &c. Subsequently Miss Robertson (now Mrs. Kendal) joined the 
 company of the Prince of Wales's Theatre, and, perhaps, the most 
 noteworthy success she met with there was in the part of Dora in 
 the English version of M. Sardou's play of that name, entitled 
 f Diplomacy,' first performed January 12, 1878. " Of the acting of 
 
238 THE DRAMATIC LIST. 
 
 the play we can speak with more unqualified praise. It does 
 not, it is true, rise to the level of force and pathos demanded 
 by the most passionate and tender of its scenes, but it is always 
 careful aiid well proportioned, and within the bounds of good taste. 
 It is rather the result of the curtailment of the exposition of the 
 play than the fault of Mrs. Kendal that the exclamation of joyous 
 surprise with which Dora receives an offer of marriage fails to pro- 
 duce the simple touching effect of Mdlle. Blanche Pierson's utter- 
 ance of the same words. The position is an extremely delicate one, 
 for the young lady has really to indicate mingled pleasure and 
 astonishment that at last she has a lover who is an honourable 
 man. For us to feel its spirit it was necessary that the character 
 of Dora should be drawn in the first place, not in meagre outline, 
 but in full detail; but this is denied, and hence the exclamation 
 could hardly fail to give a slight shock to the hearer's sense of 
 propriety. Among many exceUent details in Mrs. Kendal's im- 
 personation we ought to note the perfectly unsuspecting and un- 
 hesitating innocence of her tone and manner when, seated at the 
 table, her husband begins to unfold the suspicions against her." 
 {Daily News, January 14, 1878.) On Saturday, January 4, 1879, 
 Mrs. Kendal and her husband " opened " at the Court Theatre in 
 a revival of ' A Scrap of Paper,' Mrs. Kendal resuming her part 
 of Susan Hartley. On Saturday, February 15, she appeared as 
 Countess D'Autreval in a revival of 'The Ladies' Battle' ('La 
 Bataille des Dames ' of MM. Scribe and Legouvd) ; and on Satur- 
 day, April 19 of the same year, at the same theatre, as Kate 
 Greville in ' The Queen's Shilling ' (G. W. Godfrey), a new version 
 of ' Le Fils de Famille,' first performed in London on the date last 
 mentioned, and afterwards played at the opening of St. James's" 
 Theatre. 
 
 KENDAL, W. H. (a nam de thiAtre ; WILLIAM HUNTER 
 Grimston), was born in London, December 16, 1843, ^^^d entered 
 the dramatic profession in 1861, appearing on the stage for the first 
 time, in London, at the Soho, now the Royalty Theatre. The 
 following year Mr. Kendal joined the company of the Theatre 
 Royal, Glasgow, where he remained until 1866. During this long 
 engagement he had the advantage of acting in association with 
 such well-known " stars " as the late G. V. Brooke, the Keans, the 
 Boucicaults, Mr. Anderson, and Miss Faucit. Mr. Kendal made 
 his professional dtttit in London, October 31, 1866, at the Hay- 
 market Theatre, in a piece entitled ' A Dangerous Friend,' and met 
 with gratifying success. On Monday, September 2, 1867, at the 
 same theatre, he appeared as Orlando in a revival of 'As You 
 Like It.' " He was well suited to the part, and his style is at once 
 elegant and vigorous, and likely, we think, to become popular." 
 {AthencBum, September 7, 1867.) The following year, in July, he 
 played Don Octavio in a revival of Gibber's comedy ' She Would 
 and She Would Not'; and on Monday, December 7, 1868, first 
 performance at the Haymarket Theatre of ' Pietra,' adapted from 
 Mosenthal's tragedy of that name — Miss Bateman in the title r6U 
 — Mr. Kendal sustained the part of Manfred. He was in the 
 
KENDAL, W. H. 239 
 
 original cast of 'Mary Warner' {see Bateman, Kate), produced 
 at the Haymarket, and of ' Uncle's Will,' a comedietta written ex- 
 pressly for Mr. Kendal and Miss Robertson by Mr, Theyre Smith. 
 Mr. Kendal continued to play at this theatre for some time, taking 
 important parts {Captain Absolute, Charles Surface; &c.) in the 
 old comedies, and appearing in Mr. W. S. Gilbert's most successful 
 plays, ' The Palace of Truth ' ( Prince Philamine), ' Pygmalion 
 and Galatea' {Pygmalion), 'The Wicked World' {Ethais), and 
 ' Charity ' {Frederic Smailey), on the occasion of their first per- 
 formance. {See Kendal, Mrs. W. H.) 
 
 In January 1875 Mr. Kendal, with his wife, fulfilled a short 
 engagement at the Opdra Comique, under the management of Mr. 
 Holhngshead, the plays in which they appeared together being 
 ' The Lady of Lyons,' ' As You Like It,' and Goldsmith's comedy 
 of 'She Stoops to Conquer.' On March 12 of the same year 
 Mr. and Mrs. Kendal " opened " at the Court Theatre, under the 
 management of Mr. Hare, and appeared in the following pieces, 
 viz. ' Lady Flora,' ' Nine Days' Wonder,' ' Broken Hearts,' and 
 'A Scrap of Paper.' In 1876 Mr. Kendal went to the Prince of 
 Wales's Theatre, under the management of Mr. and Mrs. Bancroft, 
 and appeared there in ' Peril ' and ' London Assurance,' and later 
 in the English version of M. Sardou's play of ' Dora,' entitled 
 ' Diplomacy,' first performed January 12, 1878. In this play Mr. 
 Kendal sustained the part of Captain Beauclerc. " The famous 
 ' Scfene des trois hommes ' could hardly have been received with 
 more enthusiasm when represented by MM. Berton, Train, and 
 Dieudonnd to the great delight of a Parisian 'first-night' audience; 
 and though the marvellous dramatic power, variety, and truth of 
 this memorable episode have a necessary tendency to weaken the 
 impression of subsequent scenes, the story was from this point, 
 at least, followed with eager interest until the curtain fell amidst 
 hearty and genuine applause. . . . The performance of the scene 
 [of 'the three men'] by Mr. Kendal, Mr. Clayton, and Mr. Bancroft 
 was exceedingly spirited and nicely marked in all its transitions 
 of passionate feeling. Of the striking effect which it produced we 
 have already spoken," {Daily News, January 14, 1878.) 
 
 " In the first of the great scenes the acting of Mr. Bancroft, Mr. 
 Kendal, and Mr. Clayton, respectively impersonating the friend, 
 the husband, and the brother, could not well be bettered. The 
 situaltion is in itself very striking, and presented as it is by these 
 three gentlemen, it brought down, from all quarters of the house, 
 such applause as is seldom heard in this theatre, where satisfaction 
 is wont to be expressed after a somewhat languidly decorous 
 fashion. Mr. Kendal, we confess, fairly surprised us. He has 
 long been credited with the pleasant expression of the easy graces, 
 and fancies of the comedian, but for the exhibition of so much 
 feeling and power few were, we suspect, prepared." {Times, 
 January 21, 1878.) On Saturday, January 4, 1879, Mr. Kendal 
 and his wife " opened " at the Court Theatre, in a revival of 'A 
 Scrap of Paper,' in which he acted Colonel White. Saturday, 
 February 15, in a revival of ' The Ladies' Battle,' he played Gustave 
 de Grignonj and on Saturday, April 19 of the same year, at the 
 
340 THE DRAMA TIC LIST. 
 
 same theatre, the part of Frank Maitland in 'The Queen's ShiUing' 
 (G. W. Godfrey), a new version of ' Le Fils de FamiUe of MM. 
 Bayard and Bieville. He is now co-manager with Mr. Hare of St. 
 James's Theatre. 
 
 KENNEY, ROSA, is the daughter of Mr. Charles Lamb Kenney, 
 a litterateur of some distinction, and the grand- daughter of Mr. 
 Tames Kenney, the dramatist. Miss Kenney made her first appear- 
 ance on any stage January 23, 1879, in a morning performance at 
 Drury Lane Theatre, in the character of Juliet in ' Romeo and 
 JuHet.' Several weeks later she appeared at two matindes at the 
 Princess's Theatre in the same part, and as Pauline in ' The Lady 
 of Lyons.' At the reopening of the Royal Court Theatre, Sep- 
 tember 20, 1879, under the management of Mr. Wilson Barrett, 
 Miss Kenney took the character of Fernande in Sutherland 
 Edwards's adaptation of Sardou's ' Fernande ' ; btit subsequently 
 retired from the part. 
 
 KING, T. C, was born at Cheltenham in 1825, and entered the 
 dramatic profession at a comparatively early age, making his first 
 appearance on the stage proper at the Theatre Royal, Birmingham, 
 under Mr. Mercer Simpson's management. Afterwards he joined 
 the "York Theatrical Circuit," under Mr. John Langford Pritchard, 
 and played various parts in the Shakespearian and legitimate 
 drama at the Theatres Royal, York, Leeds, and Hull. Sub- 
 sequently Mr. King fulfilled a lengthened engagement at the 
 Edinburgh Theatre, under Mr. William Murray, appearing princi- 
 pally in Shakespearian characters. He made his dibut on the 
 London stage at the Princess's Theatre, July 22, 1857, when that 
 theatre was under the management of the late Mr. Charles Kean, 
 in the part of Bassanio (' Merchant of Venice '), Mr. Kean acting 
 Shylock. Remaining a member of the company of the Princess's 
 Theatre for two years, Mr. King, at the end of that period, relin- 
 quished his engagement for a " starring " tour in the principal 
 theatres of the provinces, which was attended with gratifying suc- 
 cess. At Dublin he became an especial favourite, and his per- 
 formances at the Theatre Royal in ' Hamlet,' ' Othello,' ' Macbeth,' 
 ' Merchant of Venice,' ' Richelieu,' &c., attracted large and appre- 
 ciative audiences. In 1868 Mr. King accepted an offer of an 
 engagement from Mr. F. B. Chatterton, and in March of the year 
 following made his reappearance on the metropolitan stage at 
 Drury Lane Theatre in the character of Richelieu. " In the later 
 acts, when Richelieu sees his fortunes desperate, and places in the 
 hands of the king his resignation, the dignity and pathos of Mr. 
 King's acting were great, and took complete hold upon the audience, 
 Mr. King has a fine presence and commanding look. His voice 
 is musical, his pronunciation is good, and his attitudes are all well 
 chosen and expressive." {Athenceum, March 20, 1869.) 
 
 On Thursday, March 18 of the same year, he appeared at the 
 same theatre as Hamlet, and subsequently as Othello and lac^o, 
 acting those parts alternately with Mr. Charles Dillon. Later Mr 
 
KING, T. C. 241 
 
 King acted the part of Macbeth. These performances were favour- 
 ably noticed in the Standard : — "The winter dramatic season was 
 brought to a close on Saturday, the performance during the final 
 week being remarkable for the diversity of the entertainment, and 
 the appearance on the London stage of a tragedian of the first rank 
 in the person of Mr. T. C. King. Of Mr. King's first appearance 
 as Richelieu we have already spoken. On the occasion of his 
 second appearance, on Thursday, Mr. King played Hamlet, his 
 performance of the Danish prince giving evidence of careful study, 
 together with a thorough comprehension of character. Mr. King 
 possesses many qualifications calculated to make him a good ex- 
 ponent of the part — a tall and commanding figure, graceful and 
 easy movements, an intelligent face, and a full-toned sonorous 
 voice. His impersonation of the mad prince may Ank among 
 the highest efforts of the present day; all those touches of tender 
 pathos with which the character abounds were thoroughly, though 
 not obtrusively, brought into prominence, while in all other por- 
 tions of the play the power of the actor was rendered fully ap- 
 parent." 
 
 During the season 1870, at the same theatre, Mr. King played 
 the following, among other parts, with much success, viz. William 
 Tell'vn. Sheridan Knowles's play of that title; Julian St. Pierre in 
 the same author's play of ' The Wife ' ; and Varney on the occa- 
 sion of the first performance, Saturday, September 24, 1870, ot 
 'Amy Robsart.' It has been remarked that, in his portrayal of 
 Shakespearian tragedy, Mr. King is "earnest and impassioned, 
 tender and pathetic, declamatory and conversational, as suits the 
 character he represents, and in all the varying moods and feelings 
 that actuate him he is true to nature." The Saturday Review, 
 in a notice of his performance oi Macbeth at Drury Lane Theatre 
 in 1870, remarked that " Mr. King has all the attributes of a 
 first-class tragedian. No such actor has appeared on the boards 
 of old Drury since Macready bade farewell to the stage in the same 
 character {Macbeth).^'' Since his last appearance in London Mr. 
 T. C. King has fulfilled several successful " starring " engagements 
 in the provinces. 
 
242 THE DRAMATIC LIST. 
 
 LACY, WALTER, was born in 1809, and made his first appear- 
 ance on any stage at the Theatre Royal, Edinburgh, in 1832 as 
 Count Montalban in 'The Honeymoon.' Subsequently he played 
 various engagements in Glasgow, Manchester, and Liverpool ; and 
 made his dibut on the London stage in August 1838, at the Hay- 
 market Theatre, as Charles Surface ('School for Scandal'), Miss 
 Taylor — an actress who was the' " original " Helen in ' The Hunch- 
 back,' and of considerable repute on the London stage in the 
 second quarter of the century — playing Lady Teazle. This lady 
 afterwards rtiarried Mr. Walter Lacy, and " for twenty years played 
 leading comedy, tragedy, and Vestris-business at Covent Garden, 
 Drury Lane, or the Haymarket, during the last twelve acting as 
 Mrs. Walter Lacy, and shining especially in Shakespearian 
 women."* Following his first appearance on the London stage 
 Mr. Lacy was engaged for three years at the Haymarket Theatre. 
 After this he accepted a three years' engagement at the Theatre 
 Royal, Covent Garden, " opening " as Captain Absolute in ' The 
 Rivals,' Madame Vestris playing Lydia Languish. Among the 
 company of this theatre, during Mr. Lacy's connection with it, 
 were Messrs. George Hartley, Charles Mathews, F. Vining, George 
 Vandenhofif, John Cooper, William Farren, F. Matthews, J. P. 
 Harley, John Brougham, Alfred Wigan, and Mesdames Nesbitt, 
 Vestris, Glover, W. Lacy, Brougham, H. Bland. Later, Mr. 
 Lacy became a member of the company of the T. R. Drury 
 Lane, "opening" there as Wildrake, Mrs. Nesbitt acting Con- 
 stance. He was for seven years connected with the Princess's 
 Theatre under Mr. Charles Kean's management, " opening " there 
 Saturday, September 18, 1852, as Rouble, first performance of 'The 
 Prima Donna' (Boucicault). During the same evening he played 
 Chateau Renaud ('The Corsican Brothers') and Alfred Highflyer 
 ('Roland for an Oliver'). "These were brilliantly contrasted 
 characters, affording splendid opportunity for an artist to establish 
 himself. Of such an opportunity the severity of my early training 
 and the varied experience of my career enabled me to take full 
 advantage. . . . After the first act of ' The Prima Donna ' Charles 
 Kean came to my dressing-room to congratulate me on my ' make- 
 up ' and acting in Rouble; and at the conclusion of ' The Corsican 
 Brothers ' I was cheered by the whole house. The manager and 
 manageress were delighted, and Mr. Bayle Bernard came on to the 
 stage with the late Douglas Jerrold to compliment me on 'the 
 originality and finish of my acting.' Next morning Charles Mathews 
 and Madame Vestris called me to their carriage in the middle of 
 Regent Street and heartily congratulated me. . . . My ' make-up ' 
 hit the house and was the key-note of the new rendering of the 
 
 * From a letter addressed by Mr. Walter Lacy to Mr. W. Clark Russell, 
 Editor of ' Representative Actors ' (p. 442). 
 
LA CY, WALTER. 243 
 
 part."* "Rouble, the generous, wrong-headed millionaire, always 
 - fighting for his mistress, and. always offending her, was admirably 
 dressed and played by Mr. Walter Lacy, who is a new addition 
 to the company. His ludicrous distress, tempered in the oddest 
 manner by a sort of cold nonchalance, made up one of those 
 characteristic inconsistencies which stand out in the memory from 
 the level of ordinary stage routine. Mr. Lacy is really an artist 
 well known and esteemed by habituds of the theatres, although of 
 late years hidden from the view of the general public. His per- 
 formance of Chateau Renaud in 'The Corsican Brothers,' which 
 followed ' The Prima Donna,' was a great instance of his care and 
 judgment in a part quite out of his usual line, and in which he had 
 aU the disadvantage of appearing after an excellent predecessor." 
 {Times, September 20, 1852.) Subsequently Mr. Lacy accepted 
 engagements at the Olympic, Lyceum, Strand, St. James's, and 
 Charing Cross Theatres. Of the parts played by him during his 
 long and honourable connection with the London stage the following, 
 in the plays to which each relates, are entitled to special mention, 
 viz. Benedick, Mercutio, Faulconbridge, Malvolio, Touchstone, 
 Cloten (' Cymbeline '), Prospero, Gratiano, Roderigo, Henry the 
 Eighth, Young Marlow, Sir Brilliant Fashion, Goldfinch, 
 Flutter, Tony Lumpkin, Acres, Dazzle, Dudley Smooth, Sparkish, 
 Megrim (' Blue Devils '), Ghost (' Hamlet '), Lord Trinket, Lord 
 Tinsel, My Lord Duke (' High Life Below Stairs "), Jeremy 
 Diddler, Puff{' The Critic '), Sir Anthony Absolute. For a period 
 of sixteen years Mr. Lacy has been Professor of Elocution at the 
 Royal Academy of Music. In April 1879, on the occasion of the 
 revival by Mr. Henry Irving at the Lyceum Theatre of ' The Lady 
 of Lyons,' Mr. Lacy sustained the part of Colonel Damas. The 
 Times (April 19, 1879) makes mention of his reappearance, after 
 a long period of retirement, as lending an additional feature of 
 interest to the revival. In Mr. Walter Lacy's hands (remarked 
 this journal) " Colonel Damas exhibited a nature gentler and more 
 subdued than that with which most actors have been wont to 
 invest that worthy soldier ; yet there were stiU distinctly to be 
 traced those enduring remains of a -skilled and carefuj training 
 >vhich neither time nor long disuse are ever able wholly to efface." 
 
 LARKIN, SOPHIE, made her d^but on the London stage, 
 September 25, 1865, at the Prince of Wales's Theatre as Mrs. 
 Pontifex in 'Naval Engagements.' On November 11, 1865, she 
 played, at the same theatre, the part of Lady Ptarmigant, first, 
 performance of T. W. Robertson's comedy ' Society ' ; on Septem- 
 ber 15 1866, the part of Lady Shendryn, first performance at the 
 same theatre of the same author's play of ' Ours ' ; and on 
 Api-il 6, 1867, the character of Marquise de Saint-Maur, first 
 performance at the same theatre of the same author's play of 
 'Caste.' On January i of the following year she " opened " at 
 St. James's Theatre as Mrs. Erskine Meek in H. T. Craven's 
 
 * ' Representative Actors,' W. Clark Russell, pp. 39S-9. 
 
244 THE DRAMATIC LIST. 
 
 comedy ' The Needful,' then first performed ; and in the following 
 month, at the same theatre, sustained the part of Patty Probity in a 
 revival of the same author's play of ' The Chimney Corner.' The 
 same year (1868) Miss Larkin joined the company of Miss Fanny 
 Josephs, who, on April 13, re-opened the Holborn Theatre with 
 Burnand's extravaganza ' The White Fawn,' in which Miss Larkin 
 appeared as Qjieen Harmonia. During 1869 she played Mrs, 
 Raby in a revival of H. T. Craven's ' Miriam's Crime ' at the same 
 theatre; and for the benefit of Mr. Lionel Brough (March 15) 
 acted excellently the part of Mrs. Hardcastle (' She Stoops to 
 Conquer at the Queen's Theatre. At St. James's Theatre, in 
 AprU 1870, Miss Larkin appeared in a version of 'Frou-Frou,' 
 produced by the late Mdlle. Beatrice, as Baroness de Cambri. On 
 Saturday, October 7, 187 1, first performance at the Globe Theatre 
 of H. J. Byron's comedy ' Partners for Life,' she played the part of 
 Priscilla Mervyn. Miss Larkin was also in the original cast of 
 the same author's comedy ' Our Boys,' first performed at the Vaude- 
 ville Theatre on January i6, 1875. She sustained the character of 
 Clarissa Champneys, and continued to appear in the part during 
 the unprecedented run of the piece. {See Byron, H. J.) On the 
 withdrawal of this play and production at the same theatre of ' The 
 Girls,' a new and original comedy from Mr. Byron's pen, Miss 
 Larkin " created " the part of Mrs. Clench. 
 
 LA TROBE, MRS. See ADDISON, Carlotta. 
 
 LAVERNE, PATTIE, was born in London, and first appeared 
 in public as a concert-singer, making her dibut at the Hanover 
 Square Rooms, in 187 1. Being possessed of a powerful, flexible, 
 and true soprano voice, united with considerable power of ex- 
 pression, she met with some success in oratorio and concert at St. 
 James's Hall, and other places in London, and at the Free Trade 
 Hall, in Manchester. Her first appearance on the stage was made 
 at Preston, in the character of the Grand Duchess, in Offenbach's 
 opera of that title, during a tour with Mr. John Russell's company 
 in Lancashire, in 1871. The following year, when Mr. Hingston 
 opened the Op^ra Comique in London, for Opera Bouffe, Miss 
 Laverne became a member of his company. In October 1872 at 
 that theatre, she played the part of Dindorette in ' L'GEil CrSvd.' 
 " Nothing could have been prettier in its way than the Dindorette 
 of Miss Pattie Laverne, a most attractive young lady, with a very 
 decided talent for sprightly acting. Her first song, ' If perchance 
 my lover,' was encored, and fully merited the compliment. The' 
 duet at the end of the scene was equally successful, and throughout 
 the opera Miss Laverne was as piquant and sparkling as possible, 
 and added greatly to the success of the piece." {Era, October 26, 
 1872.) At the same theatre, during the season 1872-3, she played 
 the parts of Little Tom Tug, Guillerette, in ' The Bohemians,' and 
 Kissi-Kissi in the operatic trifle of that title, " deserving all praise 
 for her spirited and piquant impersonation of the boy-girl, Kissi- 
 Kissi. Her sprightliness and really admirable singing were of the 
 
LAWLER, KATE. 245 
 
 most essential service to the success of the httle piece ; and the 
 part is one difficult to sustain without offence." {Standard, July 14, 
 1873.) Upon the production of ' La Fille de Madame Angot,' at 
 the Opdra Comique, under the joint management of Messrs. John 
 HoUingshead and Charles Morton, Miss Laverne played the part 
 of Clairette, and during a subsequent provincial tour with Mr. 
 W. H. Liston sustained the same character with marked success. 
 She has since represented most of the leading female parts in 
 Opera Bouffe, including Girqfld-Girofla, Boulotte in 'Barbe Bleue,' 
 Trainette in 'Pom,' and the title rSle in Cellier's opera, 'Nell 
 Gwynne,' produced with much success at the Prince's Theatre, 
 Manchester. Of the part of Boulotte, played by Miss Laverne at 
 Liverpool, the following criticism was published : — " Miss Pattie 
 ■Laverne played, not as is generally done, merely gracefully, but 
 with great care. In place of tacitly appealing to the audience, 
 she set herself to make the most of what is at the best a disagree- 
 able character. Boulotte being coarsely drawn requires the most 
 delicate treatment, and there is little doubt that in the hands of 
 a less skilful player it would have been absolutely disagreeable." 
 {Liverpool Daily Post, August 28, 1877.) 
 
 * LAWLER, KATE, previous to her ddbut on the London stage, 
 had earned some repute in the provinces as an earnest and pains- 
 taking actress ; the character of Smike in ' Nicholas Nickleby' 
 being among the parts which she has performed with more than 
 ordinary success. Miss Lawler made her first important appear- 
 ance in London at the Gaiety Theatre, in October 1878, as Sally 
 Scraggs in an amusing trifle entitled ' Stage Struck.' In this 
 piece she exhibited humorous talent of a very varied kind. Miss 
 Lawler has, during her engagement at the Gaiety, appeared in the 
 later burlesques placed on its stage. 
 
 * LEATHES, EDMUND, made his dibut on the London stage 
 March i, 1873, at the Princess's Theatre, as Gratiano in 'The 
 Merchant of Venice.' In November of the same year he played 
 with considerable success the title role in Charles Reade's drama 
 ' The Wandering Heir ' at the Queen's Theatre, " showing himself a 
 promising actor, with much grace of presence and purity of style, 
 and likely to prove a competent representative of the Doricourts 
 and Wildairs of old comedy, a class of parts lost of late years 
 to the stage" {Athenaum, November 22, 1873.) In October 1874, 
 and during the " run " of ' Hamlet ' at the Lyceum Theatre, Mr. 
 Leathes admirably sustained the part of Laertes. Two years later 
 (September 1876), in a revival at the Court Theatre of Boucicault's 
 ' Led Astray,' he acted George de Lesparre. It is understood that 
 Mr. Leathes has now retired from the stage. 
 
 LECLERCQ, CARLOTTA (Mrs. John Nelson), born in 
 London ; elder daughter of the late Charles Leclercq, for many 
 years favourably known in dramatic circles in Manchester and 
 London as a skilful ballet-master, pantomimist, and stage-manager, 
 
246 THE DRAMATIC LIST. 
 
 and, also, actor in a certain range of parts. Miss Leclercq was 
 educated to the stage from childhood, and, as a child, played in 
 extravaganza at various London theatres. At Christmas, 1 850-1-2, 
 she undertook the part of Columbine during the " run " of the 
 pantomime at the Princess's Theatre. At Easter, 1853, at the 
 same theatre, first performance of ' Marco Spada,' adapted from 
 Scribe's libretto to Auber's opera of that name, she played the 
 character Marchesa Maddalena, "her acting abounding in the spirit 
 in which her fellow-actors were deficient" {Atheiicsicm, April 2, 
 1853). In April 1854 she made her first appearance of any note 
 in the character of Marguerite (' Faust and Marguerite ') at the 
 Princess's Theatre. This so-called " magical drama " was a close 
 adaptation of a French piece of the same name, written by M. 
 Michel Carr^, and brought out at the Gymnase in August 1850. As 
 a spectacle it was one of the most tasteful and elaborate ever seen on 
 the boards of the Princess's Theatre. The Times (April 20, 1854), 
 noticing Miss Leclercq's acting in the part, said: — ^^ Marguerite 
 served to display to an extraordinary degree the talents of Miss 
 Leclercq. Her appearance, both as the happy innocent girl and 
 as the victim of remorse, was beautifully picturesque, and her 
 pantomime, which was important throughout, was always graceful 
 and expressive. The interior of the cathedral, in which she is 
 disturbed by evil thoughts during her prayer, was exhibited by 
 means of a transparency, and her wild gestures of despair as she 
 knelt conspicuous among the rest of the congregation gave a strik- 
 ing character to the whole tableau." 
 
 In March 1855, first performance at the Princess's of 'The 
 Muleteer of Toledo,' adapted from the French of M. Adam's opera 
 of the same title, Miss Leclercq performed the part of Elvira, 
 Queen of Murcia. The same year at the same theatre she 
 played the part of Diana, first performance of Morton's drama, 
 ' Don't Judge by Appearances ' (founded on M. Dutertre's ' Ange 
 et Ddmon') ; and the following year Beppo in Morton's play, 'A 
 Prince for an Hour,' and the heroine in the same author's play,, 
 ' Our Wife ; or, the Rose of Amiens.' On July i, 1857, she played 
 Ariel in a revival of ' The Tempest ' at the Princess's ; and 
 June 12, 1858, Nerissa in a revival of 'The Merchant of Venice.' 
 In June i860, during a temporary engagement of Mr. Phelps at the 
 Princess's Theatre, Miss Leclercq played Mrs. Ford in a revival of 
 ' The Merry Wives of Windsor ' ; and subsequently (in the follow- 
 ing year) Mrs. Page, in the same play. On Saturday, September 
 28, 1861, first performance in England at the above-named theatre 
 of Brougham's ' Playing with Fire,' she sustained the character of 
 Mrs. Savage. Monday, February 10, 1862, at the same theatre, she 
 played Rosalind in a revival of ' As You Like It,' as to which the 
 Athenceum (Fe^jjiary 15, 1862) remarked :— "Miss Carlotta Leclercq 
 is entirely out of place in Rosalind. She wants altogether the 
 educational training which such an exquisite creation of poetic 
 fancy requires and imphes ; nor is her personal appearance 
 suitable to the part. She is too demonstrative, too heavy, too 
 sensuous, where only the ideal, the fantastic, the spiritud should 
 
LECLERCQ, ROSE. 247 
 
 prevail." On Saturday, January 10, 1863, first performance of ' The 
 Duke's Motto ' at the Lyceum Theatre, under the management of 
 the late Charles Fechter, Miss Leclercq played the part of Zillah; 
 and on Saturday, October 22, 1864, first performance at the same 
 theatre of ' The King's Butterfly ' (Mr. Fechter in the leading rdle), 
 she played Madame de Pompadour. December 22, 1865, produc- 
 tion at the Lyceum Theatre of Palgrave Simpson's version of ' The 
 Master of Ravenswood,' she personated the part of Lucy Ashton. 
 Saturday, April 21, 1866, first appearance at the Lyceum Theatre 
 of Mr. Fechter in the part of Hamlet, Miss Carlotta Leclercq per- 
 formed Ophelia, and continued to play that character during the 
 very successful run of the piece. Monday, September 16, 1867, 
 she appeared at the same theatre as Pauline in ' The Lady of 
 Lyons,' Mr. Fechter playing Claude Melnotte. On Mr. Fechter's 
 removal to the Adelphi Theatre, and the production there (Satur- 
 day, October 17, 1868) of a dramatic version of A. Dumas' novel 
 ' Monte Cristo ' (Mr. Fechter as Edmond Dantes), Miss Leclercq 
 played the part of Mercedes. In March 1869, first performance at 
 the same theatre of a play entitled ' Black and White,' by Messrs. 
 Wilkie Collins and Charles Fechter, Miss Carlotta Leclercq sus- 
 tained the part of Emily Milburn. During the subsequent seven 
 years, Miss Leclercq acted principally in the United States in the 
 various plays produced there by Mr. Fechter. She returned to 
 England in 1877, and down to the date of her husband's death, in 
 July 1879, acted with him at the principal theatres in the pro- 
 
 LECLERCQ, ROSE, born in Liverpool ; fourth daughter of the 
 late Charles Leclercq, and sister of Carlotta Leclercq. She made 
 her first appearance of any note Saturday, September 28, 1861, at 
 the Princess's Theatre, London, as Mrs. Waverly, first performance 
 in England of 'Playing with File' (Brougham). On Monday, 
 September 21, 1863, at Drury Lane, first performance of F. C. Bur- 
 nand's play, ' The Deal Boatman,' she sustained the part of Mary 
 Vance (Mr. Belmore as Jacob Vance). On Saturday, October 10, 
 1863, on the occasion of the revival at Drury Lane, by Mr. S. Phelps, 
 of ' Manfred ' (Byron), she played the part of The Phantom of 
 Astarte. " One word uttered by Miss Rose Leclercq — ' Manfred ! ' 
 was the great attraction of that play." {Athenaum, April i, 1871.) 
 On Wednesday, August 12, 1868, she acted the heroine, first per- 
 formance at Princess's Theatre of ' After Dark ' (Boucicault) ; and, 
 in the following year, at the Adelphi, the heroine in the same 
 author's 'Lost at Sea.' Monday, March 7, 1870, at the Princess's 
 Theatre, first performance of Dion Boucicault's play, ' Paul Lafarge,' 
 she sustained the character of the heroine. Saturday, November 26, 
 1870, revival at the Princess's of 'The Pretty Girls of Stilberg' 
 (Mr. Benjamin Webster in his original character of Napoleon), 
 Miss Rose Leclercq played the part of Margot. The following 
 year, at the same theatre, she appeared (February) as Margaret in 
 a revival of ' King o' Scots ' ; (April) as Marguerite in a revival of 
 the drama, ' Faust and Marguerite' ; (May) as Mrs. Stirling in a 
 
248 THE DRAMA TIC LIST. 
 
 revival of ' The Clandestine Marriage ' ; and Tuesday, June 29, 1871, 
 first performance, at the same theatre, of Falconer's drama, ' Eileen 
 Pge; or. Dark's the Hour before Dawn,' she personated the 
 heroine. Saturday, March 2, 1872, revival of ' Ruy Bias' at the 
 Adelphi Theatre, London, with Mr. Fechter in the title rdle. 
 Miss Rose Leclercq played the Queen j Saturday, September 28, 
 1872, revival, at the Princess's Theatre, of ' Othello ' (Mr. Phelps 
 as the Moor), she performed the part of Desdemona ; and, in a 
 revival of ' The Merry Wives of Windsor,' at the same theatre, 
 December 19, 1874, she played the part of Mrs. Ford. Saturday, 
 September 4, 1875, ^^^t performance at Drury Lane of 'The 
 Shaughraun' (Dion Boucicault), Miss Rose Leclercq personated 
 the character of the heroine, Claire FfolUott. " There are at least 
 two characters in this piece which alone would suffice to raise it far 
 above the level of melodrama. The first of these is Conn the 
 Shaughraun, and the other is the heroine, who is not less natural 
 than Conn himself, though in a different way. Her Irish ready wit 
 and sly sense of humour are by a happy exercise of ingenuity not 
 only combined with qualities of a deeper and more earnest kind, 
 but so interwoven with them that they both act and re-act upon 
 each other. The peculiar position of this heroine — admirably per- 
 formed by Miss Rose Leclercq — is that she is in love with a young 
 gentleman who is not only of the hated Saxon race but a red-coat. 
 What is more, he is actually the officer commanding the detachment 
 who arrest her brother as an escaped rebel. The reluctance with 
 which she perceives the good qualities of this hero and progress of 
 her affection for him, and the hollowness of the coldness with which 
 she receives the young officer's advances, are delightfully portrayed. 
 There is a humorous playfulness even in her sternest moods, and 
 a fertility of resource about her modes of baffling his attempts to 
 look into her secret heart which, together with many other traits of 
 character, are as subtle and refined as they are fresh and pleasing." 
 {Daily News, September 6, 1875.) 
 
 Since the year 1875 Miss Rose Leclercq has been mostly engaged 
 travelling as " star " in the provinces ; appearing in such parts 
 as Galatea (' Pygmalion and Galatea '), Hilda (' Broken Hearts '), 
 comedies by Mr. W. S. Gilbert; and as Ruth in 'Ruth's Romance.' 
 Probably, Miss Rose Leclercq's greatest dramatic triumph has been 
 achieved in the character of Liz, 'That Lass o' Lowrie's,' in the 
 drama of that title, a part which she has perfomied with much 
 success both in London and the provinces. The Manchester 
 Examiner noticed this performance as follows : — " Perhaps no 
 other actress could be found on the EngUsh stage at the present 
 time so well qualified in every way to assume the difficult part of 
 the title rdle as Miss Rose Leclercq. Her commanding presence, 
 her boldness in defying her father, and her courage in rescuing 
 Fergus Derrick from the burning mine, stand out in bold relief 
 against the pathos and tenderness displayed at several stages of 
 the play, and notably in the second act, where her interview with 
 Alice Barholm, the daughter of the mine-owner, is particularly 
 affecting." 
 
LEEy JENNIE. 249 
 
 LEE, JENNIE (Mrs. J. P. Burnett), daughter of Edwin 
 George Lee, artist ; born in London. After her father's death she 
 entered the dramatic profession, and first appeared on the stage at 
 the Lyceum Tlieatre as " a page " in ' Chilperic' Subsequently, in 
 1870, at the same theatre, under the Mansell's management, in 
 ' Le Petit Faust ' she played " the crossing-sweeper," and secured 
 favourable notice for her skilful rendering of the part. Miss Lee 
 was afterwards engaged by Mrs. Swanborough, of the Strand 
 Theatre, for "leading burlesque," and appeared there in July 1870 
 as Prince Ahmed in 'The Pilgrim of Love.' She remained at the 
 Strand Theatre for two seasons. Subsequently she accepted an 
 engagement from Mr. Sothern, and accompanied him to the United 
 States, " opening " at Niblo's Theatre, New York, as Mary Meredith 
 in ' Our American Cousin.' Miss J. Lee was "leading soubrette" 
 at that theatre until it was destroyed by fire ; and then became a 
 member of the company of the Union Square Theatre, in the same 
 city, playing the same " line of business." She subsequently went 
 to San Francisco, and appeared at the California Theatre, where 
 Miss Lee remained for a period of two years. While at this theatre 
 she appeared for the first time as Jo in the play of that title, a 
 version of ' Bleak House,' adapted from Charles Dickens's novel by 
 J. P. Burnett. Miss Lee's impersonation of the part was a remark- 
 able success. In August 1875 she returned to England, and, in 
 London, played at the Surrey Theatre for the Christmas season. 
 Having leased the Globe Theatre for a time, on February 22, 1876, 
 Miss Lee " opened " with Jo, playing the part with " a realism and 
 a pathos difficult to surpass. A more striking revelation of talent 
 has seldom been made. In get-up and in acting the character was 
 thoroughly realized ; and the hoarse voice, the slouching, dejected 
 gait, and the movement as of some hunted animal, were admirably 
 exhibited" {Athenaum, February 26, 1876). Miss Lee has since 
 acted the same character with unvarying success at all the principal 
 theatres in the provinces. 
 
 LEIGHTON, MARGARET, daughter of J. Davies, Esq., J.P. 
 of Brecknockshire ; born in Brecon, South Wales. She made her 
 first appearance on any stage at the Queen's Theatre, London, 
 March 1874, in the character of Julia, in 'The Hunchback.' 
 " Miss Leighton has an excellent voice and an expressive cast of 
 countenance ; but what is of greater importance she possesses 
 histrionic power of high order. Her performance was distinguished 
 by tenderness, force, and passion, each point being made the very- 
 most of, and securing hearty applause. Miss Leighton was called 
 before the curtain at the conclusion of every act and loudly cheered." 
 {Daily News, March 1874.) Subsequently at the same theatre 
 she played various Shakespearian parts. In October 1874 she 
 played Romeo at the Prince's Theatre, Manchester, in Mr. Calvert's 
 revival of that play. She next appeared at the Queen's Theatre, 
 London, under Mr. John Holhngshead's management, playing 
 Evadne in 'The Bridal' (Beaumont and Fletcher), and the parts 
 of Desdemona- ('Othello') and Portia ('Merchant of Venice'). 
 
2S0 THE DRAMA TIC LIST. 
 
 Shortly afterwards, with her own company, Miss Leighton went 
 on a tour in the provinces, appearing as Marie Stuart in the play 
 called 'The Gascon.' She reappeared September 1876 at the 
 Queen's Theatre, London, as Chorus in a grand revival there of 
 Shakespeare's ' Henry V.' In a notice of this performance the 
 Daily Telegraph (September 1876) said : — " Perhaps the most 
 difficult task was that allotted to Miss Leighton, a young actress 
 of decided and marked ability. To play Chorus in this play, and 
 to speak a prologue to the enterprise, means to run the risk of 
 ridicule and to break in more than once upon the patience of the 
 audience. But Miss Leighton held her own bravely. She could 
 not possibly have done so had she been less correct in her elocution 
 or less earnest in her work. The use and meaning of a chorus 
 can only be known to a limited number in a general assembly ; but 
 Miss Leighton thoroughly succeeded in banishing laughter and- 
 creating attention by the polish of her recitation and the round 
 resonance of her voice." 
 
 Miss Leighton played the part of Haska on the first performance 
 of Mr. Spicer's play of that name at Drury Lane Theatre ; and, 
 subsequently, the character of the Countess oj Derby in Mr. W. G. 
 Wills's play ' England,' produced at Drury Lane, September 1877. 
 The following season she sustained the part of Formosa in a re-, 
 vival of Boucicault's drama of that name at the Adelphi Theatre,. 
 London. 
 
 LE THIERE, ROMA GUILLON, made her first appearance 
 on the London stage at the New Royalty Theatre, 1865, in the 
 character of Emilia (' Othello '). Subsequently she played in 
 ' Hunted Down ' at the St. James's {see Herbert, Louisa) ; 
 ' Life for Life ' at the Lyceum ; ' Ours ' (revival) at the Prince of 
 Wales's Theatre ; the melodrama of ' Rob Roy,' in which she 
 played Helen Macgregor, at Drury Lane Theatre ; and after ful- 
 filling an engagement with Mrs. John Wood at the St. James's, 
 on January 12, 1878, sustained the part of the Marquise de Rio 
 Zares, first performance of ' Diplomacy ' at the Prince of Wales's 
 Theatre. " Especial attention may be invited to the scene between 
 mother and daughter in the first act, so exceDently sustained by 
 Miss Le Thifere as the Marquise de Rio Zares, and Mrs. Kendal 
 as Dora. We have here a picture of pure and tender affection 
 approached in em earnest spirit and touched by both ladies with- 
 graceful skill, a scene instinct with variety, charm, and truth. The 
 dreary doubts of Dora as to the value of such a broken life as her's 
 ai'e with intense expression softened by the abiding presence of her 
 good old mother's love." {Daily Telegraph, February 8, 1878.) 
 Miss Le Thifere has appeared in revivals of ' Caste ' at the same 
 theatre. In July 1869 she produced at the Haymarket Theatre 
 " a new and original comedy," written by her, entitled ' All for 
 Money,' in which Miss Amy Sedgwick, Mr. Henry Irving, and 
 Mrs. Stephens appeared. The piece was, however, a failure. 
 
 LEWIS, MRS. ARTHUR. See TERRY, Kate. 
 
LITTON, MARIE. 251 
 
 * LITTON, MARIE, first obtained notice as an actress by her 
 praiseworthy performance of the part of Effie Deans,\ in a re- 
 vival of Boucicault's revised version of the play of 'The Trial of 
 Effie Deans,' presented on the Princess's stage, March 23, 1868, 
 under the title of ' Jeannie Deans.' It may be remarked that the 
 first-mentioned drama was produced at the Theatre Royal, West' 
 minster (Astley's Theatre), January 26, 1863, Mrs. Boucicault in 
 the leading rdle. On the occasion of the opening of the Gaiety 
 Theatre, Monday, December 21, 1868, Miss Litton appeared in 
 the English version of MM. d'Ennery and Brevil's ' L'Escamoteur,' 
 entitled ' On the Cards,' the late Mr. Alfred Wigan in the leading 
 role; and at the same theatre in the following year (December 
 1869) she appeared in 'Uncle Dick's DarHng' (H. J. Byron). 
 Subsequently Miss Litton became connected with the Brighton 
 Theatre for a period. January 25, 1871, she opened the Court 
 Theatre under her management, and produced various plays, 
 among which W. S. Gilbert's 'Randall's Thumb' (first performed on 
 the opening night) ; the same author's ' The Happy Land,' ' Alone,' 
 and ' Wedding March,' and Mr. Bronson Howard's ' Brighton' were 
 conspicuous. In 1873 she was engaged for a time at the Hay- 
 market Theatre, and appeared, Saturday, January 4 of that year, in 
 Mr. Gilbert's play ' The Wicked World ' as Zayda. In 1875 shfe 
 was acting at St. James's Theatre, and secured favourable notice 
 for her performance in the comedy of ' Tom Cobb.' At the Prince 
 of Wales's Theatre in 1877 she acted the character of Mrs. Mon- 
 tressor in ' The Unequal Match.' In the autumn of 1878 Miss 
 Litton undertook the management of the theatre attached to the 
 Aquarium, Westminster, and appeared during the season in a series 
 of performances of old comedy. This theatre was subsequently 
 (1879), under the same management, opened under the designation 
 of the Imperial Theatre, with an effective company of comedians. 
 Among the revivals of old comedies by Miss Litton in 1878-9, 'The 
 Liar ' and 'She Stoops to Conquer' claim notice. Her acting of 
 the part oi Miss Hardcastle in the first-named play was especially 
 successful. 
 
 ■•LOSEBY, CONSTANCE, had earned some reputation as a 
 public singer previous to her first appearance on the London 
 stage, which took place at the opening of the Gaiety Theatre 
 under Mr. Hollingshead's management, in December 1868, in Mr. 
 Jonas's comic operetta ' The Two Harlequins.' Her ddbut was 
 favourably noticed in the Daily News (December 23, 1868) as 
 follows : — " Mr. Hollingshead's programme includes several first 
 appearances, one of which at least is the occasion of introducing to 
 the public a valuable acquisition to the stage. We allude to Miss 
 Constance Loseby, a lady whose performances have hitherto, we 
 believe, been confined to the music-halls. As an actress in 
 
 t This performance is treated by the Era (March 29, 1868) as Miss 
 Litton's first appearance on the stage. In a notice of her acting, published 
 on that date, she is stated to be " not only a stranger to this theatre, but, 
 as we are informed, entirely new to the stage." — Ed. 
 
2S2 THE DRAMATIC LIST. 
 
 operetta and burlesque Miss Loseby is fully equal to the per- 
 formance of leading parts, while she possesses a mezzo-soprano 
 voice of considerable power. This was manifested at once, in 
 spite of her evident nervousness, by her pleasant rendering of the 
 song ' When husbands run away.' " She remained at the Gaiety 
 for six years (1868-74), playing leading rSles in various burlesques 
 placed on its stage ; ' Thespis ; or, the Gods Grown Old ' (W. S. 
 Gilbert), ' Aladdin the Second' (Hervd), 'Princess of Trebizonde' 
 (Offenbach), ' Trombalcazar ' (rendered into Enghsh by C. H. 
 Stephenson), &c., &c. Later, Miss Loseby became engaged at 
 the Alhambra Theatre, where she has since successfully appeared 
 in several versions of French comic operas. 
 
 LYLE, ARTHUR, was born in London, and made his first 
 appearance on the stage at Brighton in 1863 in one of the minor 
 parts in ' Society.' Subsequently he performed for some years in 
 the provinces with more than ordinary success, and made his 
 dttut on the London stage at the Standard Theatre in June 1878 
 in the part of Phil Lowrie in the drama of ' Liz ' (' That Lass o' 
 Lowrie's '). 
 
 LYONS, EDMUND D., born in Edinburgh, February 29, 
 1851. He entered the dramatic profession in boyhood under the 
 auspices of his father, the late Mr. E. D. Lyons, lessee of the 
 Theatre Royal, Dundee, and of Mr. and Mrs. R. H. Wyndham, 
 of the Theatre Royal, Edinburgh ; his first appearance in a part 
 of any importance being at the Dundee Theatre in 1864. He 
 was a member of the " stock " company of the Theatre Royal, 
 Edinburgh, in 1870. In 1874 he travelled with J. L. Toole through 
 the principal provincial towns as The Judge in ' Wig and Gown.' 
 The same year he became a member of the company of the 
 Alexandra Theatre, Liverpool, under Mr. Saker's management. 
 On April 15, 1876, he sustained the part of Captain Manuel in 
 Wilkie CoUins's ' Miss Gwilt,' on the occasion of the first pro- 
 duction of that play at the Globe Theatre in London, and he 
 was for a short period stage-manager at that theatre. At the 
 Christmas season 1876 he produced the pantomime at the Theatre 
 Royal, Bristol, under Mr. James Chute's management ; and after- 
 wards joined the so-called ' Caste ' company for a short season 
 during the summer months of 1877, playing in the provinces the 
 following characters — Hon. Bruce Fanquehere, Prince Perovsky, 
 and Beau Farintosh. On August 29, 1877, he joined the Lyceum 
 company, under Mrs. Bateman's management, and sustained with 
 excellent effect the character of Joseph Btischmann on the first 
 production of Wilkie CoUins's drama of ' The Dead Secret,' sub- 
 sequently appearing at the same theatre as Pierre Choppard 
 (' Lyons Mail '), and (April 1878) as Marcel (' Louis XL'). 
 
 LYONS, ROBERT CHARLES, born October 31, 1853 ; son 
 of the late Mr. E. D. Lyons, of Edinburgh, sometime lessee and 
 manager of the Theatre Royal, Dundee. He has been, more or 
 
L YOrfS, ROBERT CHARLES. 253 
 
 less, connected with the dramatic profession from boyhood, and 
 made his professional ddbut March 1869, at the Theatre Royal, 
 Edinburgh, under the management of Mr. R. H. Wyndham. He 
 played in the grand revival of ' Rob Roy ' at that theatre, August I, 
 187 1 ("the Scott Centenary Celebration"). Subsequently Mr. 
 Lyons accepted an engagement with Mr. J. L. Toole for a short 
 tour in the provinces in May 1874 ; and afterwards returned to the 
 Theatre Royal, Edinburgh, of the "stock" company of which he 
 remained a member until the theatre was destroyed by fire, 
 February 6, 1875. He opened in Liverpool at the Alexandra 
 Theatre, under the management of Mr. Saker, March i, 1875, ^s 
 Charles Courtly in ' London Assurance,' subsequently playing 
 during this engagement such parts as Sir Thomas Clifford, Eugene 
 de L'Orme, Jacques, Mercutio, &c. During his stay at Liverpool Mr. 
 R. C. Lyons played a special engagement at the Rotunda Theatre in 
 around of Scotch comedy. On the 9th December, 1875, he played 
 Allan Armadale, in Wilkie CoUins's drama of ' Miss Gwilt,' first 
 produced at the Alexandra Theatre, Liverpool, prior to its pro- 
 duction in London. He made his first appearance on the London 
 stage (in the same character) at the Globe Theatre, April 15, 1876^ 
 under the management of Miss Ada Cavendish. He was engaged 
 by Mrs. Bateman for Mr. H. Irving's provincial tour, September 14, 
 1876 ; and subsequently joined the company of the Lyceum Theatre 
 in London, and played in the two productions of the seasons 
 immediately following, viz. Hastings ('Richard III.')j Monsieur 
 Couriol (' Lyons Mail '). 
 
254 THE DRAMATIC LIST. 
 
 MACKINTOSH, WILLIAM.was born in Melbourne, Australia, 
 July 23, 1855, and first appeared on the stage December 24, 1872, 
 at the Theatre Royal, Elgin, in a subordinate part in a piece 
 entitled ' Christmas Eve.' He entered upon his first important 
 engagement with Mrs. John Wood at the Gaiety Theatre, Dublin, 
 June 21, 1875, appearing as Crabtree (' School for Scandal '), Mark 
 Meddle ('London Assurance'), &c. In 1876 he played various 
 parts at the Gaiety Theatre, Glasgow, during the engagements of 
 the late Mr. Charles Mathews, Mr. and Mrs. Kendal, &c. In the 
 following year Mr. Mackintosh appeared at the Prince of Wales's 
 Theatre, Liverpool, as Flop (' Bounce '), Jacques Strop (' Robert 
 Macaire'), Peckover ('The Contested Election'), Whiskerandos 
 ('The Critic'), Touchstone ('As You Like It'), &c., and at other 
 leading theatres in the provinces, for the most part in support of 
 " star " actors. He made his ddbut on the London stage at the 
 Royal Court Theatre, January 4, 1879, as Dr. Penguin in a revival 
 of ' A Scrap of Paper,' his performance of the part being noticed 
 in the following terms in the Athenceum (January 11, 1879): — 
 "Of the new comers, one, Mr. Mackintosh, seems likely to be of 
 high service to the company at the Court. The get-up of Mr. 
 Mackintosh was admirable, a new and quite recognizable type of 
 comic character being presented. In other respects the per- 
 formance was excellent, though it was not free from exaggeration 
 in the later scenes." At the same theatre (at a morning per- 
 formance), Saturday, April ig, 1879, ^^ played the part of Sam 
 Pitcher in ' The Queen's Shilling,' a new version, by G. W. Godfrey, 
 of ' Le Fils de Famille.' 
 
 MACKLIN, FRANCIS HENRY, was born in London 1848, 
 and entered the dramatic profession under the pseudonym of 
 " F. Manton " in 1873. He made his first appearance on the 
 stage in June of that year, at the Queen's Theatre, Long Acre, 
 under Miss Litton's management, as Melun in ' King John.' 
 Afterwards he went on tour with a company of which the same 
 lady was manager; and in September 1873 joined Mr. Chatterton's 
 Drury Lane and Adelphi companies, playing at the former of these 
 theatres in a revival of ' Antony and Cleopatra,' and at the latter 
 in ' Green Bushes,' with Madame Celeste in the cast. At the 
 Adelphi he played his first original part, Harry Valentine, in a 
 play by Paul Meritt, entitled ' Rough and Ready.' Assuming his 
 own name in 1874, Mr. Macklin played several provincial engage- 
 ments, notably at the Prince's Theatre, Manchester, where, among 
 other parts, he played Prince John in a revival of ' Henry the 
 Fourth.' At the Queen's Theatre, in the same city, he played 
 Romeo to the Juliet of Miss Ada Cavendish. Afterwards returning 
 to London, in May 1875, at the Mirror Theatre, he played the 
 original Latirence Lindon in ' The Detective,' a version of ' Le 
 Parricide,' by Clement Scott. The acting of this character served 
 to bring Mr. Macklin into notice, although the play itself was not 
 
MACJ-EAN, JOHN. 255 
 
 a success. Subsequently he fulfilled various provincial engage- 
 ments. In January 1876, at the Olympic Theatre in London, he 
 performed the leading character of Tom Mayfield in J. Hatton's 
 drama entitled ' Clytie ' ; and in the March following appeared at 
 the Duke's Theatre in Mr. Craven's drama 'Too True.' Mr. 
 Macklin has since undertaken engagements at the Op^ra Comique 
 and St. James's Theatre, and at the Globe Theatre, where he 
 appeared in ' Stolen Kisses,' and at various times has played such 
 parts as Falkland (' The Rivals '), Young Marlow (' She Stoops 
 to Conquer '), Captain Hawksley (' Still Waters Run Deep '), Mr. 
 Chevenix ('Uncle Dick's Darling'), Charles Courtly ('London 
 ./Assurance '). In April and May 1878 he supported Miss Neilson 
 during her engagement at the Haymarket, playing the following 
 characters : Mercutio, Angela, and Modus. In September 1878 
 Mr. Macklin accepted an engagement at the Olympic Theatre, 
 where he played Chevalier de Vaudray in a revival of ' The Two 
 Orphans.' At the same theatre during the same engagement he 
 appeared as Joseph Goupille in a new and original comedy-drama 
 by Mrs. Holford, entitled 'A Republican Marriage.' In 1879 he 
 went on tour in the provinces in a company under the management 
 of Miss Helen Barry. 
 
 MACLEAN, JOHN, was born in London. He began his pro-, 
 fessional career on the stage in 1859, at the Theatre Royal, 
 Plymouth. Previous to this he had been engaged in giving 
 dramatic readings in conjunction with Mr. T. J. Searle, one of 
 the literary staff of the Weekly Dispatch. During the last 
 provincial tour of Mr. and Mrs. Charles Kean, while they were 
 performing at the Theatre Royal, Plymouth, Mr. Maclean under- 
 took to play the King in ' Hamlet ' at very short notice, and was 
 complimented on this occasion by Mr. Kean for the excellent 
 manner in which he had rendered the character. Afterwards 
 Mr. Maclean entered upon engagements at Jersey and Guernsey, 
 and, later, at Birmingham. In 1861 he made his first appearance 
 on the London stage at the Surrey Theatre ; and in 1862 was 
 engaged by the management of the Olympic Theatre to play the 
 part of Mr. Gibson in ' The Ticket-of-Leave Man.' Afterwards he 
 became a. member of the company of the New Surrey Theatre, 
 under Mr. Shepherd's management. Subsequently Mr. Maclean 
 appeared at the Princess's Theatre in 'The Man o' Airlie.' In 
 1868 he was enrolled a member of the company of the Gaiety 
 Theatre, under Mr. John HoUingshead's management, and con- 
 tinued to perform there in almost all the various plays produced 
 under Mr. HoUingshead's supervision down to the year 1879 in- 
 clusive. 
 
 MAISEY, ELISE, commenced her professional career in 1875, 
 vphen she created a favourable impression by her acting in various 
 Hies in the legitimate drama at the Rotunda Theatre, Liverpool. 
 During 1877-8 she was acting with success at Aberdeen and other 
 northern towns, principally in Shakespearian characters, Juliet, 
 
256 THE DRAMATIC LIST. 
 
 Ophelia, Rosalind, &c. She made her dSbut on the London stage', 
 at the Olympic Theatre, in July 1878, in the part of Euphrasie' 
 Dupont in ' Vivianne ; or, the Romance of a French Marriage,' 
 adapted, " by the author of ' The Member for Paris ' and Mr, 
 George Canninge," from a story pubhshed in the ' Cornhill Magar 
 zine ' entitled " Mdlle. Vivian." Subsequently, in the provinces, 
 Miss Maisey played very effectively the part of Valentine in ' Proof; 
 or, a Celebrated Case,' with a company organized under Mr. Wilson 
 Barrett's direction. 
 
 MARIUS, CLAUDE (a nom de thiAtrej CLAUDE Marius 
 Duplany), born February 18, 1850, at Paris. He entered the 
 dramatic profession in 1865 as an auxiliary at the Folies Dra- 
 matiques, playing parts in most of the popular pieces presented 
 there for a brief period. In 1869 he came to London, and appeared 
 at the Lyceum Theatre in the characters of Landry in ' Chilperic,' 
 and of Siebel in ' Little Faust.' M. Duplany joined the French 
 Army during the Franco- Prussian war; but in 1872 returned to. 
 London, and, at the Philharmonic Theatre, appeared as Charles 
 Martel and Drogan in ' G^n^vifeve de Brabant.' Subsequently 
 " M. Marius "joined the company of the Strand Theatre, where he 
 has played and " created " many parts, among them the following : 
 Viz. Major Roland de Roncevaux in ' Nemesis,' Rimbombo in ' Loo,' 
 Baron Victor de Karadec in ' Family Ties,' Orloff in ' Dora and 
 Diplunacy,' and Dubuisson in ' Our Club.' On Saturday, April 12, 
 1879, first performance at the Strand of an English version of 
 Offenbach's ' Madame Favart,' he sustained the r6le of M. Favart. 
 
 MAkKBY, ROBERT BREMNER, youngest son of the late 
 Rev. W. H. Markby, sometime Fellow of Corpus Christi College, 
 and rector of Duxford St. Peter's, Cambridge, received his educa- 
 tion at Marlborough College. He had acted on the provincial 
 stage, at Glasgow, Dublin, Liverpool, &c., previous to his first 
 appearance in London, which was made at the Court Theatre, 
 Saturday, October 28, 1871, in the part of Denis Grant in W. S. 
 Gilbert's comedy ' On Guard.' In the following year, in May, in a 
 revival of ' Leah ' at the Lyceum Theatre, Miss Bateman in the 
 title role, Mr. Markby acted the character of Father Hermann 
 "with great vigour and dramatic force." At the same theatre, 
 Saturday, September 28, 1872, first performance of 'Charles the 
 First' (W. G. Wills), he sustained the part oi Ireton. In 1873, in 
 the provinces and in London (at the Charing Cross Theatre), he 
 acted the character of Rev. Julian Gray in Mr. Wilkie Collins's 
 drama ' The New Magdalen,' Miss Ada Cavendish in the leading 
 role. In this part Mr. Markby proved himself a careful and 
 efficient actor, and secured well-merited praise. At the Prince of 
 Wales's Theatre he has appeared in revivals of 'The School for 
 Scandal' as Trip, and of ' Masks and Faces ' as Snarl, and at the 
 St. James's Theatre as Dazzle in ' London Assurance ' and Lord 
 Lovell in ' A New Way to Pay Old Debts.' 
 
MARRIOTT, ALICE, 257 
 
 MARRIOTT, ALICE (Mrs. R. Edgar), made her first appear- 
 ance on the London stage at Drury Lane Theatre in December 
 1 854 as Bianca in ' Fazio ' ; and in the following month, at the 
 same theatre, sustained the title rdle in Boucicault's drama 
 ' Eugenie,' then performed for the first time. Miss Marriott re- 
 ■ mained a member of the company of Drury Lane Theatre for 
 some seasons ; but in 1861 entered upon the management of the 
 Standard Theatre for a brief period. Here, on Monday, May 27, 
 1 86 1, she produced Westland Marston's play 'Anne Blake,' and 
 performed the title rdle. In February 1862, at the Princess's 
 Theatre, she undertook the part of The Angel of Midnight in 
 Brougham's play of that title, adapted from the French of MM. 
 Barri^re and Plouvier. In 1863 Mi;s Marriott entered upon the 
 management of Sadler's Wells Theatre, and on Saturday, Sep- 
 tember 5, " opened" with Lovell's play of ' Love's Sacrifice,' herself 
 sustaining the part of Margaret. On Monday, November 9 of the 
 same year, she produced, at the same theatre, a play in four acts, 
 by Westland Marston, entitled ' Pure Gold,' in which she acted the 
 •part oi Evelyn liochford. During 1863-4, at Sadler's Wells, Miss 
 Marriott appeared in the following characters, viz. : November 20, 
 Virginia, in the tragedy of 'Virginias'; January 23, 1864, the 
 Duchess of Malfi, in Webster's tragedy of that name ; February 22, 
 1864, the character of Hamlet, in Shakespeare's tragedy; Septem- 
 ber 17, 1864, the Countess, in Sheridan Knowles's play of 'Love ;' 
 and later. Lady Macbeth and Juliet, " showing the versatility of her 
 talent by sustaining both with such points of discrimination as prove 
 a remarkable power of artistic adaptation. . . . The extent of her 
 range is a qualification which peculiarly fits her for the manage- 
 ment of a theatre in which she must herself play the leading 
 Shakespearian characters." {Athenceum, October I, 1864.) Miss 
 Marriott retained the management of Sadler's Wells Theatre for a 
 period of six years. She has appeared with success in the United 
 States in leading roles in the legitimate drama, and is now (1879) 
 travelling in the provinces with a company known as " Miss 
 Marriott's Dramatic Company." 
 
 MARSH, HENRY. See Marston, Henry. 
 
 MARSHALL, FREDERICK, born in Glasgow, November 5, 
 1848; he was educated to the stage from childhood, appearing as 
 one of " The Marshall Family " in various dramatic pieces written 
 by his father, C. F. Marshall. His first engagement as a member 
 of the dramatic profession proper was at the New Theatre Royal, 
 Bristol. In Easter, 1870, at the Theatre Royal, Bradford, he played 
 the character ol Quilp, in a version of ' The Old Curiosity Shop,' 
 written by C. Rice. This performance was so far a success that it 
 had a long run on tour in the provinces. Subsequently Mr. Marshall 
 became a memberof thecompanyof the New Theatre Royal, Notting- 
 ham ; and, later on, of the Prince of Wales's, Liverpool. At this 
 theatre he played several important parts in "revivals," notably Biles 
 (' Miriam's Crime '), Peter Probity ('The Chimney Corner'), Daniel 
 
 S 
 
258 THE DRAMATIC LIST. 
 
 White ('Milky White'), Sampson Burr (' Porter's Knot'). March 29, 
 
 1875, Mr. Marshall opened at the Philharmonic Theatre, London, 
 in a burlesque entitled ' The Talisman ' ; and also again enacted 
 the part oi Peter Probity, in which he was very successful. March 6, 
 
 1876, he was engaged by Mr. W. S. Gilbert to play the character of 
 Mousta in ' Broken Hearts,' for a lengthened tour through England- 
 and Scotland. " The best piece of acting in the performance is un- 
 doubtedly that of Mr. F. Marshall as Mousta, the dwarf. Highly 
 .effective, in a quiet, subdued style, was the expression of feeling in 
 the passages where the deformed creature pleads for the love of the 
 queenly Hilda, and still finer the rendering of utter prostration, 
 physical and mental, as he sinks under her reproaches." [Scots- 
 7nan, July 11, 1876.) In September 1876 Mr. Marshall joined Mr. 
 Duck's so-called ' Our Boys ' company of comedians, playing the 
 parts of Perkyn Middlewick (' Our Boys ') and Percy Pendragon 
 (' Married in Haste") with much success. In June 1877 he was 
 engaged as a member of Miss Lydia Thompson's travelling com- 
 pany, and visited the United States, performing at New York, 
 Boston, Philadelphia, Baltimore, &c. Returning to England 
 December 1877, he afterwards fulfilled a two months' engage- 
 ment Qune-July 1878) at the Vaudeville Theatre, London, appear- 
 ing as Perkyn Middlewick. In April 1879 he sailed for a tour in 
 Australia. 
 
 MARSTON, HENRY (a nom de thi&tre; Henry Marsh), born 
 at Highworth, March 1804 ; son of Dr. Marsh, a well-known Wilt- 
 shire physician. He was educated at Winchester School, and in 
 early life studied law in the chambers of Messrs. Jay and Thomson, 
 of Gray's Inn. Mr. Marston made his first appearance on the stage 
 at Salisbury, in November 1824, as Florian, in a play entitled ' The 
 Foundhng of the Forest.' For several successive years he played 
 with all the histrionic celebrities of the time, JVIiss Foote, Miss 
 Smithson, Madame Vestris, Mrs. Glover, the elder Kean, Charles 
 Kemble, Macready, Charles Kean, Dowton, Liston, and John 
 Reeve (see Creswick), making, in London, eventually a very 
 successful appearance at Drury Lane, October 31, 1839, as Benedick, 
 in the comedy of ' Much Ado About Nothing.' * The more pro- 
 minent part of Mr. Marston's professional career belongs to the 
 period of the late Mr. Samuel Phelps's management of Sadler's 
 Wells Theatre. Of that excellent actor's company Mr. Marston 
 was a conspicuous and popular member, taking a leading part in 
 nearly all the Shakespearian revivals for which (1844-59) the Uttle 
 theatre at Islington became famous. It would be impossible to 
 select for special mention any one role in the legitimate drama in 
 the presentation of which Mr. Marston excelled over and above 
 another. For fifty-five years he devoted his energies almost solely 
 to the interpretation of that drama (indeed, he might justly be con- 
 sidered the last of the Kemble school), and, during that time, he 
 appeared in more plays of Shakespeare than has fallen to the lot of 
 
 • For these particulars I am indebted to the Era, April 1879.— Ed. 
 
MAiiUKY, ROSE. 259 
 
 any principal living tragedian. Of plays, nowadays not so well 
 known to playgoers as when Mr. Phelps " redeemed Sadler's Wells 
 from clowns and waterworks, and made it a not unworthy shrine 
 of Shakespeare," * in which Mr. Marston played a part, ' Timon of 
 Athens,' ' Pericles, Prince of Tyre,' ' The Comedy of Errors,' ' The 
 Taming of the Shrew,' and Beaumont and Fletcher's ' A King and 
 No King,' are entitled to particular notice. When Mr. Phelps pro- 
 duced the first-named play it had been acted but few times since 
 the days of Shakespeare, and in the revival Mr. Marston acted 
 Apemantus, and by his conception of the character " helped much 
 to secure a right understanding of the entire play " {Journal of a 
 London Playgoer, Prof. H. Morley, p. 155). In 'A King and No 
 King,' which attracted the best judges of the drama to Islington, 
 Mr. Marston appeared as Tigranes. The writer just quoted makes 
 mention of the excellent acting of Mr. Marston in Bickerstaff's 
 'Hypocrite,' at the same theatre, in October 1858, and of his 
 judicious rendering of the part of Manly in ' The Provoked Hus- 
 band,' in the same year.f He also acted in Shakespearian drama 
 at Drury Lane and Covent Garden, and other theatres in London 
 and the provinces, with success. On Thursday, May 29, 1879, 
 a special performance of ' Much Ado About Nothing ' was given 
 at the Lyceum Theatre for the benefit of Mr. Marston. It is 
 gratifying to record that many of the best known actors and 
 actresses of the English stage lent their services on this occasion, 
 contributing greatly to its success, and aiding in no small degree, 
 by the pecuniary results of their kindly co-operation, to make 
 smoother the passage of Mr. Marston's declining years, unfortu- 
 nately somewhat roughly assailed by ill-health. 
 
 MARTIN, MRS. THEODORE. See FaUCIT, HELEN. 
 
 * MASSEY, ROSE, began her professional career at the Hay- 
 market Theatre, July I, 1867, as Mary Meredith in ' Our American 
 Cousin,' but attracted little notice as an actress until her appear- 
 ance in the pantomime of 'Blue Beard 'in 1871 at Covent Garden 
 Theatre, under the management of the late Mr. Augustus Harris, 
 when she played Fatima. Later she appeared as leading lady at 
 the Globe Theatre with the late H. J. Montague, and afterwards 
 
 *' Speech of Mr. W. F. Fox, M.P., at the farewell banquet to Mr. 
 Macready, March 1851. 
 
 t A correspondent of the Z);?//)/ iVra/j, writing under date April 16, 1879, 
 bears the following testimony to the dramatic ability of Mr. Marston : — 
 "As well as myself, there are, I believe, very many remaining who were 
 habitual frequenters of the performances at Sadler's Wells during the 
 memorable campaign there of Mr. Phelps, and who ever recur to them 
 with a living and grateful memory. ... I know it to have been the 
 opinion of the majority (and including the more intelligent and cultured) 
 of the old Wells frequenters, that they were indebted to Mr. Marston's 
 acting, next to that of his chief and manager's, for the excellence of the 
 performances there as a whole, and which, moving and delighting at the 
 time, abide fixed and fresh in the memory." 
 
 S 2 
 
26o THE DRAMATIC LIST. 
 
 went to America, where she fulfilled several engagements. She has 
 appeared at all the principal London theatres. 
 
 MATHEWS, MRS. CHARLES (formerly Mrs. Davenport), 
 relict of the late Charles Mathews, the younger, was an actress of 
 some note on the American stage previous to her second marriage. 
 She made her first appearance on the London stage Monday, 
 October ii. 1858, at the Haymarket Theatre, as Lady Gay Spanker 
 in ' London Assurance,' Mr. Charles Mathews playing Dazzle, his 
 original part. Subsequently, at the same theatre, Mrs. Mathews 
 played in various pieces : — Nannette Didier, in a play adapted by 
 her husband from a com^die- vaudeville of MM. Bayard and 
 Dumanoir, ' La Vicomtesse Lolotte,' entitled ' The Milliner to the 
 King'; and afterwards in ' Nothing to Wear,' from the French ' En 
 Manches da Chemise.' In March 1859 she played (with Mr. 
 Charles Mathews), at the Haymarket, Mrs. Featherby in Stirling 
 Coyne's ' Everybody's Friend.' She was the original Mrs. Honeybun 
 of Tom Taylor's ' The Contested Election,' first performed at the 
 same theatre June 29, 1859. September of the same year she 
 played at the Haymarket Theatre Sophia in ' The Road to Ruin,' 
 her husband as Goldfinch ; and Phcebe in ' Paul Pry,' Mr. Mathews 
 in the title role. Thursday, February 23, i860, first performance 
 of Mr. Tom Taylor's comedy ' The Overland Route,' she sustained 
 the character of Mrs. Sebright, Mr. Charles Mathews playing Tom 
 Dexter. During 1861 Mrs. Mathews continued to play at the 
 Haymarket Theatre ; and in 1862 for a short season appeared with 
 her husband at the Bijou Theatre then adjoining Her Majesty's 
 Theatre. In 1864 she played at the St. James's Theatre in a bur- 
 lesque by Burnand entitled ' Faust and Marguerite,' appearing in 
 the latter character. Mrs. Charles Mathews has rarely appeared 
 on the stage since the above date, and finally retired from it some 
 years ago. 
 
 MEAD, T., born in Cambridge, August 22, 1819, and entered 
 the dramatic profession in 1 841 at the Devonport Theatre, under 
 the management of Mr. James Dawson, making his first appear- 
 ance as Orozembo in ' Pizarro.' Having met with success, he was 
 subsequently engaged by Mr. Roxby, of the Sunderland circuit, in 
 whose company he travelled the provinces for some time, playing 
 any line of business that offered. He made his first appearance on 
 the London stage November 8, 1848, at the Victoria Theatre, in 
 the character of Sir Giles Oven-each. Afterwards (shortly before 
 Easter, 1849), being engaged by Mr. Shepherd, of the Surrey 
 Theatre, he appeared there during that year as Othello, Colonna 
 (' Evadne'), &c., and as Almagro, in Sheridan Knowles's ' Rose of 
 Arragon,' being noticed in the Athencpum (September 22, 1849) as 
 "an energetic performer of considerable promise." Mr. Mead 
 remained at the Surrey Theatre from 1849 to 1852, and became 
 a great favourite with its habitu(fs. He was shortly afterwards 
 engaged at Drury Lane Theatre, under E. T. Smith's management, 
 and played there, among other parts, Hamlet, lago, Macduff, 
 
MELLON^ MRS, ALFRED. 261 
 
 Claude Melnotte, Duke Aranza, Wellborn, and Chateau Renaud. 
 Mr. Mead was a member of the company of the St. James's 
 Theatre (for "leading business and stage-management") under 
 Mrs. Seymour. In 1858 he was enrolled as leading actor at the 
 New Grecian Theatre. In subsequent years he fulfilled engage- 
 ments at Sadler's Wells, playing the leading parts with Miss 
 Marriott. At the Princess's Theatre he was the " original " /faaf 
 Levy in ' Never Too Late to Mend,' and Crawly in 'The Streets 
 of London.' Afterwards Mr. Mead became lessee and manager 
 of the Elephant and Castle Theatre for a short period. At the 
 Queen's Theatre he played the leading part in the first performance 
 of Charles Reade's drama ' Rachel the Reaper.' He was engaged 
 at the Lyceum Theatre, under Mrs. Bateman's management, to 
 perform in the Shakespearian revivals and other plays produced 
 under the supervision of Mr. Irving. He is still (June 1879) per- 
 forming there, having appeared during his engagement in the 
 following parts, viz. The Ghost (' Hamlet '), \st Witch (' Macbeth '), 
 Brabantio ('Othello'), Lord Howard ('Queen Mary'), 1st Mur- 
 derer (' Richard III.'), &c., &c. Mr. Mead is the author of a play 
 produced at the Haymarket, July 8, 1867, under the title of 'The 
 Coquette,' in which Miss Amy Sedgwick played the leading part. 
 
 MELLON, MRS. ALFRED («/«WoOLGAR, Sara H J.), was borrl 
 in 1824, and made her professional d^but in London in September 
 1 843, at the old Adelphi Theatre, in a duologue entitled ' Antony 
 and Cleopatra.' At the beginning of her career Miss Woolgar's 
 versatile talents were generally employed in burlesque, in which 
 she attained great repute. Her name will, however, be more 
 generally and favourably known in connection with the series of 
 domestic dramas for which the old Adelphi, under Mr. Benjamin 
 Webster's management, and during Madame Celeste's popularity, 
 became famous. Among the more important of those in which 
 Miss Woolgar played on the occasion of their first performance 
 may be noted the following: — 'The Flowers of the Forest' 
 {Lemuel), 'The Marble Heart' {Marie), 'The Willow Copse' 
 {Meg), 'The Dead Heart' {Catherine Duval), &c. Besides the 
 foregoing plays in which Miss Woolgar's acting invariably com- 
 manded praise, the following characters and pieces in which she 
 has also appeared on the London stage are entitled to mention, 
 riz. on April 9, 1853, at the Adelphi Theatre, the Widow Somerton, 
 in a farce of more than ordinary merit, by Mr. M. Morton, entitled 
 ^ A Desperate Game' ; on Wednesday, July 20 of the same year, 
 the leading role in Mark Lemon's burlesque of 'Sardanapalus'; 
 on Monday, March 30, 1854, Anne Musgrave, first performance of 
 Messrs. Tom Taylor and Charles Reade's drama, 'Two Loves 
 and a Life,' " a drama built on an interesting story, with many and 
 various incidents, and with important personages enough to employ 
 a large number of good actors. In addition to this qualification, 
 which it has in common with many other effective Adelphi pieces, 
 it has the strange peculiarity that it is not taken from the French, 
 but is really spun in the first instance from the brains of Mr. Tom 
 
262 THE DRAMA TIC LIST. 
 
 Taylor and Mr. Charles Reade. It is in four acts. .... The 
 assemblage of more incidents than are altogether consistent with 
 the laws of probability, and the nature of the situations them- 
 selves, stamp this work with the character of melodrama.. But 
 it rises above the ordinary level of that class of entertainment 
 by the carefulness and good taste displayed in the writing. The 
 contrast between the two females, one of more feminine, the 
 other of sterner stuff, is well conceived, as a new element of 
 melodramatic action, while it seems to draw out most advanta- 
 geously the opposite peculiarities of Miss Woolgar and Madame 
 Celeste." {Times, March 21, 1854.) At Easter, 1854, at the 
 Adelphi Theatre, she played Lord Bateman in Brough's ' Overland 
 Journey to Constantinople,' &c. " The most marked performance 
 in the piece is that of Miss Woolgar as the famous Lord Bateman; 
 particularly in the second part of the drama, where, after an 
 absence from his Sophia for ' seven long years and fourteen days,' 
 his mind reverts to its first love while on the point of contracting 
 a marriage with a new bride, and manifests a state of abstraction 
 and uneasiness peculiarly dramatic. Mr. Brough's burlesques often 
 become serious verities, and for a while sink the fun and bustle 
 in real pathos, with which what is called humour, as distinct from 
 wit, readily coalesces. The scene to which we allude is an instance 
 in point, and was acted by Miss Woolgar with truth and effect. 
 Such painting is like Nature's own, and we were struck with it in 
 the situation we have described as something worthy of being in- 
 cluded with efforts of Art." [AthencEum, April 22, 1854.) 
 
 In the same year, on Monday, December 11, she played the part 
 of Marie Blanche in ' Pierre, the Foundling,' at the Adelphi. 
 Monday, September 15, 1856, the opening night of the Lyceum 
 Theatre, under Mr. Charles Dillon's management. Miss Woolgar 
 played Florizel in a burlesque by William Brough, entitled 
 ' Perdita ; or, the Royal Milkmaid.' The same year, Tuesday, 
 October i5, first performance at the Lyceum of 'The Three Mus- 
 keteers,' she sustained the part of Constance ; and on Saturday, 
 December 6, Eugenie (of Beaumanoir), first performance of Ed. 
 Falconer's drama 'The Cagot; or. Heart for Heart.' In March 
 1857, at the same theatre, she appeared as Ophelia; Mr. Charles 
 Dillon performing the part of Hamlet. " Miss Woolgar's Ophelia 
 was one of the finest performances of the character we have ever 
 seen. It was full of genius, and the pathos of the mad scene was 
 irresistible." {Daily News, March 21, 1857.) 
 
 On Wednesday, January 20, 1858, at the same theatre, first 
 performance of a play of Leigh Hunt's, entitled 'Love's Amaze- 
 ments,' she played the part of the Countess de Montelais; and in 
 the same year (September) succeeded Mrs. Charles Young as Miss 
 Vavasour in Falconer's play ' Extremes ; or, Men of the Day.' 
 The following year she returned to the Adelphi Theatre, and in 
 January appeared there as Dorine in ' Tartuffe.' The following 
 month, in a "revival" of 'Masks and Faces,' she played the 
 character of Peg Woffington, noticed in the Athenceum (Feb- 
 ruary 19, 1859) as follows: "The performance of Peg Woffington 
 
MELLON, MRS. ALFRED. 263 
 
 for the first time by Miss Woolgar is an event. It was in all 
 respects admirable and thoroughly original. The capricious im- 
 pulse and natural good-heartedness of the actress, by the manners 
 of the time placed in a false position, oppressed with a sense of 
 degradation, but upheld by a consciousness of superior talent, were 
 distinctly exhibited, not only in the general bearing of the assump- 
 tion but in the most minute, details. Nothing could be more life- 
 like than the play of light and shadow introduced, and their skilful 
 distribution in the picture. Miss Woolgar has achieved by the 
 performance a triumph, not only with the public but in the estima- 
 tion of fastidious censors." During the same year, at the Adelphi, 
 she played the following characters, viz. Don CUophas Zambullo, 
 in the burlesque of ' Asmodeus ' ; Sir Rowland Macassar, in a 
 burlesque ' The Babes in the Wood ' ; and Catherine Dtival 
 (November), first performance of Mr. Watts Phillips's drama ' The 
 Dead Heart.' 
 
 On Monday, September 10, i860, first performance at the 
 Adelphi of ' The Colleen Bawn ' (Mr. and Mrs. Boucicault in the 
 principal parts), Miss Woolgar sustained the character of Anne 
 Chute. Monday, April 14, 1862, first performance of Boucicault's 
 dramatized version of ' The Cricket on the Hearth,' entitled ' Dot,' 
 she played the part of Tilly Slowboy. " For downright grotesque 
 yet still natural fun. Miss Woolgar's Tilly Slowboy could not be 
 surpassed. The drollery of Tilly''s position is greatly heightened by 
 the perverse pleasure which the now reckless Ned Plummer takes 
 in frightening her out of her wits — an exhibition of comic terror is 
 constantly taking place in the background." {Times, April 16, 1862.) 
 On Monday, August 8, 1864, in a new farce of some interest, by 
 T. J. Williams, entitled ' My Wife's Maid,' Miss Woolgar played 
 the leading character, Barbara Perkins. In July 1865, still at the 
 Adelphi, first performance of Mr. Walter Gordon's play ' Through 
 Fire and Water,' she performed the part of Honnor Bright. 
 Saturday, May 5, 1866, first performance at the same theatre of 
 Mr. Benjamin Webster junior's version of Victorien Sardou's ' La 
 Familie Benoiton,' entitled ' The Fast Family,' Miss Woolgar sus- 
 tained the part of Clotilde. " Miss Woolgar (Mrs. Alfred Mellon) 
 managed the scene admirably, and to her vigorous perform- 
 ance throughout of this part of Clotilde, which is an exceed- 
 ingly arduous one, the success of the drame should in fairness be 
 attributed." (Athenceum, May 12, 1866.) 
 
 In the following year, Thursday, December 26, first performance 
 at the Adelphi of ' No Thoroughfare ' (Messrs. Charles Dickens 
 and Wilkie Collins), Mr. Charles Fechter in the leading role, Miss 
 Woolgar played Sally Goldstraw . From 1867 to 1875 she acted 
 at various theatres in several revivals of plays of more or less 
 interest. In March 1875, first performance at the Adelphi of a 
 dramatic version of ' Nicholas Nickleby,' from the pen of the late 
 Mr. Andrew Halliday, she undertook the part of Mrs. Squeers. 
 The same year, in October, reappearance of Mr. Joseph Jefferson 
 at the Princess's Theatre as Rip Van Winkle, she played 
 Gretchenj and in 1877, at the same theatre, she performed her 
 
264 THE DRAMA TIC LIST. 
 
 original character in ' Lost in London,' produced at the Adelphi 
 Theatre in 1867. On Wednesday, May 15, 1878, a performance 
 was given at Drury Lane Theatre in aid of a testimonial benefit 
 to Mrs. Alfred Mellon (Miss Woolgar), in which the principal 
 members of the dramatic profession took part. The result was 
 in every sense most gratifying, and bore ample testimony to her 
 personal worth and considerable merits as an actress. She has 
 recently (June 1879) been acting nightly at her old theatre, the 
 Adelphi, as Mrs. Candour, in a revival of ' The School for 
 Scandal.' 
 
 Miss Woolgar married the late Alfred Mellon, a gentleman well 
 known in the musical world, and a composer of considerable 
 ability, who inaugurated the series of Promenade Concerts now 
 annually given at the Royal Italian Opera, Covent Garden. 
 
 MERVIN, FREDERICK, is the son of a gentleman fanner in 
 Leicestershire. He made his first apf>earance in London at the 
 St. James's Theatre as Oscar in the comedy of ' War,' by Robert- 
 son. Afterwards at the Royalty, under Miss Kate Santley's manage- 
 ment, Mr. Marvin appeared as Anibal in ' La Marjolaine.' He 
 was engaged for a season at the Alhambra Theatre. When ' Les 
 Cloches de Corneville,' in August 1878, was transferred from the 
 Folly Theatre to the Globe, Mr. Mervin performed the character 
 of the Marquis for a considerable time. In May 1879 he super- 
 seded Mr. Walter Fisher as Hector ia 'Madame Favart' at the 
 Strand Theatre, and was himself superseded by Mr. H. Bracy 
 about the end of the London season. In September 1879 he was 
 at Edinburgh, performing in the same opera the character of 
 Charles Favart. 
 
 * MEYRICK, ELLEN, is a nieceand pupil of Mr. John Billington. 
 She first appeared in London at the Adelphi Theatre, January 31, 
 1874, as Alice May in ' Rough and Ready.' She has performed in 
 the provinces, and generally in company with Mr. and Mrs. Billing- 
 ton. She took the part of Miss Neville in ' She Stoops to Conquer ' 
 at the Aquarium (now Imperial) Theatre, February 15, 1879, and 
 during the extended run of the piece. She played Georgiana Vesey 
 in ' Money ' on the occasion of Mr. E. L. Blanchard's benefit at 
 the Haymarket in 1879, with a very strong cast ; and appeared as 
 Dorinda in ' The Beaux' Stratagem,' September 22, 1879, at the 
 Imperial Theatre, at the reopening under Miss Litton's manage- 
 ment. 
 
 MOODIE, LOUISE M. R., had appeared on the continental 
 stage previous to her d^it in England, which took place Saturday, 
 February 26, 1870, at the Royal Alfred Theatre, London, in the 
 part of Camille, in an English version of a drama of the same 
 name by Alexandre Dumas, jun. During the same year she 
 became a member of Sir Charles Young's comedy company, play- 
 ing, 1870, in the provinces and in London (at the Charing Cross 
 Theatre) the leadmg role, Beatrice, in ' Shadows ' (Sir C. Young), 
 
MOODTE, LOUISE M. R. 265 
 
 and, 1871, Marchesa de Torriano in ' Charms,' from the pen of the 
 same 'author. In the first-named character Miss Louise Moodie 
 achieved considerable distinction, and, so to speak, at once earned 
 a reputation for herself on the English stage. It may be remarked 
 that she had undergone no special course of training when she 
 adopted the stage as a profession and first appeared in public as 
 an actress. In October 1871 she joined the company of Sadler's 
 Wells Theatre, under Mr. F. Helton's management, appearing 
 there as Mdlle. Marco ('The Marble Heart'), and Lucrezia 
 Borgia in a drama of the same title by Mr. F. Belton. At the 
 Alexandra Theatre, Liverpool, Monday, December 4, 187 1, she 
 sustained the part of Esmeralda in Andrew Halliday's drama 
 ' Notre Dame.' Severe illness having necessitated Miss Louise 
 Moodie's retirement from the stage for a lengthened period, she 
 did not again act in England until June 1873, when she accepted 
 an engagement in the late Mr. Alfred Young's travelling company. 
 During a tour which followed Miss Louise Moodie played Miss 
 Chester in the drama of that name by Florence Marryat and Sir 
 Charles Young; Mrs. Oakley (' The Jealous Wife ') ; Lady Aiidley 
 (' Lady Audley's Secret '), &c. She reappeared on the London 
 stage at the Court Theatre under Miss Litton's management, 
 Saturday, February 14, 1874, in " a romantic play " entitled ' The 
 White Pilgrim ' (Merivale) as Thordisa. This play was unsuc- 
 cessful on the stage ; but the Times, in its review of its first repre- 
 sentation, remarked that it was " of no uncommon merit, and was 
 possessed of much of the character of antique tragedy." In the 
 same year Miss Moodie joined the late Mdlle. Beatrice's comedy- 
 company, and personated the character of Berthe de Savigny, first 
 performance of the English version of M. Octave Feuillet's ' Le 
 Sphinx ' (' The Sphinx ; ' Campbell Clarke), at the Theatre Royal, 
 Edinburgh, August 12, 1874. This piece was subsequently pro- 
 duced at the Theatre Royal, Haymarket, Miss Moodie sustaining 
 her original character. " The palm falls to the share of Miss 
 Louise Moodie, who has a strong character to represent, and 
 succeeds in rendering it forcible by concealing the art which 
 strengthens the illustration of nature. Every phase of the part 
 is artistically represented, and the fine scene in the last act, wheri 
 'Berthe threatens to expose Blanche's infamy, is played with re- 
 markable power. . . . Miss Moodie deserves the highest praise 
 for her performance, which we have no hesitation in saying is one 
 of the most forcible the stage has witnessed for a long time past." 
 {Standard, August 24, 1874.) She was specially engaged to per- 
 form the part of Aika in the " spectacular romance " ' The Black 
 Crook,' produced at the Amphitheatre, Liverpool, in May 1875. 
 The same year, in October, she appeared in the characters of 
 Ijidy Macbeth, Ophelia, and Portia, at the Gaiety Theatre, 
 Glasgow. In 1876 Miss Louise Moodie became connected with 
 the Chippendale Comedy Company, and in the provinces acted 
 such parts as Lady Teazle, Lydia Languish, Miss Hardcastle, &c. 
 Among other characters played by her in the same and following 
 years (1876-8) may be mentioned C lytic, in the drama of that 
 
266 THE DRAMA TIC LIST. 
 
 name by J. Hatton ; Lady Isabel and Madame Vine (' East 
 Lynne ') ; Helen Rolleston (' The Scuttled Ship ' ; Charles Reade) ; 
 Queen Katherine (' Henry VIII.'); Lady Marsden (' All for Her ") ; 
 the Countess Danischeff {' The Danischeffs '). In April 1878, first 
 performance at the Adelphi Theatre of ' Proof,' a version by Mr. 
 Burnand of MM. D'Ennery and Cormon's ' Une Cause Cdfebre,' 
 Miss Moodie personated Madeleine, and subsequently, in addition, 
 Adrienne Lorance, acting the dual parts with singular care and 
 effectiveness. On Monday, December 2, 1878, first performance at 
 the T. R. Haymarket of ' The Crisis ' (J. Albery), founded on ' Les 
 Fourchambault ' of M. Augier, she sustained the part of Mrs. 
 Goring. In discussing the merits of this performance the Daily 
 Telegraph (December 4, 1878) said: — "It will be a pleasure to 
 describe, in some detail, the finished art of Miss Louise Moodie, 
 who emphatically secured the success of the evening by one of 
 those performances so seldom found on the English stage, but 
 when met with so warmly welcomed. A scene so subtle and sym- 
 pathetic as this must be mastered by art or it becomes ridiculous 
 or commonplace. Suddenly there came out an actress — Miss 
 Louise Moodie — an actress comparatively unknown, save to those 
 who minutely study art, to hold an audience in breathless admira- 
 tion and sympathy. Unannounced and unexpected, Miss Moodie 
 stood forward to convince the sceptical as to the value of finish, 
 refinement, and grace in high-comedy acting. It was not the 
 words only that Mrs. Goring spoke which convinced the listener— 7 
 it was the pathos of resignation which she displayed. On that 
 weary face were scored the lines of many sorrows. The tired eye 
 contained what Mr. Swinburne has nobly called ' the fire of many 
 tears ' ; the voice was musical with forgotten memories. The 
 action of the hand, the anxiety of the look, the intonation of the 
 voice, were all in harmony, and the audience seemed hushed to 
 pity as they heard the record of so sad a life. With great grasp 
 and honesty of purpose did Mr. Kelly answer to the call required 
 of him in such a scene. He was as deeply earnest as was Miss 
 Moodie pathetically resigned. He was the type of action; she was 
 the embodiment of regret. The scene from first to last, in short, 
 rivalled the success of the similar situation at the Fran9ais, and 
 moved the house to an emotion that can only be accomplished- 
 by the most finished art. No one can sit through the scenes in 
 which old Mrs. Goring and her son are engaged without being 
 profoundly touched, not by the expression of a careless sentiment, 
 but by the firm, artistic embodiment of a palpable truth. Every 
 word uttered is human, and goes home to the heart, and a far 
 inferior play could be endured for the sake of acting so pathetic, 
 so tender, and so true. Whenever Mrs. Goring is on the stage, 
 with her silvered hair and her martyrdom of suppressed sorrow, 
 the audience is moved. The scenes in which Miss Louise Moodie 
 and Mr. Charles Kelly were concerned conspicuously raised the 
 interest of the comedy, and will certainly give it an impetus in 
 public estimation." 
 
MORGAN, WILFORD. 267 
 
 MORGAN, WILFORD, occupied the post of second tenor at 
 the Italian Opera, Covent Garden, during the last years of the late 
 Mr. Gye's administration. Mr. Morgan is an educated musician 
 and well-trained tenor. According to the Athenceum (September 
 13, 1879), "He is well versed both in the sacred and secular schools 
 of composition ; and his setting of Bunyan's ' Pilgrim's Progress ' 
 for solos, chorus, and orchestra, his ballads, &c., have attracted 
 attention in the provinces, if not, as their merits entitled them to 
 do, in the metropolis. For a short period he acted as double for 
 Mr. Sims Reeves at the Alexandra Palace and other places, for he 
 is master of the repertoire of our great English tenor. Mr. Wil- 
 ford Morgan obtained a fair chance at last when he was secured 
 for the Imperial Theatre (Aquarium) for the tenor part in ' H.M.S. 
 Pinafore,' in which he enjoyed great success. His powers were 
 still better displayed at the Globe Theatre, where, on Saturday, 
 September 6, 1879, he appeared at a short notice in ' Les Cloches 
 de Corneville ' as the Marquis.^'' 
 
 MUNROE, KATE, was born in New York, U.S.A., and entered 
 the dramatic profession in 1870. On October 25 of that year, at 
 Milan, she sang the role of Norina in Donizetti's opera of ' Don 
 Pasquale.' She studied for the operatic stage with some of the 
 best masters in Milan and Naples, and played and sang in Italian 
 opera for three years in various ItaUan cities. Miss Munroe was 
 engaged for six months at the Thd&tre des Italiens in Paris, and 
 came to London in 1874, making her first appearance in London 
 24th September of the same year at the Gaiety Theatre in opera 
 bouffe. She has played in French opera at the Philharmonic 
 Theatre, Islington, and was engaged for two years and a half at 
 the Alhambra Theatre, sustaining various principal parts, and 
 subsequently at the Folly Theatre, London. Since her dttut in 
 London Miss Munroe has occupied a prominent position in that 
 limited circle of English artistes competent to sing in the more 
 attractive works of the modern French composers. In the autumn 
 of 1878 she went to Paris, where during an engagement of seven 
 months she played with success two different rdles in French, in 
 the ' Deux Nababs ' at the Theatre des Nouveaut^s, and in ' La 
 Marquise des Roues ' at the Bouffes-Parisiens. 
 
 MURRAY, ALMA, born in London, November 21, 1856, and 
 made her first appearance on any stage in 1869, at the Olympic 
 Theatre, London, as Saccharissa, in W. S. Gilbert's ' Princess.' 
 From 1869 to 1875 she played various small parts at London- 
 theatres, viz. the Olympic, Royalty, Adelphi, and Drury Lane. 
 From August 1875 to April 1877 she was engaged in the provinces, 
 playing " juvenile lead " characters, such, for example, as Rose 
 Cudlip (' Forgiven '), Lottie (' Two Roses '), Kate Garston (' Lan- 
 cashire Lass'), Constance Howard i^YzSze. Shame'), Clara Douglas 
 (' Money '), Gertrude (' Little Treasure '), &c., &c. In September 
 1877 Miss Murray reappeared in London at Drury Lane Theatre 
 as Alice Bridgenorth, first performance of ' England in the Days 
 
268 THE DRAMA TIC LIST. 
 
 of Charles II.,' by W. G. Wills, "rendering the character 
 thoroughly girlish and attractive, and displaying much refine- 
 ment " {Sunday Times, September 30, 1877). 
 
 From October 1877 to February 1878 Miss Murray was engaged 
 at the Adelphi, appearing as Eliza ('After Dark'), and Edith 
 Burrowes (' Formosa'). During a part of 1879 she played in the 
 provinces the part ai Esther Eccles in ' Caste;' and in June 1879, 
 Julie de Mortemar in a revival of ' Richelieu ' by Mr. Irving at the 
 Lyceum Theatre, where she is now (October lb79) engaged. 
 
 ♦MURRAY, DOMINICK, made his first appearance on the 
 London stage at Astley's, March 28, 1853. It was not, however, 
 until some ten years later that he attained any considerable success 
 as an actor. His reputation, as far as our own stage is concerned, 
 may be said to date from his connection with the Princess's 
 Theatre, 1864-9, ^■^'^ his appearance in the plays of Boucicault first 
 represented there. He was in the original cast of that author's 
 drama ' The Streets of London,' as Dan, first performed at the 
 Princess's Theatre August 5, 1864 ; and of ' Arrah-na-Pogue,' as 
 Michael Feeny, first performed at the same theatre March 22, 1865. 
 Mr. Dominicic Murray's acting in this latter character is mentioned 
 in contemporary journals as " being excellent, and proving in him 
 the possession of decided -tragic powers." During his engagement 
 at the Princess's his name appeared in the original cast of Palgrave 
 Simpson's drama ' Marie Antoinette' (February 15, 1869) as Turgy, 
 and he also performed in the following April at the same theatre 
 the character of Shylock. In the ensuing August Mr. Dominick 
 Murray went to the United States of America, where he has since 
 remained, and earned for himself the reputation of being an admir- 
 able actor. 
 
 MURRAY, GASTON, born in London 1826, and first appeared 
 on any stage at the Prince's Theatre, Glasgow, in June 1854, as 
 Charles in a piece entitled ' The. Happiest Day of My Life.' He 
 made his ddbut on the London stage March 2, 1855, at the Lyceum 
 Theatre, as Tom Saville in ' Used Up '; the late Charles Mathews 
 acting in his original character, Sir Charles Coldstream. During 
 the same year Mr. Gaston Murray proceeded on tour with the 
 Lyceum company, and appeared in the following characters, viz. 
 Tom Russelton in ' A Cosy Couple ' ; Harry Ringdove in ' The 
 Ringdoves ' ; Faulkland in ' The Rivals ' ; Dick Dowlas in ' The 
 Heir-at-Law'; Charles Paragon in 'Perfection'; Victor de Mor- 
 nac in ' Retribution.' On January 28, 1857, he took part in the 
 Windsor Castle Theatricals, appearing as Jules de Crussac in the 
 play entitled ' Secret Service.' During the year 1859 he was 
 engaged at the Manchester Theatre Royal, and played the follow- 
 ing characters, viz. Felix Feather ley in ' Everybody's Friend ' ; 
 Faust in the English version of ' Faust and Marguerite ' ; Laertes, 
 and subsequently the Ghost in ' Hamlet' ; George Barnwell in the 
 drama of that title ; Orlando in ' As You Like It' ; Duke Aranza 
 in 'The Honeymoon'; IVil/ord in 'The Iron Chest.' In 1862 
 
MURRAY, MARY FRANCES. 269 
 
 Mr. Gaston Murray was a member of the company of the Olympic 
 Theatre, and appeared with the late Mr. Robson in the following 
 among other plays, viz. ' The Porter's Knot,' as Stephen Scatter, 
 and ' Boots at the Swan,' as Frank Riskly. In 1863, at St. James's 
 Theatre, he was the " original " George Talboys in ' Lady Audley's 
 Secret' ; and also played the following characters, viz. Sir Benjamifi 
 Backbite in ' The School for Scandal ' ; Sir George Touchwood in 
 ' The Belle's Stratagem ' ; Silky in ' The Road to Ruin,' &c In 
 1867-8 Mr. Gaston Murray fulfilled engagements at the Strand and 
 Queen's Theatres, and in the year following at the Haymarket, 
 where he played Edward Ashley in the original cast of 'AH for 
 Money.' In 1871 he was a member of the company of the Lyceum 
 Theatre, appearing there in ' Pickwick' and ' The Bells.' In 1872 
 he acted the character of Pickwick at the Standard Theatre, and 
 afterwards, in the same year, became treasurer to Lord Londes- 
 borough when that nobleman produced ' Babil and Bijou ' at the 
 Theatre Royal, Covent Garden. 
 
 MURRAY, MARY FRANCES (Mrs. GaSTON MURRAY), 
 daughter of the late Henry Hughes, of the Adelphi and Surrey 
 Theatres, was born near Frankfort, Germany. She first appeared 
 on any stage in 185 1, at the Guildford Theatre, as Sophia in' ' The 
 Rendezvous ' ; and made her dAut on the London stage in 1853 at 
 the Lyceum Theatre as Em7na Thornton in 'The Bachelor of Arts.' 
 In 1857 she was engaged at the Olympic Theatre under Mr. Alfred 
 Wigan's management, and afterwards, at the same theatre, for 
 upwards of six years, during the entire management of Messrs. 
 Robson and Emden. During her connection with the Olympic, 
 Mrs. Gaston Murray played the following original parts, viz. ; 
 Esther Hardacre in ' Daddy Hardacre,' by Palgrave Simpson — she 
 acted this part at Windsor Castle in 1857 with the late Mr. Robson, 
 " and received a special message of approval from Her Majesty " ; 
 Alice in ' The Porter's Knot,' by John Oxenford ; Etnily St. 
 Evrejnond in ' The Ticket-of-Leave Man ' ; Fair Rosamond in 
 Burnand's burlesque of that title, and Galatea in the same author's 
 'Acis and Galatea.' Mrs. Gaston Murray has fulfilled various 
 engagements at all the principal theatres in London, and was a 
 member of Mr. Hare's company for the whole period of his 
 management of the Court Theatre, where she personated with 
 much success Mrs. Primrose in Wills's play of ' Olivia ' ; Miss 
 Tarragon in Hamilton Aidd's comedy of ' A Seven Days' Won- 
 der ' ; Mrs. Pengicin, also Susan Hartley (during the temporary 
 absence of Mrs. Kendal) in 'A Scrap of Paper'; Lady Matilda 
 Vavasour in ' New Men and Old Acres,' &c. 
 
 * MURRAY, MRS. LEIGH, has been for many years an 
 actress, and has appeared at all the principal London theatres, 
 notably at the Olympic, under the management of Robson ; at the 
 Strand ; and at the Prince of Wales's with Mrs. Bancroft. Her 
 original parts have been various and many. She was acting at the 
 Strand Theatre as early as May 1849 as Mrs. Bodkin, a young 
 
270 THE DRAMATIC LIST. 
 
 wife, in Selby's ' Taken In and Done For,' and as Mrs. Chesterton 
 in ' John Dobbs,' an amusing farce by Morton. Later, at the Prince 
 of Wales's Theatre (1867), she played the Marquise de St. Maur 
 in ' Caste,' and was the original Mrs. Kinpeck in ' Play,' February 
 15, 1868. In August 1879 Mrs. Leigh Murray was engaged by 
 Miss Genevieve Ward to play Mrs. Foley in ' Forget-Me-Not ' at 
 the Lyceum, and in September she appeared as Madame Senechal 
 at the Court Theatre in a revival of ' Fernanda,' under the manage- 
 ment of Mr. Wilson Barrett. 
 
NEILS ON, LILIAN ADELAIDE. 271 
 
 NEILSON, LILIAN ADELAIDE, was born in 1850, and made 
 her first appearance on the stage at the Theatre Royal, Margate, at 
 the age of fifteen, in Julia (' The Hunchback '). In July 1865 she 
 made her dSut in London at the Royalty Theatre in the character 
 of Juliet, but without attracting particular attention. The follow- 
 ing year, Monday, July 2, in a drama by Mr, Watts PhiUips, 
 entitled ' The Huguenot Captain,' then first performed at the 
 Princess's Theatre, she played the part of Gabrielle de Savigny, 
 and was noticed as being " a remarkably pretty and interesting 
 actress, a little stiff and awkward in her movements, but with con- 
 siderable command of facial expression. Her voice is pleasing, 
 though it appears to have a slight lisp, and with proper tuition and 
 practice she may hope to gain a good position on the London 
 stage." {Daily News, ]\i\y 3, 1866.) The same year, in November, 
 at the Adelphi Theatre, she sustained the part of Victorine in the 
 drama of that title, brought out at the old theatre in 1831, when 
 Mr. and Mrs. Yates, Mr. Buckstone, John Reeve, Hemming, and 
 O. Smith played the principal characters. At the same theatre 
 in 1867 (Saturday, March 16), first performance of Mr. Watts 
 Phillips's play ' Lost in London,' she acted the character of Nelly 
 Armroyd "with spirit and pathos." On September 25, 1868, at 
 the Theatre Royal, Edinburgh, Miss Neilson appeared for the first 
 time as Rosalind in ' As You Like It ' ; followed, on the succeeding 
 evening by Pauline in ' The Lady of Lyons,' and on September 29 
 by yuliain 'The Hunchback.' The Scotsman (September 30, 1868) 
 remarked of this performance as follows : — " Miss Neilson as Julia 
 opened with little promise of the true heroine she finally developed. 
 There was flatness and insipid commonplace in the early scenes, 
 but with the progress of the piece she fitted herself with artistic 
 aptitude to the highest requirements of the part, and by the time the 
 curtain had risen on the second act she was entirely the personage 
 it was her office to present. The play abounds in opportunities for 
 skilful and effective display, and it is not only in her efficient 
 employment of these, but also in the admirable manner in which 
 she sustains the most incidental links in the plot, that the success 
 of Miss Neilson's ample and accurate delineation of this heroine is 
 to be traced." 
 
 On Friday, October 2, 1868, at the same theatre, Miss Neilson 
 acted the heroine's part in a play by Mr. Palgrave Simpson, 
 entitled ' Stage and State,' founded on a French drama, ' Beatrix ; 
 ou la Madone de I'Art ' of Legouvd, a play in which Madame Ristori 
 some time before had created a great sensation at the Vaudeville in 
 Paris. The English version was not a success. The following 
 month Miss Neilson appeared at the Theatre Royal, Birmingham, 
 in a play by C. Williams (a Birmingham dramatist), adapted from 
 an early novel of Miss Braddon's, entitled ' The Captain of the 
 Vulture.' In March 1869, at the Lyceum Theatre in London, first 
 performance there of Dr. Westland Marston's play ' Life for Life,' 
 
272 THE DRAMATIC LIST. 
 
 she acted the part of Lilian. In this play the Aihen(swn (March 
 13, 1869) took occasion to speak of Miss Neilson as an actress of 
 great power. " Her method in art is as yet imperfect. The demon- 
 strations of passion are confined to low and emphasized speech, 
 with an accompaniment of appropriate gesture. She has yet to 
 learn that hurried and breathless accents and sharp incisive pro- 
 nunciation of words are as powerful means of expressing sorrow or 
 fear as those to which she confines herself Her acting, accord- 
 ingly, fine as it was, wanted variety. Some movements of her body 
 were over sinuous, a few of her notes were too loud as too sus- 
 tained, and her transition from tragic grandeur to girlish prettiness 
 of speech and face was too sudden. A tendency to over attitudiniz- 
 ing was also displayed. Here censure ends. In the most im- 
 portant respects the impersonation was finest. It had true tragic 
 fire. Some of the attitudes of Miss Neilson were full of grandeur ; 
 her utterance was musical and impressive, and her face assumed at 
 times a look full of awe and tragic portent. The delivery of some 
 passages had, moreover, very subtle significance. Practice and 
 care are alone required to secure for Miss Neilson a high and 
 enduring reputation." The following October (Monday, the 1 ith), 
 at the Gaiety Theatre, London, first performance of ' A Life 
 Chase ' (by John Oxenford and Horace Wigan), she played the 
 leading role — Madame Vidal. In December 1869, at the same 
 theatre, first performance of ' Uncle Dick's Darling,' she sustained 
 the part of Mary Bclton, and on Monday, April 11, 1870, at the 
 Gaiety Theatre, she appeared as Julia in a revival of ' The 
 Hunchback.' During this year — 1 ommencing on May 26th — Miss 
 Neilson gave an entertainment, under the title of ' Dramatic Studies,' 
 at St. James's Hall, with great success. " Miss Neilson possesses 
 several vei-y necessary qualifications for a good reader. She has a 
 handsome presence and an expressive face, which are no unworthy 
 adjuncts to the gracious delivery of lofty sentiments. She has a 
 harmonious voici-, capable of very great mcdulation ; and she has 
 a most artistic command of what may be called the tiiatdriel of 
 elocution — the inflections ; it is not surprising, therefore, that her 
 appearance at St. James's Hall should have proved a decided suc- 
 cess, especially as she was aided by a well-selected programme. 
 The readings consisted of scenes from ' The Provoked Husband,' 
 from Schiller's ' Wallenstein,' from 'The Taming of the Shrew,' 
 Racine's ' Phddre,' and Congreve's ' Love for Love.' " [Examiner, 
 June 4, 1870.) 
 
 In 1870, on Saturday, September 24, first performance at Drur>' 
 Lane Theatre of the drama of ' Amy Robsart,' she acted the title 
 rSle. " For the character of Amy Kobsart it would certainly have 
 been difficult to find another such a representative as Miss Neilson, 
 who, notwithstanding some faults of nature, is an actress of true 
 dramatic genius. Her passionate appeals to the truth and honour 
 of Leicester were finely contrasted with the tenderness of her love 
 passages. In the great scene with the jealous and suspicious 
 Queen in the garden at Kenilworth, her acting rose to a higher 
 level of pathetic force ; and finally her struggles with Varney, and 
 
NEILSON, LILIAN ADELAIDE. 273 
 
 her womanish terror at the prospect of death, were depicted with 
 an intensity which powerfully excited the feelings of the audience." 
 {Daily News, September 26, 1870.) The same year at Drury Lane 
 Theatre, on Monday, December 19, Miss Neilson appeared as 
 Juliet, the character in which she had made her earliest appear- 
 ance on the London stage, and which still remains the impersona- 
 tion of all others in which she displays her talents to the highest 
 advantage. On this occasion the whole of the tragic scenes were 
 rendered by her with high intelligence, accompanied by a power of 
 interpretation and revelation to which Drury Lane Theatre had 
 long been a stranger. " There is, perhaps, no actress now on the 
 stage who more perfectly understands the routine of the part," re- 
 marked the Times (December 21, 1870), "and certainly there are 
 none who can give greater force to the scenes in which frequenters 
 of the playhouse look for marked eifects. The balcony scene, the 
 'tiff' with the nurse, the soliloquy in the chamber, and the death 
 on Romeo's corpse, give evidence of thorough and conscientious 
 study. In an age when tragedy is out of fashion the young and 
 rising actress has determined to make Juliet her own, and the 
 applause of a crowded audience bore witness to her success." In 
 March 1871 Miss Neilson entered upon a tour of the United 
 Kingdom, appearing principally in her original part of Amy Rob- 
 sart. On Saturday, September 23 of the same year, she acted the 
 part of Rebecca in the drama of that title, founded on Sir Walter 
 Scott's novel of ' Ivanhoe,' then performed for the first time at Drury 
 Lane. On December 18 of the same year she appeared at the 
 same theatre as Rosalind in a revival of ' As You Like It.' In the 
 month of September 1872 Miss Neilson gave a series of farewell 
 performances at the Queen's Theatre, Long Acre, prior to Tier 
 departure for America. In these were included ' Romeo and Juliet,' 
 in which she played Juliet, and ' The Lady of Lyons,' in which she 
 acted the part of Pauline. Both impersonations were eminently 
 successful. " Juliet is Miss Neilson's masterpiece. In this cha- 
 racter she made her ddbut before a London audience, and upon it 
 she has since bestowed long and conscientious study. . . . Miss 
 Neilson's Juliet is now a ripe and sustained performance, ascending 
 in the latter acts of the play to a tragic elevation and fire that seem 
 less art than inspiration. To say that the potion scene has a 
 passionate intensity and a concentrated power such as no modern 
 representation on the English stage has exhibited, is to do it no 
 more than justice. The tenderness and grace of the early scenes 
 are in striking contrast with the gloom and terror of the later. 
 When the last waning faults of self-consciousness are removed, 
 there will be nothing to bring against this fine interpretation. 
 The power of the actress was shown by the manner in which 
 she triumphed over difficulties, and held the audience enthralled in 
 spite of the absurd accessories of the performance." {Aihenaum, 
 September 21, 1872.) 
 
 On November 18, 1872, Miss Neilson "opened" at Booth's 
 Theatre, New York, in her favourite character. Her acting was 
 received with much enthusiasm. During the tour through the 
 
 T 
 
274 THE DRAMA TIC LIST. 
 
 United States and Canada which followed, she appeared in the 
 following characters in addition to Juliet, viz. Beatrice in ' Much 
 Ado About Nothing'; Pauline in 'The Lady of Lyons'; Lady 
 Teazle in ' The School for Scandal '; Julia in ' The Hunchback '; 
 and Isabella in ' Measure for Measure.' Her career in the United 
 States was one of extraordinary success. The New York Tri- 
 bune, in alluding to the last of a series of performances given by 
 Miss Neilson in New York in 1875, remarked that " since the 
 night when Dickens, with slow step and sad face, made his last 
 exit from the stage of Steinway Hall, there had been no theatrical 
 occasion in the American capital at once so animated with chivalry 
 and touching with sense of sorrow and loss as that on which Miss 
 Neilson bade farewell for a time to the good people of New York." 
 In 1876, Monday, January 17, Miss Neilson reappeared on the 
 Hay market stage, and during the season played Juliet, Rosalind, 
 Anne Boleyn (on the occasion of the first performance of Mr. 
 Tom Taylor's play of that title, Saturday, February 5), Julia in 
 ' The Hunchback,' and Isabella in ' Measure for Measure.' " The 
 announcement that Shakespeare's ' Measure for Measure ' has not 
 been presented in London for ' nearly a quarter of a century ' will 
 make the playgoer rub his eyes and reflect once more upon the 
 swift flight of time. . . . On the first representation of the comedy 
 an enthusiasm was shown which is a direct compliment to the 
 acting of nearly all concerned in it. The Isabella of Miss Neilson 
 was particularly admired, and at the conclusion of the prison scene 
 the actress was called before the curtain three times and literally 
 pelted with bouquets. So highly intelligent and carefully studied 
 a performance really deserved some eloquent and marked praise; 
 and it is certain that our stage is not so rich in actresses capable 
 of attempting Isabella that we can aflbrd to dilute the success with 
 many doubts as to the soundness of the verdict. The mere fact 
 that ' Measure for Measure ' has been produced, and has held a 
 critical audience, that a play has been seen that would otherwise 
 have remained in its hiding-place, that Isabella has been prettily 
 sketched if not boldly painted, suggested, no doubt, ' such en- 
 couraging and appreciative applause. If at any time it is urged 
 that Miss Neilson's Isabella is interesting rather than powerful, 
 graceful rather than intense, unequal in sustained strength, and 
 occasionally, as in the last act, inclined to fade and wane instead 
 of burning brightly with a clear and undimmed light, it must be 
 remembered that the actress still shows traces of exhaustion and 
 prostration from illness, and that the Isabella comes after many 
 representations of Juliet and Anne Boleyn. It is possible that 
 those who cheered so loudly and so generously have not seen 
 Isabella at her best; but the experience of many playgoers in 
 the house warranted some cordiality after so unusual and — in these 
 days— so welcome a performance." {Daily Telegraph, April 3, 
 
 In 1877 Miss Neilson again visited the United States. During 
 a season of eight months she appeared there as Viola, ' Twelfth 
 Night,' and Imogene, ' Cymbeline,' both new chai-acters to her. 
 
NEVILLE, HENRY GARSIDE. 275 
 
 She appeared also in the before-mentioned characters, viz. Juliet, 
 Rosalind, Isabella, Viola, and Julia, during her engagement at the 
 Haymarket Theatre terminating in May 1878. On February 27, 
 1879, she appeared at the Adelphi Theatre as Queen Isabella, first 
 performance of 'The Crimson Cross;' and afterwards, during the 
 summer season at the same theatre, as Julia and Lady Teazle, 
 and in her " original " part of Amy Robsart in Andrew Halliday's 
 well-remembered drama. In October 1879 she again left England 
 for America. 
 
 NELSON, MRS. JOHN. See Leclercq, Carlotta. 
 
 NEVILLE, HENRY GARSIDE, son of the well-known actor 
 and theatrical manager, the late John Neville, was born in Man- 
 chester in 1837. He entered the dramatic profession at an early 
 age under his father's auspices, and made his first appearance on 
 the London stage, October 8, i860, at the Lyceum Theatre under 
 Madame Celeste's management. On the 12th of the following 
 month he there performed the part of Victor Savignie on the 
 production of ' Adrienne ; or. The Secret of a Life.' Afterwards 
 he fulfilled a series of engagements at Liverpool, Manchester, 
 Birmingham, and Dublin theatres ; and in 1 861 was enrolled a 
 member of the company of Messrs. Emden and Robson at the 
 Olympic Theatre in London. At this theatre he remained for four 
 years, playing various leading parts in the plays produced on its 
 stage ; and here, in May 1863, made his first important dramatic 
 success as the " original " Bob Brierly in Tom Taylor'^ drama 
 '■■ The Ticket-of-Leave Man,' adapted from the French ' Leonard,' 
 of MM. Edouard Brisbarre and Eugfene Nus. Mr. Neville, who had 
 already won a position in public favour, gained much praise for the 
 earnest, truthful, and natural manner in which he delineated the 
 struggles of a man who, striving to redeem his early folly, and to 
 free himself from the stigma that has been its consequence, finds 
 every avenue to a better life gradually closed against him. The play 
 was eminently successful, and, generally, has proved attractive with a 
 London audience whenever revived in later years. At the Olympic 
 Theatre Mr. Neville has won several other successes, of which the 
 more noteworthy are Henry Dunbar in Tom Taylor's version of 
 Miss Braddon's novel of that title, and Jean Valjean in the drama 
 of ' The Yellow Passport,' adapted by Mr. Neville himself from 
 M. V. Hugo's ' Les Mis^rables.' 
 
 After a stay of some four years at the Olympic he joined the 
 company of the Adelphi Theatre, and appeared there as Job Arm- 
 royd in ' Lost in London '; and as Farmer Allen in Charles 
 Reade's dramatic version of Tennyson's ' Dora.' The part of Job 
 Armroyd was admirably played by Mr. H. Neville, and largely 
 increased his reputation. "Job Armroyd, if we do not admire 
 him as an adept in social science, we readily acknowledge as a 
 most effective stage figure ; and although Mr. Neville has long 
 distinguished himself as a serviceable actor .... he perhaps 
 never played so well as when he represented the elderly miner, 
 
 T 2 
 
2/6 THE DRAMATIC LIST. 
 
 uncouth in gait, rough in dialect, but always of a manifestly earnest 
 and affectionate disposition." {Times, March i8, 1867.) In the 
 principal role of ' Put Yourself in His Place,' Charles Reade's 
 adaptation of his own novel of that title, Henry Neville's acting 
 attracted favourable notice. He had evidently studied the in- 
 tentions of the author very thoroughly, and his impersonation of 
 the hard-working Sheffield mechanic was singularly life-like and 
 truthful in detail. On completing his engagement at the Adelphi 
 Theatre Mr. Neville appeared at various London theatres for short 
 seasons — at the Holborn, the Duke's, and the Globe. In 1873 
 he returned to the Olympic as lessee, and assumed, in connection 
 with that position, the management of the theatre, which he 
 retained until 1879. The following list of noteworthy plays, pro- 
 duced at the Olympic between the date of Mr. Neville's first 
 entering upon the lesseeship and August 1879, ^^e worthy of being 
 recorded as an indication of his dramatic enterprise : Season 1873-4 
 — ' Sour Grapes ' (Byron) ; ' Richelieu Redressed ' (Reece) ; ' School 
 for Intrigue' (Mortimer); ' Clancarty ' (Tom Taylor). Season 
 1874-5— 'Two Orphans' (Oxenford) ; 'Spendthrift' (Albery) ; 
 ' Ticket-of- Leave Man ' (revival). Season 1875-6 — 'Buckingham' 
 (W. G. Wills) ; ' Clytie ' (J. Hatton) ; ' The Gascon ' (Muskerry) ; 
 ' Home, sweet Home' (Farjeon). Season 1876-7 — ' No Thorough- 
 fare' (Dickens and Collins) ; 'Si Slocum ' (F. Trayne and Tayleur); 
 ' Queen of Connaught ' (Buchanan ) ; ' Wife's Secret ' (revival) ; 
 'Scuttled Ship' (C. Reade) ; 'Viohn Maker of Cremona' (M. 
 Frangois Coppde and Neville); 'Lady Audley's Secret' (revival). 
 Season 1877-8— 'The Moonstone' (Wilkie CoUins) : 'Henry Dunbar' 
 (revival) ; ' Turn of the Tide ' (Burnand) ; ' Jealousy ' (C. Reade). 
 1878-9—' The Two Orphans ' (revival). 
 
 In August 1878 Mr. Neville entered upon an engagement to play 
 Pierre Lorance in the drama of ' Proof,' produced at the Adelphi 
 Theatre. In the summer of 1879 he relinquished the management 
 of the Olympic, and appeared nightly at the Adelphi Theatre, 
 playing the parts of Master Walter ;;' The Hunchback') and 
 Charles Surface ('The School for Scandal'). During the season 
 he appeared at the same theatre as Bob Brierly in a revival of 
 'The Ticket-of-Leave Man.' 
 
 NEWMAN, THOMAS EDMUND. See Wenman, ThOMAS 
 Edmund. 
 
 NORTON, FLEMING, appeared at the Olympic Theatre, 
 September 20, 1879, as Sir Joseph Porter in ' H.M.S. Pinafore,' in 
 place of Mr. J. G. Taylor. 
 
PATE MAN, ISABELLA. 277 
 
 PATEMAN, ISABELLA, wife of the undermentioned Robert 
 Pateman, made her debut on the London stage October 28, 1876, 
 as Lady Clancafty, in a revival of that play at the Olympic Theatre. 
 She had previously acquired a considerable reputation as an actress 
 in America, and before going to that country had performed in the 
 provinces. The Times (November 2, 1876) noticed her d'lbiit in 
 the following terms : — " The present performance possesses, among 
 others, one particular feature of interest in the introduction to the 
 London stage of a new actress. Miss Pateman has hitherto been 
 known only in the theatres of the United States and of our own 
 country towns, and she must be regarded as fortunate in making 
 her first appearance in London in such a character as that of Lady 
 Claiicarty. For her performance of this character she has been 
 much, and in many respects justly, praised. She has evidently 
 studied with much care, and has made herself a thorough mistress 
 of the mechanical details of her art, the only true means to the 
 attainment of that higher excellence to which we should be sorry to 
 say Miss Pateman may not hope to aspire. At present, however, 
 . the results of her study, though perfect in themselves, are a little too 
 apparent. Nor has she as yet mastered the secret of those last 
 delicate touches which make that appear to be nature which we 
 know to be art. Her acting, though artistic, is somewhat formal 
 and cold ; it lacks fire, and at times even grace. We miss the 
 tenderness of Lady Clancarty^ and though the passion is accurately 
 enough expressed, it scarcely rings true. Nor do we think Miss 
 Pateman has invested the part with quite enough of the 'grand air,' 
 which, by virtue of her birth and courtly training, would belong to 
 the heroine ; this objection, by the way, applies with still greater 
 force to the present representative of Lady Betty Noel, whose arch- 
 ness and piquancy, though not to be denied, belong more to the 
 soubrette than to the lady-in-waiting. We have pointed out the 
 faults which Miss Pateman's acting seems to us at present to show. 
 They are faults, however, from which an actress who has had 
 patience and intelligence enough to thoroughly ground herself in 
 the first principles of her art may be accredited certainly with the 
 desire, and possibly the means, to free herself." 
 
 Since her first appearance on the metropolitan boards Miss 
 Pateman has played in various pieces at the Olympic, notably 
 Lady Eveline in a revival of ' The Wife's Secret,' and the leading 
 female rdle in Charles Reade's drama ' The Scuttled Ship,' first 
 performed there in April 1877. In April 1878 she was in the 
 original cast of ' Proof ; or, a Celebrated Case,' first performed on 
 Saturday, 20th of that month, at the Adelphi Theatre, sustaining 
 the part of Adrienne. Later (season 1878-9), Miss Pateman has 
 been playing at the same theatre Lady Sneerwell in a revival of 
 ' The School for Scandal ' and Queen Elizabeth in a revival of 
 ' Amy Robsart.' 
 
278 THE DRAMATIC LIST. 
 
 *PATEMAN, ROBERT. Made his first appearance on the 
 London stage September 30, 1876, at the Olympic Theatre, as 
 Carigue in the play of ' The Duke's Device,' and has for some time 
 been a member of the Adelphi company. 
 
 PATTISON, KATE, was born in Chelsea, and made her debut 
 on the occasion of the late Mr. Compton's benefit at the Theatre 
 Royal, Manchester, March 26, 1877, in the comedietta 'To OMige 
 Benson.' Miss Pattison had been previously associated with 
 Miss Emily FaithfuU in the conduct of the 'Victoria Magazine,' and 
 accompanied that lady during a year's tour in the United States. 
 She made her first appearance in London at the St. James's Theatre 
 in ' A New Way to Pay Old Debts,' Mr. Herman Vezin playing 
 the character of Sir Giles Overreach. Miss Pattison was afterwards 
 engaged by Mr. Chatterton and played at the Princess's Theatre, 
 subsequently accepting an engagement at the Lyceum, under the 
 management of Mrs. Bateman. In the autumn of 1878 she accom- 
 panied Mr. and Mrs. Kendal on their tour through the provinces, 
 playing the part of Countess Zicka in ' Diplomacy ' in a way that 
 obtained very favourable notice : — " Endowed with a fair presence, 
 an expressive face, and a voice of rich tone, she lends valuable 
 natural gifts to a fine histrionic perception in her interpretation of 
 the Hungarian adventuress. In her jealousy, as in her revenge, 
 and again in her remorse, when at the end she makes confession of 
 her deeds, every gesture and every tone had its effect, and were 
 essential elements of the success of her clever and precise imper- 
 sonation." {Manchester Examiner.) In January 1879 she was 
 engaged by Mr. Hare for the Court Theatre, and there played 
 Lady Ingram in • A Scrap of Paper ' and the principal part in Mr. 
 Val Prinsep's comedietta ' Cousin Dick.' More recently (November 
 1879) she has appeared at St. James's Theatre. 
 
 PAULTON, HARRY, was born in Wolverhampton, and first 
 appeared on any stage, in that town, in i86i. Subsequently, for 
 several years he acted there, and at Wakefield, Derby, North- 
 ampton, Leeds, York, &c. Having adopted "low comedy " in 1864, 
 Mr. Paulton was in the year following engaged for three seasons at 
 the Theatre Royal, Glasgow, where he became exceedingly popular ; 
 afterwards joining the company of the Theatre Royal, Birmingham ; 
 and, at the termination of that engagement, the company of the 
 Prince of Wales's Theatre, Liverpool. He made his dibut on the 
 London stage June 23, 1867 (appearing for one night only), at the 
 Surrey Theatre, as Wormwood in ' The Lottery Ticket,' acquitting 
 himself in a creditable manner. Mr. Paulton's connection with 
 the London stage may be said to have begun in 1870 with his 
 engagement at the Strand Theatre, where he first appeared as 
 Blueskin in the burlesque of ' The Idle 'Prentice.' He there became 
 favourably known to the London public as a burlesque actor of 
 considerable quaintness, enlarging his dramatic reputation by an 
 admirable rendering of the part of Uncle Sedley in a comedy by 
 Arthur Sketchley entitled ' Up in the World,' first performed at 
 the Strand in February 1871. In April 1872 he joined the company 
 
PAUNCEFORT, GEORGIANA. 279 
 
 of the Alhambra Theatre, of which he remained a member for five 
 years, appearing during that period for the most part in opera 
 bouffe— ' King Carrot,' ' The Black Crook,' ' Don Juan,' ' La Belle 
 H^l^ne,' &c., &c. 
 
 ♦PAUNCEFORT, GEORGIAN A.was a member of the company 
 of the Surrey Theatre under Messrs. Shepherd and Anderson's 
 management in 1862, and was playing there in ' The Medal of 
 Bronze,' ' Effie Deans,' and ' Winter's Tale ' in that and the suc- 
 ceeding year. In 1864 she appeared with considerable success at 
 the Surrey as Jane Grierson. ("an orange girl") in a drama by 
 Henry Leslie and Nicholas Rowe entitled 'The Orange Girl.' 
 She was attached to that theatre for some years as the leading 
 actress, performing in various original dramas placed on its stage 
 and also in revivals of Shakespearian plays. Miss Pauncefort was 
 in the original cast of ' 'Twixt Axe and Crown,' as Queen Mary, 
 when that play was first produced at the Queen's Theatre in 
 January ibyo. In the following year she accepted an engagement 
 at the Lyceum Theatre, and " created " the character of Catherine 
 in ' The Bells,' first performed in December of that year. At the 
 same theatre in 1872 she was the "original" Lady Eleanor Davys 
 in W. G. Wills's play of ' Charles 1.,' and later, played there the 
 Countess de Miraflore in Aide's ' Philip.' In 1874 she sustained 
 at the same theatre the character of Hecate in the revival of 
 ' Macbeth.' Miss Pauncefort has also appeared there in other 
 revivals — in ' Hamlet ' as Gertrude, in ' Richelieu ' as Marion de 
 Lorme, &c., with success. 
 
 PEMBERTON, MRS. JOHN C. See FoWLER, EMILY. 
 
 ♦PHILLIPS, KATE (Mrs. H. B. CONWAY [Coulson]), 
 made her first appearance on the London stage at the Hay market 
 Theatre as Gabrielle in a piece with the title of 'Tom Noddy's 
 Secret.' She is a clever and pleasing actress of what are known as 
 " soubrette " parts. 
 
 PINERO, ARTHUR WING, bom in London 1855 ; son of a 
 solicitor, and grand-nephew of Captain Thomas Wing, who fought 
 on board the ' Victory ' at Trafalgar. Mr. Pinero was educated for 
 the legal profession ; but having no particular liking for the law 
 forsook it for the drama. He first appeared on the stage at the 
 Theatre Royal, Edinburgh, on the 22nd June, 1874, and continued 
 at that theatre, under the management of Mr. and Mrs. R. H. 
 Wyndham, until the 6th February, 1875, when it was destroyed by 
 fire. On the ist March following he joined the company of the 
 Alexandra Theatre, Liverpool, under Mr. Saker. Mr. Pinero made 
 his first appearance in London, April 15, 1876, at the Globe 
 Theatre, in the character of Mr. Darch in Wilkie ColUns's play of 
 ' Miss Gwilt.' On September 4 of the same year he joined the 
 Lyceum company, and played Claudius to Mr. Irving on his first 
 " Hamlet tour," in all the principal theatres in the United Kingdom. 
 Siihsenuentlv Mr. Pinero plaved Lord Stanley in the Lyceum 
 
28o THE DRAMATIC LIST. 
 
 revival of Shakespeare's ' Richard III.' ; Shrowl in Wilkie Collins's 
 ' Dead Secret,' &c. On December 26, 1877, he played Marquis of 
 Huntley in a revival of ' Charles I.' at the Lyceum Theatre, and as 
 Montgomery Clutterbuck in his own comedietta ' Two Can Play at 
 That Game.' June 8, 1878, first performance of W. G. Wills's 
 ' Vanderdecken ' at the same theatre, he enacted Alderman J or gens. 
 During the same year he went on tour with Mr. Irving, and rejoined 
 his company at the opening of the Lyceum Theatre for the season 
 1878-9. 
 
 Mr. Pinero is author of ';^20o a year,' a piece first played at the 
 Globe Theatre, London, in October 1877 ; of ' La Comfete ; or, Two 
 Hearts,' an original drama in four acts, and of other pieces. 
 
 PITT, HENRY MADER, born in Albany, U.S., September 
 16, 1850 entered the dramatic profession 1865, appearing at the 
 Theatre Royal, Sheffield, in a comedy entitled ' Under the Rose.' 
 He was connected with the same theatre, playing various light- 
 comedy parts, until 1870. In August 1872 he accepted an engage- 
 ment as stage-manager of the Queen's Theatre, Manchester. In 
 May 1873 he joined Craven Robertson's 'Caste' company, playing 
 the following characters, viz. George D'Alroy ('Caste'), Lord 
 Beaufoy ('School'), and Angus McAlister ('Ours'). Mr. Pitt 
 made his first appearance on the London stage at the Standard 
 Theatre, June 1874, as Lord Beaufoy, "playing well and carefully, 
 not the least of his good qualities being his distinct enuncia- 
 tion" {Standard, June 1874). In May 1875 Mr. Pitt assumed the 
 management of ' The Two Roses ' company, playing the following 
 parts : Jack Wyatt ('Two Roses'), Claude Redruth ('Forgiven'), 
 Tom Penryn ('Apple Blossoms'), Jones ('Two Thorns'). In 
 April 1876 he appeared at the Theatre Royal, Bristol, as Lord 
 Chilton in Marshall's ' False Shame,' since which time he has 
 performed this character with much success at nearly every 
 principal provincial theatre in the United Kingdom. At the Im- 
 perial Theatre (attached to the Aquarium), Westminster, in a 
 revival of ' She Stoops to Conquer ' (commencing Easter Monday, 
 April 14, 1879), he played Young Marlow. 
 
 PITT, MRS. H. M. ^«« Addison, Fanny. 
 
 POWER, CLAVERING, son of the late Edward Power, Esq., 
 of the Middle Temple, barrister-at-law, was born in London 1842, 
 and educated at King's College, London. He entered the Madras 
 Army as ensign December 1859, and subsequently joined H. M. 
 105th Regiment. He served for seven years in India, and retired 
 from the service as lieutenant in 1870. In that year Mr. Power 
 entered the dramatic profession, and in October made his ddbut on 
 the London stage at the Victoria Theatre as Woodcock in the farce 
 of ' Woodcock's Little Game.' Afterwards, on tour in the provinces, 
 he played the part of Caleb Deecie in Albery's comedy ' The Two 
 Roses.' He has been engaged as "leading actor" at several 
 theatres in the provinces; and in 1877-8 fulfilled engagements at 
 
POWER, GEORGE. 281 
 
 the Folly and Alhambra Theatres in London, appearing for the 
 most part in opera bouffe — the ' Grand Duchess,' ' La Fille de 
 Madame Angot,' &c, 
 
 POWER, GEORGE, was born in Kilkenny County, Ireland, 
 December 24, 1848, and first appeared on the stage in December 
 1876, at Teatro Manoel, Malta, in the part of Almaviva in 
 ' Barbifere di Siviglia.' He made his d^but on the London stage 
 December (Boxing Night) 1877, at Her Majesty's Theatre, in the 
 tenor part in ' Swiss Cottage.' Subsequently he entered upon an 
 engagement at the Opdra Comique, and appeared there, February 
 1878, in a revival of 'The Sorcerer' (Gilbert and Sullivan), and 
 'Trial by Jury' (same authors). May 25, 1878, first performance 
 at the same theatre of ' H.M.S. Pinafore' (same authors), Mr. 
 Power " created " the part of Ralph Rackstraw, " in concerted 
 pieces displaying a light tenor voice of very agreeable quality, and 
 acting the part of the sentimental lover well" {Daily News, May 27, 
 1878). 
 
282 THE DRAMA TIC LIST. 
 
 "SLPCI^H-E., LIN, was born in Calcutta. He first appeared on 
 the London stage at the Lyceum Theatre, October 3, 1868, in the 
 part of Faulkner, first performance of Lord Lytton's drama ' The 
 Rightful Heir.' After leaving the Lyceum Mr. Lin Rayne joined 
 Mr. Barry Sullivan's company at the Holborn Theatre, where he 
 made his first success in a comedy entitled ' Plain English.' During 
 this engagement he played "leading juvenile and light comedy 
 business." Among " original " parts played by him the following 
 are deserving of mention : Marquis cfArcis in ' Fernande '; Jones 
 in 'Two Thorns'; Tom in 'Apple Blossoms.' In a revival of 
 ' The School for Scandal ' in April 1874, at the Prince of Wales's 
 Theatre, London, he acted the part of Sir Benjamin Backbite. 
 
 REDMUND, WILLIAM, was born in London, and first 
 appeared on the stage at the Theatre Royal, Margate, June 
 1874, in the character of Brown, 'New Men and Old Acres.' 
 In the following year, on Easter Monday, he made his Mut on 
 the metropolitan stage at the National Standard Theatre in a 
 drama entitled ' Rank and Fame.' He remained at this theatre 
 for several seasons as "leading man" and stage-manager, meeting 
 with creditable success in such parts as Nicholas Nickleby, Tom 
 Mayfield, &c., and playing the "juvenile parts" during an engage- 
 ment of Mr. Creswick. He has also played in the provinces 
 at various leading theatres. In London he has appeared at the 
 Duke's Theatre (as Landry in a piece entitled ' Little Cricket ") ; 
 and at the Haymarket ; at the Court Theatre for a short season as 
 '■jeune premier 'y and at the Princess's, where in a revival of Never 
 Too Late to Mend' (1878-9) he appeared as ihe. Rev. Mr. Eden. 
 At the same theatre, on Monday, June 3, 1879, fi''st performance of 
 ' Drink' (founded on M. Zola's novel ' L'Assommoir'), an English 
 version of a French play by Charles Reade, he acted the part of 
 Lantier. 
 
 REED, MRS. GERMAN {nde HoRTON, Priscilla), first at- 
 tracted notice in London as an actress in melodrama at the Victoria 
 Theatre, under the management of Messrs. Abbot and Egerton, 
 and when Mr. Sheridan Knowles and Miss Mitford endeavoured 
 to support its interest by allowing their plays to appear on its 
 boards. She was playing at that theatre in February 1834 as Kate 
 in Sheridan Knowles's drama ' The Beggar of Bethnal Green.' In 
 August 1835 she appeared at the English Opera House, in a Scotch 
 ballad opera called 'The Covenanters,' and an agreeable trifle, 
 performed under the title of ' Domestic Arrangements.' In January 
 1836 Miss Horton zealously contributed to the success of a new 
 burletta first performed in that month at the St. James's Theatre, 
 entitled ' Monsieur Jaques.' In a revival of ' The Tempest,' at the 
 Theatre Royal, Covent Garden, October 1838, she played the part 
 of Ariel. At the same theatre, during the following year, Miss 
 
REED, MRS. GERMAN. 283 
 
 Horton played in English opera. On Tuesday, March 16, 1840, 
 she sustained the part of Ophelia at the Haymarket Theatre, under 
 Mr. Benjamin Webster's management, in a "revival" of ' Hamlet,' 
 with Macready and Phelps in the principal parts, " the only striking 
 novelty in the performance being the Ophelia of Miss P. Horton, 
 which approached very nearly to the wild pathos of the original 
 in one scene, and was touching and beautiful in all" {Athenceum, 
 March 21, 1840). At the same theatre, during the same year (Tues- 
 day, December 8), Miss P. Horton sustained the part of Georgina 
 Vesey, iirst performance of the late Lord Lytton's play of ' Money.' 
 In 1841 she was still a member of the company of the Haymarket 
 Theatre, appearing in various comedies. In 1842 (November 16), 
 at Drury Lane, under Macready's management, she played with 
 some success the part of Philidel, in a " revival " of Purcell's 
 'King Arthur'; and in March of the following year appeared in 
 the title r6le of the fairy spectacle ' Fortunio and His Seven Gifted 
 Sisters.' In 1844 (January i), at the Haymarket, "in one of the 
 neatest and smartest of the elegant series of extravaganza for which 
 the town is indebted to Mr. Planche," Miss P. Horton performed 
 the part of Graceful. She continued a member of the Haymarket 
 company until the end of the season 1846. At this period of her 
 career she is mentioned in a contemporary journal as "' one who 
 ought to have been by this time the first contralto on our stage, 
 now that Mrs. Shaw has left it." She acted in extravaganza and 
 pantomime, produced annually at Easter and Christmas, and, in 
 fact, was the mainspring of this class of entertainment at the Hay- 
 market under Mr. Benjamin Webster's management. Tuesday, 
 December 7, 1847, Miss P. Horton acted (with the leading players 
 of the day), at Covent Garden Theatre, the part of Ariel (' Tem- 
 pest,' act I, sc. 2), in aid of the " Fund for the Purchase and 
 Preservation of Shakespeare's House at Stratford-on-Avon." In 
 1849 she played in the various Shakespearian "revivals" of Mr. 
 and Mrs. Charles Kean at the Haymarket. From 1850 to 1854 
 Miss P. Horton appeared from time to time at the Haymarket, 
 Drury Lane, and Olympic Theatres, for the most part in extrava- 
 ganza. The latter year -she went on a " starring " tour in the pro- 
 vinces " with a sort of entertainment or medley song, in which the 
 different European styles of singing are represented or parodied," 
 in regard to which the following entry appears in Prof. Morley's 
 Journal of a London Playgoer, pp. 1 13-14 : — "March 17, 1855.— 
 An entertainment entitled' Illustrative Gatherings ' was given last 
 Monday at the St. Martin's Hall by Miss P. Horton. The lady 
 who by this name is so widely known as a public favourite is the 
 wife of a skilful musician and composer, Mr. T. German Reed, who 
 assists in the entertainment. Mainly it consists, however, of those 
 characteristic songs and personations by which Miss P. Horton 
 won her reputation on the stage. In one of the latter she admir- 
 ably represents a dialogue between two old women, being differently 
 dressed on either side so as to put each vividly in turn before her 
 audience. Another of her characters is a singing, laughing dandy 
 in ringlets and moustache, whose methode as a dandy singer is hit 
 
284 THE DRAMA TIC LIST. 
 
 off with exquisite skill. And throughout it is delightful to hear her 
 fine voice and observe her free, cordial, unaffected manner." This 
 entertainment was the forerunner of the amusing and popular series 
 of drawing-room plays given for so many years by Mr. and Mrs. 
 German Reed at "The Gallery of Illustration," Regent Street, 
 London, and now (1879) at St. George's Hall, Langham Place. 
 Miss P. Horton's last appearance on the stage proper took place 
 in 1858. 
 
 REEVE, WYBERT, was born in London 1831, and entered 
 the dramatic profession at Bradford, Yorkshire, in 1849, playing 
 the part of Frederick in ' The Wonder.' Afterwards he joined the 
 York circuit, appearing in various juvenile leading parts, as Azael, 
 Sir T. Clifford, &c. In 1852, at Plymouth, he produced his first 
 dramatic piece, a farce, entitled 'An Australian Hoax.' In 1855 
 he joined the Bath and Bristol company. The same year he wrote 
 and produced a farce entitled ' Supper Gratis,' acted during the 
 summer months in Mr. Roxby's circuit. In 1857 Mr. Reeve 
 became a member of the Theatre Royal, Manchester, company, 
 with whom he acted for four consecutive seasons, as light and 
 eccentric comedian. During this engagement, he produced a 
 comedietta entitled 'A Match for a Mother-in-Law,' and was also 
 part author of the successful pantomime entitled ' Blue Beard.' 
 On leaving Manchester to enter upon the management of the 
 Cardiff, and subsequently of the Swansea and Ryde Theatres, 
 Mr. Reeve was presented with a testimonial by his professional 
 colleagues of the Theatre Royal. In 1862 he managed the Theatre 
 Royal, Sheffield, under the lesseeship of Mr. Charles Pitt, a posi- 
 tion which Mr. Reeve resigned in 1865, for the purpose of opening 
 the New South Shields Theatre. In 1867 he became lessee of the 
 Theatre Royal, Scarborough, of which, however, he has now (1879) 
 ceased to be proprietor. At Sheffield he produced ' Pike O'Calla- 
 ghan,' an Irish two-act piece, which was afterwards played in 
 London at the Surrey Theatre ; a three-act comedy, ' Not So Bad 
 After All ' ; and the three successful pantomimes entitled ' The 
 Dragon of Wantley,' ' Robinson Crusoe,' and ' Little Red Riding 
 Hood,' of which pieces he is author. He made his first appearance 
 on the London stage, October 1869, at the Lyceum Theatre, as 
 yohn Mildmay in ' Still Waters Run Deep.' " Mr. Reeve pos- 
 sesses the necessary qualifications to render his assumption of 
 John Mildmay essentially popular — a- pleasing physique, deep 
 sonorous voice, distinct enunciation, gentlemanly self-possession 
 of no common order, and a thorough knowledge of stage business ; 
 all are brought to bear in his representation, the result being a 
 genuine and well-deserved success." (Standard, October 1869.) 
 Subsequently Mr. Reeve produced and appeared in his comedies 
 of ' Won at Last,' and ' Not So Bad After AH,' at the Charing Cross 
 Theatre, with success. In 1871 (after playing in the provinces) he 
 returned to London and appeared at the Olympic Theatre as 
 Walter Hartwright, on the production of Wilkie Collins's play 
 'The Woman in White.' Shortly afterwEuds, during Mr. George 
 
RICHARDS, CICELY. 285 
 
 Vining's illness, Mr. Reeve sustained the part of Fosco in the same 
 play, and so satisfactorily, that he has since performed this character 
 more than fifteen hundred times in various cities of the United 
 Kingdom, Canada, and the United States of America, and more 
 recently (1878-9) in the Australian colonies. His performance of 
 this part in New York was noticed in the following terms in the 
 New York Tribune : — " Mr. Reeve's intellect is, manifestly, of an 
 alert order, compact, vital, sympathetic, and fed by a vigorous 
 imagination. His voice is fresh and bright ; his individuality is 
 unique and pleasing ; his bearing is notably refined and very agree- 
 able. He used no stage tricks to entrap attention, but, in a mood 
 of quiet power and skilful precision, he embodied the character and 
 lived it out through its experience. He had not been five minutes 
 on the stage before the presence was felt of an original nature, 
 and a dramatic artist of the best school — because the school of 
 sinrplicity." 
 
 Mr. Wybert Reeve is a member of the Dramatic Authors' Society. 
 He has written, among other pieces, ' Never Reckon Your Chickens, 
 &c.,' a farce performed at the Olympic Theatre, and received with 
 much favour ; ' Parted,' a four-act comedy-drama ; ' The Better 
 Angel,' a four-act play, and a piece entitled ' I Love You '; and he 
 has also produced dramatizations of ' George Geith ' and ' No 
 Name,' the latter made at the request of Mr. Wilkie Collins. 
 
 *RICHARDS, CICELY. Since January 1875, when Miss 
 Richards assumed the character of Belinda in ' Our Boys,' she has 
 continued a member of the company of the Vaudeville Theatre. 
 She appeared there in a subordinate part in ' The Girls,' April 19, 
 1879, and through the run of that piece, till the revival in Septem- 
 ber of ' The Two Roses,' when she essayed the part of Mrs. Cnpps. 
 
 RIGHTON, EDWARD CORRIE, had earned a high reputa- 
 tion in the provinces as an actor previous to his ddbut in London, 
 which took place, Wednesday, January 25, 1 871, at the Royal Court 
 Theatre. The occasion was the opening of that theatre under 
 Miss Litton's management ; and in the principal piece of the even- 
 ing, an original comedy by W. S. Gilbert entitled ' Randall's 
 Thumb,' Mr. Righton played Joe Bangles, and created a very 
 favourable impression. After a few months he was elected 
 manager of the Court Theatre, a position which he held for two 
 years. During his engagement there he appeared in the following 
 "original" parts, viz. Joe Gargery in 'Great Expectations' ; Boom- 
 blehardt in ' Creatures of Impulse '; Isaac of York m a burlesque on 
 Sir W. Scott's novel of ' Ivanhoe ' entitled ' In re-Becca ' ; Lutin 
 in the burlesque of 'The Happy Land'; Richelieu in burlesque 
 'Richelieu Redressed'; ^?«Mo«>' 7><W,'Tale of aTub'; Weathersby 
 Grandison in ' Divorce Case ' ; Sir Philander Rose, ' Hot Water'; 
 Wackford Squeers in ' Dotheboys Hall'; Mr. Salmon, 'About 
 Town ' ; and as ' the bewitched bard Bracy ' in the burlesque of 
 ' Christabelle,' in which Mr. Righton very cleverly caricatured a 
 distinguished living tragedian : " The acting all through this scene 
 
286 THE DRAMATIC LIST. 
 
 was passionate and intense, and it was difficult to separate the fun 
 from the real thing. On no former occasion has Mr. Righton 
 so thoroughly proved that any comparison between hmi and Mr. 
 Robson was not a ridiculous compliment. He does not perhaps 
 suggest Mr. Robson in his best days, but it is not an ignoble 
 .feather in his cap to suggest Mr. Robson. Another mutation 
 by Mr. Righton of a totally different kind, quite apart from the 
 Mathias travestie, but showing the versatility and humour of the 
 actor, is given in one of the comic dances, in which Mr. Righton 
 suggests, amidst the roars of the audience, the extravagant bound- 
 ings and the irrepressible elasticity of Mdlle. Sara, the Philharmonic 
 dancer. This is really wonderfully clever. Without any petticoat 
 of course, and without any female habiliments whatever, Mr. 
 Righton is for the minute the famous Mdlle. Sara. The sudden 
 plunge up of the leg, the strut, the panting desire to be at it again, 
 the restlessness, and the little tricks and affectations of this well- 
 known dancer are reproduced with the greatest accuracy. All this, 
 we repeat, is burlesque acting. It is worth going to see, and 
 deserves to be talked about. Far indeed is it removed from 
 the tedious insipidity, the everlasting breakdown, the music-hall 
 topical song, and the never-ending sameness of modern burlesque." 
 {Observer, May 19, 1872.) 
 
 Among other characters which have been performed by Mr. 
 Righton the following are deserving of notice, viz. Bob in ' Old 
 Heads and Young Hearts ' ; Major Shoreshot in a farcical comedy 
 entitled ' Flirtation ' ; Dogberry in ' Much Ado About Nothing,' 
 played at the Olympic Theatre, London ; Touchstone in ' As You 
 Like It,' played at Drury Lane Theatre ; Tony Lumpkin in ' She 
 Stoops to Conquer,' played at the Globe Theatre ; Bob Acres in 
 ' The Rivals,' played at the same theatre, of which he was for a 
 time lessee (1877-8). During the period of his management there 
 he produced the two following comedies, which subsequently became 
 very popular — " Stolen Kisses ' and ' Dearer than Life.' Since 
 leaving the Globe Theatre, Mr. Righton has appeared with con- 
 siderable success in Manchester, Dublin, and other places. 
 
 RIGNOLD, GEORGE, brother of the undermentioned William 
 Rignold, became connected with the stage in boyhood, and was for 
 several years at the Bath and Bristol Theatres. He first attracted 
 notice on the London stage by his praiseworthy performances 
 -in 1870 and two following years at the Queen's Theatre, where 
 he first appeared as Sir John Brydges in "Twixt Axe and 
 Crown,' and subsequently as Father Isatnbard in Tom Taylor's 
 drama ' Joan of Arc,' Wenzel in W. G. Wills's drama of ' Hinko,' 
 &c. During 1872 at that theatre he successively sustained the 
 part of Posthumus in a revival of ' Cymbeline,' of Icilius in a 
 revival of ' Virginius ' ; oi M. TMophile Ferron in Richard Lee's 
 original comedy ' Ordeal by Touch ; ' of Romeo in a levival of 
 ' Romeo and Juliet;' and, lastly, oi Amos Clark in Watts Phillips's 
 drama of that name. He has twice visited Australia and the 
 United States, in both of which countries he has been very 
 
RIGNOLD, WILLIAM HENRY RIGNALL. 287 
 
 successful, and has largely added to his reputation by his interesting 
 impersonation of the character of 'Henry V.' 
 
 * RIGNOLD, SUSAN, sister of the above and under-mentioned 
 George and William Rignold. 
 
 RIGNOLD, WILLIAM HENRY RIGNALL, was born in 
 Leicester, December 8, 1836, and first appeared on the stage in 
 his fourth year at the Redditch Theatre in a " Benefit " performance 
 for his mother, who was " starring " there during the vacation at the 
 Theatre Royal, Birmingham. Mr. (then " Master ") William Rignold 
 danced a sailor's hornpipe, and Mr. Alfred Mellon was good enough 
 to go over from Birmingham to lead the band on the occasion. 
 Mr. Rignold appeared on the stage as a dancer and in pantomime 
 during his boyhood ; and in 1 846, at Newcastle, played the part of 
 Franco in ' Guy Mannering,' with Miss Cushman in her great part 
 of Meg Merrilies. Afterwards he studied music, and took his first 
 lessons on the violin from Mr. Coppin, father of the Australian 
 manager. William Rignold entered the orchestra in 1850 at the 
 Queen's Theatre, Hull. In 1855 he was repetiteur at New Theatre, 
 Sheffield, under the management of Mr. Charles Dillon. In 1856 
 Mr. Rignold happened to be " sent to Limerick by Henry Webb to 
 lead the band for ' Rob Roy,' Sir William Don playing the Baillie. 
 The ' heavy gentleman ' lost the train, and I played Rashleigh and 
 led the orchestra as well, without being discovered by the crowded 
 audience. This performance made such an impression that all my 
 friends persuaded me to take to the stage ; so I left my much- 
 loved violin, and, in 1857, 'opened' at the Amphitheatre, Liver- 
 pool, under Mr. Copeland, as ' general utility.' At the end of three 
 years I had played the entire round of ' heavy business.' 1 had 
 the good fortune in many of Mr. Webster's parts to please Celeste, 
 who offered to make me an opening in London. I still practised 
 the violin, hoping the day might come when I should appear as a 
 soloist."* In i860 Mr. Rignold was acting at the Bath and Bristol 
 Theatres Royal as "high comedian"; second season "juvenile lead"; 
 third and fourth seasons " entire lead." In 1865 he entered into an 
 engagement with the management of the Theatre Royal, Dublin, 
 and played " lead " there for four seasons. In 1869-70 he was play- 
 ing at the Princess's Theatre, London, where he made his debut on 
 the metropolitan stage, February 15, 1869, as Count de'Fersen, in 
 Palgrave Simpson's ' Marie Antoinette.' Since that time he has in 
 the metropolis fulfilled engagements at the Adelphi, Gaiety, and 
 Olympic Theatres, &c. Mr.W.Rignold is at present (November 1879) 
 engaged at the Princess's Theatre, performing in ' Drink,' a version 
 by Charles Reade of a French play founded on M. Zola's ' L'Assom- 
 moir.' In the English version Mr. W. Rignold " created " the part 
 of Goujet, one of the most successful impersonations in the piece. 
 It is interesting to notice that his acting attracted the attention of 
 M. Francisque Sarcey during that gentleman's visit to London in 
 May 1879. In a letter to the writer of the interesting notes on 
 
 * Letter from Mr. W. Rignold to the Editor. 
 
288 THE DRAMATIC LIST. 
 
 " The Theatres," published weekly in the Daily News (July r, 1879), 
 that admirable dramatic critic writes : " The artist who ^\2.y% Gueule 
 d'Or [a sobriquet of Goujef\ impressed me by the smiple truth of 
 his acting. He has a ' good-bye 'that brings tears mto the eyes." 
 
 ROBSON, E. M., born in London, January 12, 1855; nephew 
 of the distinguished comedian the late F. Robson. He first dis- 
 covered a partiality for a dramatic career through being permitted 
 to play one of the children in the burlesque of ' Medea,' with his 
 uncle, during that admirable actor's last " starring " tour m Ireland. 
 His first professional engagement was (1871) at the Elgin Theatre, 
 under Mr. Edward Price's management. He. has since played at 
 the leading provincial theatres, notably in Edinburgh, Liverpool, 
 and Birmingham, several of the late Mr. F. Robson's more im- 
 portant conceptions. Mr. E. M. Robson made his first appearance 
 on the London stage at the Aquarium Theatre, August 3, 1878, in 
 the part of Captain Spooneysoft, in a piece entitled ' That's Why 
 She Loved Him.' 
 
 ROLLS, MRS. ALEXANDER. See BARRY, HELEN. 
 
 RORKE, MARY, was born in Westminster, and entered the 
 dramatic profession in Mr. Charles Wyndham's company playing 
 at the Crystal Palace, Sydenham, in 1874. She was also tem- 
 porarily engaged at the Croydon Theatre under Mr. Charles Kelly's 
 management in the same year. Miss Rorke made her dibut on the 
 London stage at the Mirror Theatre, Holborn, under Mr. Horace 
 Wigan's management, in a subordinate part in ' Maids of Honour.' 
 Subsequently she was engaged at the T. R. Haymarket, Prince of 
 Wales's Theatre, Liverpool, Royal Court and Criterion Theatres, 
 London. At the two last named she has appeared in the following 
 characters, viz. Clara (' Model of a Wife ') ; Fanny Bunter (' New 
 Men and Old Acres ') ; Meg (' Meg's Diversion ') ; Mrs. Dorothy 
 Sterry (' Truth '). The last-mentioned play, by Mr. Bronson 
 Howard, was produced at the Criterion Theatre January 1879. 
 
 ROSELLE, AMY, was born in London in 1854, and first 
 appeared upon the stage in childhood at the Theatre Royal, Exeter, 
 acting with her brother, " Master Percy Roselle." Afterwards she 
 was engaged at the Cardiff, Swansea, and Plymouth Theatres in 
 succession ; and was then engaged by Mr. Sothern to support him 
 in the provinces. In 1 87 1 she made her ddbut on the London stage 
 at the Haymarket Theatre as Lady Teazle; and in May of that 
 year appeared with Mr. Sothern at the same theatre in a comedy 
 by H. J. Byron entitled 'An English Gentleman ; or, the Squire's 
 Last Shilling.' Having played at the Haymarket until the end of 
 the season, Miss Roselle accepted an engagement to play with Mr, 
 Sothern in the United States. Returning to London in 1872, in 
 September of that year she was engaged by Mr. Chatterton to sup- 
 port the late Mr. Samuel Phelps and Mr. Creswick in Shake- 
 spearian parts at the Princess's Theatre. Among the characters 
 
ROSELLE, JULIA. 289 
 
 she there undertook were Portia, Desdemona, Ophelia; and Julie 
 de Mortemar (' Richelieu >). Subsequently she performed at the 
 Haymarket Theatre (January 3, 1874), Eve Van Brugh in W. S. 
 Gilbert's 'Charity.' Saturday, January 16, 1875, first performance 
 at the Vaudeville Theatre of H. J. Byron's comedy ' Our Boys,' 
 Miss Roselle sustained the part of Mary Melrose. In 1878 she 
 was engaged by Mr. and Mrs. Kendal to support them " on tour " 
 in ' Diplomacy,' playing the part of Dora. In 1879 she accepted an 
 engagement at the Prince of Wales's Theatre, and in January 
 appeared there in a revival of ' Caste ' as Esther Ecdes, the part 
 originally played by Miss Lydia Foote, and in which Miss Roselle 
 proved herself a careful and accomplished actress, and increased 
 her professional reputation. 
 
 ROSELLE, JULIA, sister of the above-named Amy Roselle, 
 made her first appearance on the stage in the United States in 
 1871 as Augusta ('Our American Cousin'), Mr. Sothern in the 
 leading character. Returning to England in 1873, Miss Juha 
 Roselle played "juvenile leading parts " for three successive seasons 
 at Birmingham, Manchester, and Liverpool ; and at Christmas 
 1876 made her first appearance on the London stage at Covent 
 Garden Theatre. In March 1877 she accepted an engagement at 
 the Royal Aquarium Theatre and played the character of Biddy 
 (' Great Expectations ') with considerable success. Subsequently 
 (1877-8) Miss Juha Roselle was engaged by the management of the 
 T. R. Haymarket and played Miss Araminta Brown in * David 
 Garrick,' &c. 
 
 ROUSBY, WYBERT, was an actor of considerable provincial 
 repute previous to his first appearance on the London stage, which 
 took place at the Queen's Theatre, Long Acre, December 19, 1869, 
 in the part of Bertuccio (Triboulet) in Tom Taylor's drama ' The 
 Fool's Revenge.' " Mr. Rousby, who is a gentleman of rather 
 slight figure and proportions, has a face capable of much and 
 varied expression, and is evidently well trained in all the business 
 of the stage. His voice is good, and his delivery clear and 
 resonant. He is a master of the rare art of correct emphasis. He 
 knows how to fill up his time on the stage with the restless activity 
 proper to the character of the jester, with his misanthropic hatred 
 of the frivolous and profligate court of the Duke, his cruel spirit of 
 revenge, and his tenderness for the sole object of his affections — 
 his daughter, whose existence is the secret of his life. Careful 
 elaboration is suggested by every point of Mr. Rousby's acting in 
 this part, from the picturesque Mephistophelean attitudes, of which 
 he has so great a variety, to the manifold wrinkles of his malignant 
 smiles. Indeed the faults of his performance lie on this side, 
 though it was not without some of those bursts which at least 
 appear spontaneous, and which excite the feelings of the audience 
 for that reason. . . . The very completeness of Mr. Rousby's art 
 will, no doubt, detract something from the curiosity with which his 
 future performances will be looked forward to ; and many of his 
 
 U 
 
290. THE DRAMA TIC LIST. 
 
 points are undoubtedly traceable more to the school to which his 
 style belongs than to the promptings of his own genius." {Daily. 
 News, December 22, 1869.) 
 
 Following the above date Mr. Rousby appeared on the London 
 stage in those plays of importance first produced at the Queen's 
 Theatre in which his wife played the leading rSle. In Mr. Tom. 
 Taylor's drama ' 'Twixt Axe and Crown ' he was in the original 
 cast as Courtenay; in 'Joan of Arc,' by the same author, he: 
 played, on the occasion of its first performance, the part of La 
 Hire; and (at the Princess's Theatre) in W. G. Wills's drama. 
 'Mary Queen of Scots' the part of Knox. In February 1 87 1 Mr. 
 Rousby appeared at the Queen's Theatre as Orlando in a revival 
 of 'As You Like It,' Mrs. Rousby playing Rosalind; in April 1873, 
 at Drury Lane Theatre, he sustained the part of King Lear in a 
 revival of Shakespeare's tragedy, his wife acting Cordelia, Since 
 1876 Mr. Rousby has not appeared on the London stage in any 
 part requiring notice. 
 
 ROYCE; EDWARD WILLIAM, was bom at Eversholt, Beds, 
 August II, 1841, and entered the dramatic profession in the year, 
 i860, as an auxiliary at Covent Garden Theatre, in the opera of 
 ' Un Ballo in Maschera,' having specially studied operatic and 
 character dancing. In 1861 he was engaged at the Lyceum 
 Theatre, and danced in the "Fair Scene" of Edmund Falconer's 
 drama ' Peep o' Day.' Christmas, 1863, at the old Theatre Royal, 
 Leeds, he first sustained the part of Harlequin in the pantomime 
 of ' The Yellow Dwarf.' Mr. Royce has since played Harlequin 
 with great success at theatres at the following principal towns, viz. 
 Leeds, York, Sheffield, Hull, Lincoln, Nottingham, Manchester, 
 Glasgow, Edinburgh. While playing the character at the York 
 Theatre in 1 868 he was happily able to save the life of a httle girl 
 of the ballet whose skirts had unfortunately become ignited. For 
 this act of bravery he received a testimonial from the Royal Society 
 for the Protection of Life from Fire. 
 
 At Leeds Mr. Royce performed the " original " Welch in Charles 
 Reade's drama of ' Foul Play,' concerning which the author, in a 
 letter to the editor of the Manchester Examiner (June 26, 1868), 
 said that " it owed a large share of its success to the talent and 
 zeal of the performers, and especially of those who played the 
 minor characters." Mr. Royce has been a member of the travelling 
 companies of Mr. John Coleman and Captain Disney Roebuck. 
 In 1872, at the Prince of Wales's Theatre, Liverpool, he played the 
 part of Varney in Halliday's revived burlesque of ' Kenilworth,' 
 entitled 'Little Amy Robsart.' The same year, having accepted 
 an engagement from the management of the Gaiety Theatre, in 
 London, he first appeared at that theatre in September, in the part 
 of Whiskerandos in 'The Critic' At the St. James's Theatre,' 
 durmg the management of Miss Litton, he played Totn Cobb, first 
 performance of W. S. Gilbert's farcical comedy of that title. At 
 the Gaiety Theatre he has since played the following original parts, 
 viz. Dick Evergreen ('My Awful Dad'}, Derrick ('Young Rip 
 
RUSSELL, HOWARD. 391 
 
 Van 'Winkle '), Jos^ (' Little Don C<Esar de Bazan "), Count Smiff 
 ('The Bohemian Gyurl'), Valentine (' Little Doctor Faust'), Elvino 
 ('II Sonnambulo '), and Radapolam ('Rajah of Mysore'), &c., &c. 
 In 1873 and 1874 Mr. Royce produced the Christmas pantomime 
 for the Messrs. Gunn, of the New Gaiety Theatre and Theatre 
 Royal, Dublin, and on various occasions he has undertaken the 
 responsible duties of stage-manager and master of the ballet. He 
 is still (1879) ^ member of the Gaiety company. 
 
 RUSSELL, HOWARD, was born in London, January 6, 1835, 
 and entered the dramatic profession in 1858, making his first appear- 
 ance in London, September 28, 1867 (having previously studied the 
 rudiments of acting in the provinces), at the Victoria Theatre, in 
 a drama entitled ' The Sin of a Life.' Subsequently he became 
 engaged by Mr. F. B. Chatterton for his theatres, and played 
 various characters in the late Andrew Halliday's plays represented 
 at Drury Lane, the Princess's, and Adelphi Theatres. He has had 
 the advantage of supporting at those theatres some of the leading 
 players of the day, including Messrs. Phelps, Fechter, Creswick, 
 Anderson, King, Barry Sullivan, Mesdames Helen Faucit, Neilson, 
 Herman Vezin, Wallis, Genevieve Ward. Mr. Russell played the 
 character of Derrick with efficiency, to the Rip van Winkle of 
 Mr. Jefferson, during his last engagement at the Princess's Theatre. 
 He has taken leading parts in some of the plays produced at 
 the Crystal Palace, notably, Polonius ('Hamlet'), and Phocian 
 ('Antigone'), the first produced by Mr. Tom Taylor, the second 
 under Mr. Wyndham's superintendence ; and has also played the 
 character of Claudius, with Mr. Fechter in the title rSle (' Hamlet "), 
 at the Princess's Theatre in June 1872. The production of ' The 
 Wandering Jew ' at the Adelphi, and revival of the play of ' Uncle 
 Tom's Cabin ' at the same theatre, brought Mr. Russell under notice 
 of the public as a painstaking and efficient actor. He sustained 
 the part of Eros on the occasion of the revival of ' Antony and 
 Cleopatra 'at Drury Lane Theatre, in 1876 ; and later (1878) has 
 enacted the part of Richard, Duke of Gloucester, with considerable 
 success, in a revival of 'Jane Shore ' at the Princess's Theatre. 
 
 *RYDER, JOHN, was born in 1814. He had attracted notice 
 as an actor of much promise in the line of legitimate drama 
 previous to his being enrolled in Mr. Macready's company, during 
 that eminent tragedian's management of Drury Lane Theatre. 
 This engagement was the first step in Mr. Ryder's advancement. 
 In October 1842, in a revival at that theatre of 'As You Like It,' 
 with Messrs. Macready, Anderson, Keeley, Phelps, and Mesdames 
 Nisbett, Stirling, and Keeley in the caste, Mr. Ryder played the 
 Dtcke. He appeared in most of the plays, original and revivals, 
 produced under Mr. Macready's superintendence during his period 
 of management. At the Princess's Theatre, October 13, 1845, 
 Mr. Macready playing Hamlet, Mr. Ryder sustained the part of 
 Claudius. At the same theatre, in the year following, first per- 
 formance, 20th March, of ' The King of the Commons ' (White), 
 
 U 2 
 
292 THE DRAMA TIC LIST. 
 
 Mr. Macready as James V. of Scotland, Mr. Ryder acted the 
 character oi Sir Adam Weir of Lachemont. In 1847, on Monday, 
 November 22, at the same theatre, in a play by Taylor (abridged by 
 Macready), entitled ' Philip Van Artevelde,' Mr. Ryder played Van 
 den Bosch; Mr. Macready and Miss Susan Cushman were in the 
 cast. In 1850, Monday, January 28, he played CEnarus, first per- 
 formance of John Oxenford's version of Corneille's ' Ariadne.' 
 When Messrs. Charles Kean and Keeley entered upon the manage- 
 ment of the Princess's Theatre, in 1850, Mr. Ryder became a 
 member of their company, and on the opening night of their first 
 season, Saturday, September 28, appeared as Antonio, in a revival 
 of ' Twelfth Night.' He subsequently took part in many of the per- 
 formances for which Mr. Charles Kean's administration became 
 famous. On Saturday, November 9, 1850, first performance at the 
 Princess's of 'The Templar' (A. R. Slous), he sustained the part of 
 Ay7ner de la Roche, Grand Master, with much success. 
 
 During 185 1 Mr. Ryder appeared in various Shakespearian plays 
 ■ at the Princess's Theatre, and in February of that year acted the 
 part of Captain Channel, in a revival of Douglas Jerrold's 'Prisoner 
 of War.' On February 9, 1852, in a revival of 'King John,' he 
 sustained the character of Hubert, a part which he played sub- 
 sequently at the same theatre in October 1858. The same year, 
 Monday, June 7, first performance of Lovell's play, ' The Trial of 
 Love,' at the Princess's, he played Colonel Boswell. In 1853, on 
 Monday, February 14, in a revival of ' Macbeth,' Mr. Ryder acted 
 the part of Macduff. On Monday, June 13, 1853, Mr. Ryder 
 sustained the part of Salamenes, in the grand performance of 
 Byron's tragedy, ' Sardanapalus,'- commented upon, at the time, as 
 " the one piece of acting in that play on which there could not be 
 two opinions in regard to its excellence." In the autumn of 1854 
 Mr. Ryder left the Princess's Theatre for a brief period and 
 accepted an engagement to lead the " heavy business," supported 
 by an efficient company, selected from other metropolitan theatres, 
 at the Bower Saloon, Lambeth, under Miss Lydia Pearce's manage- 
 ment. As to which engagement it was remarked in a contemporary 
 journal that " he and his companions on this despised stage may 
 easily find more laudable business to perform than that to which 
 he, and others of respectable name, have lately been condemned at 
 other establishments. In all probability at the popular saloon the 
 higher drama will be preferred." The first week of his engagement, 
 commencing Monday, August 21, 1854, Mr. Ryder appeared in three 
 different characters : — Macbeth, Othello, and the Stranger. The 
 first-mentioned part he had once before performed at the Princess's 
 during the temporary indisposition of Mr. Charles Kean, and had 
 earned great applause. In October 1854, Mr. Ryder rejoined the 
 company of the Princess's Theatre, and reappeared on its stage 
 the 9th of that month, as Dymond, first performance of Douglas 
 Jerrold's play, ' Heart of Gold.' In January 1855, ' Louis the 
 Eleventh,' translated by Dion Boucicault from Casimir Delavigne's 
 historical play of that name, was performed at the same theatre, 
 Charles Kean as Louis ; Mr. Ryder, Coitier. 
 
RYDER, JOHN. 293 
 
 In May of the same year, in a revival at the Princess's Theatre of 
 ' Henry the Eighth,' on an unexampled scale of grandeur, Mr. Ryder 
 sustained the part of Buckingham, and was grand and imposing. 
 " His first scene was marked with laudable care, and his final address 
 to the spectators of his execution was a fine example of oratorical 
 speaking, and might be consulted as a lesson by those to whom 
 eloquence is a mission." {Athenceum, May 19, 1855.) On April 28, 
 1856, still at the Princess's Theatre, he appeared as Polixenes, in a 
 sumptuous revival of ' A Winter's Tale ' ; and the following year. 
 May 12, as Bolingbroke, in 'Richard the Second,' and July i, as 
 Caliban, in ' The Tempest.' On April 17, 1858, he acted the 
 character of Edgar in a revival of 'King Lear'; and in 1859, 
 Williams, on the production of ' Henry the Fifth.' When 
 Mr. Kean retired from the management of the Princess's Theatre 
 in August 1859, Mr. Ryder remained a mem'oer of its company with 
 Mr. Kean's successor, Mr. Augustus Harris. 
 
 On Wednesday, November 2, 1859, Mr. Ryder played at the 
 Princess's the part of Giovanni Orseolo, first performance of Edmund 
 Falconer's drama ' The Outlaws of the Adriatic' On Saturday, 
 September 28, 1861, first performance in England of Brougham's 
 ' Playing with Fire,' he acted the character of Timothy Crabstick. The 
 same year, during the first engagement at the Princess's Theatre 
 of Mr.' Fechter, Mr. Ryder played lago to that gentleman's Othello. 
 
 The Times (October 24, i86i) noticed this performance as 
 follows : — " Mr. Ryder's lago, Mephistophelean in appearance, 
 quick in thought, picturesque in gesticulation, is probably a creation 
 of Mr. Fechter's, inasmuch as it could scarcely have emanated from 
 a veteran of the London stage. It was admirably fresh and finished, 
 and the disciple, for such we presume he is, has this advantage over 
 the preceptor, that he is able to give the old-fashioned Enghsh 
 weight to his language. Pie is placed in a new position by the 
 pecuhar interpretation given by Mr. Fechter to the concluding 
 speech of the play. Othello, instead of allowing lago to retire, 
 drags him towards the bed, and compels him to kneel before the 
 murdered Desdemona. When he draws his dagger, all suppose that 
 the author of mischief will be the victim, and the suicide therefore 
 occasions more than usual surprise." 
 
 In the following year, March 3, Mr. Ryder played Othello and 
 Mr. Fechter lago. In November i86i, at the Princess's, Mr. Ryder 
 acted the part of Falstaff in a revival of ' The Merry Wives of 
 Windsor." Said the Athenaum (November 30, 1861) : "Mr. Ryder 
 has certain advantages of figure for the assumption, and though he 
 lacks the unction which would be shown by a humorous actor, 
 presents an outline that is at once intelligent and effective. He 
 makes the most of the text, and throws the entire force of his con- 
 ception into the character. The whole is evidently the effect of 
 much study on the part of the actor, and is therefore the more 
 deserving of special notice. What he has thoroughly thought out 
 in the closet, he carefully depicts on the stage. The knightly 
 Qualifications of the jovial wassailer he marks with capital discri- 
 mination, while he sohcitously softens the grosser features." 
 
294 THE DRAMATIC LIST. 
 
 In 1862, February 10, at the same theatre, Mr. Ryder played 
 Jaques, in a revival of ' As You Like It.' The same year, at Drury 
 Lane Theatre, first performance of Boucicault's play, ' The Relief of 
 Lucknow,' he sustained the part of the Rajah Gholam Bahadoor. 
 The following year, Monday, January 26, at the Theatre Royal, 
 Westminster (Astley's), under Mr. Boucicault's management, first 
 performance of that author's version of ' The Heart of Midlothian,' 
 Mr. Ryder sustained the character oi David Deans. At Drufy Lane, 
 Saturday, October 10, 1863, revival of 'Manfred' by Mr. Samuel 
 Phelps, Mr. Ryder acted the part of the Abbot of St. Maurice. He 
 played in various parts at the Lyceum during Mr. Fechter's 
 management of that theatre, 1863-7, and has since appeared as a 
 " star " actor in London and the provinces. His latest (October 
 1878) appearances of importance on the metropolitan stage have 
 been at Drury Lane Theatre in ' A Winter's Tale ' and ' Macbeth.' 
 
SANGER, RACHEL MARY. 295 
 
 SANGER, RACHEL MARY, was born in London. As a child 
 she appeared on the stage (the Olympic) in 185 1 in a dramatic 
 version of ' Uncle Tom's Cabin.' After a considerable period of 
 study and practice in the provinces she made her professional 
 ddbut in London at the opening of the Bijou Theatre (Highbury) 
 in the part of Ernani in the late W. Brough's burlesque of that 
 title. She was engaged for the two succeeding annual pantomimes 
 at Covent Garden — ' Aladdin,' and ' The Forty Thieves,' and after- 
 wards became a member of Miss Herbert's company when that 
 lady was lessee of St. James's Theatre. {See Herbert.) At the 
 •Princess's Theatre Miss Sanger played Lucy Fairweather in a 
 revival of ' The Streets of London ' ; and, during the temporary 
 indisposition of Mrs. Boucicault, the part of Arrah in ' Arrah-na- 
 Pogue.' {See Boucicault.) Having at Liverpool originally acted 
 the part of Lina in Mr. T. W. Robertson's 'Dreams,' she was 
 chosen by the author to play the same part on the production of 
 this piece at the Gaiety Theatre in London, In July 1870, in a 
 revival at the Olympic Theatre of ' Little Em'ly,' Miss Sanger 
 played the heroine. Subsequently she accepted a position as 
 " leading " lady at the Amphitheatre, Liverpool, and there played 
 the opposite parts to Mr. Barry Sullivan, in this respect developing 
 unexpected dramatic resources. Under Mr. Alexander Henderson's 
 management, at the Globe Theatre, London, she was the original 
 Fatima in ' Blue Beard ' (Farnie) produced there at Christmas 
 1874. At the same theatre she played Lady Isabel in a revival of 
 ' East Lynne' ; and at the Adelphi Theatre, Mabel Truegold in a 
 revival of ' True to the Core.' At the Strand in 1878 Miss Sanger 
 played the leading r6le in the burlesque ' Diplunacy.' More 
 recently (1879) she has been engaged at the Gaiety Theatre, Dublin, 
 where she created the part of Annie in a play entitled ' Pair o' 
 Wings ' (Paul Meritt and E. Righton). 
 
 SANTLEY, KATE, had earned some success in London as a 
 public singer previous to her adopting the stage as a profession. 
 She made her d^but as an actress at Edinburgh, and there, on the 
 occasion of a " starring " visit of the late Charles Kean, played 
 Jessica to his Shylock. She made her first appearance on the 
 London stage at the Queen's Theatre in a burlesque on the well- 
 known drama of 'The Stranger.' Afterwards Miss Santley accepted 
 engagements at the Drury Lane and Strand Theatres, and then made 
 a professional tour through the chief cities of the United States. 
 -Miss Santley's rentr^e on the metropolitan boards at the Alhambra 
 Theatre in 1872, when she assumed the character of Cunegonde in 
 ' Le Roi Carotte,' was very successful. Since that time she has 
 enacted principal parts in many of the opera-bouffes produced in 
 London which have attained popularity, notably in ' La Belle 
 H^ltee,' ' Don Juan,' ' La Jolie Parfumeuse,' and ' La Marjolaine.' 
 -In 1877-8 Miss Kate Santley undertook the management of the 
 
296 THE DRAMATIC LIST. 
 
 New Royalty Theatre for a season, but relinquished it to fulfil 
 various engagements at the principal theatres in the provinces. In 
 April 1879, she commenced an engagement at the Globe Theatre, 
 London, and played the leading female role in ' Les Cloches de 
 Corneville.' 
 
 SAUNDERS, CHARLOTTE, was born in London. She began 
 her professional career in childhood, and first appeared on the 
 stage in May 1833 at Wakefield (Yorkshire), in the part oi Duke of 
 York in Shakespeare's ' Richard III.' Afterwards she acted many 
 children's parts— T"/^* Spoiled Child, The Climbing Boy, Oliver 
 Twist, &c., and first attracted notice in the profession by her 
 admirable rendering of the part of Tilly Slowboy, on the occasion 
 of the opening of the Theatre Royal, Manchester, in January 1846. 
 Noticing this performance the Manchester Guardian (Januarj- 4, 
 1846) said: — "How shall we limit our eulogistic and side-aching 
 admiration of the extraordinary performance of Tilly Slowboy by 
 Miss Charlotte Saunders who has most certainly made the part 
 her own ? Miss Turner is stated to have realized the part to per- 
 fection in London, but some persons who have seen both award 
 the palm to Miss Saunders. Certainly it is difficult to conceive 
 anything more exquisitely in the spirit of the original than the 
 acting of Miss Saunders throughout. Her fondling of the baby, 
 her slovenly dress and awkward motions, her begrimed face and 
 vacant, open-mouthed stare, are altogether in the richest resem- 
 blance to the Tilly of Mr. Charles Dickens. Her by-play is really 
 admirable ; she is never perfectly quiet ; always doing some- 
 thing perfectly in character, and thus keeping up the true action of 
 the piece. Her scalding her mouth with hot potato while rocking 
 the cradle with her foot; her exclamations at not being able to 
 make the guest hear; her delight at the wedding-cake; her joy at 
 receiving from Gruff and Jackleton his wedding-ring to put in the 
 fire, but resolving to keep it till she wants it herself; and lastly, 
 her unique dancing in the finale, formed a succession of tableaux, 
 inimitable in their exquisitely grotesque and truly laughable breadth 
 of humour." After some years' practice in Liverpool, Manchester, 
 Birmingham (where she ^\z>j^d, Albert to Mr. Macready's William 
 Tell in a way which secured high commendation from that distin- 
 guished tragedian), Glasgow, and Edinburgh, Miss Saunders made 
 her first appearance on the London stage at the Marylebone 
 Theatre under Mrs. Warner's management in August 1847 as 
 Mopsa in 'A Winter's Tale.' Miss Saunders also performed here 
 the well-known rdle of Guy Fawkes in Albert Smith's most amusing 
 burlesque of that title. Afterwards, at the Princess's Theatre, in 
 October 1849, she appeared in the original performance of 'The 
 First Night' (adapted from the French ' Le P^re de la Debutante'), 
 in which Mr. Alfred Wigan made such a success as Dufard. 
 Criticizing her acting of a part in a farce at the early period of her 
 career, the Morning Post (January 30, 1849) speaks of her as "a 
 rapidly rising actress who will take the lead in the soubrettes." In 
 December 1851, Miss Saunders reappeared in London at the Strand 
 
SA VILLB, ELIZA HELENA. 297 
 
 Theatre (then Punch's Playhouse), under Mr. Copeland's manage- 
 ment, as the " original " Chang in Francis Talfourd's burlesque of 
 ' The Willow-pattern Plate.' Having completed her engagement 
 here in 1852 she returned to the provinces, and, in conjunction with 
 that inimitable actor the late F. Robson, became a great favourite 
 at the Theatre Royal, DubUn. At this -time Miss Saunders was 
 acting what were then known as ' the Vestris parts ' in Planch^'s 
 burlesque extravaganzas, and in which she gained considerable 
 reputation. In December 1858 she was once again engaged at the 
 Strand Theatre, and appeared there in the following among other 
 pieces, viz. in Halliday and Lawrence's burlesque of ' Kenilworth' 
 (as Tresilian), H. J. Byron's burlesques of ' The Lady of Lyons ' 
 (as Claude Melnotte), 'Miller and his Men,' 'Aladdin,' &c., &c. 
 In September 1863, at Drury Lane Theatre, Miss Saunders was in 
 the " original " cast of Falconer's play, ' Nature above Art.' In the 
 following year in December she appeared at St. James's Theatre as 
 Hercules in W. Brough's burlesque of ' Hercules and Omphale.' 
 Saturday, October 6, 1866, at the Holborn Theatre (the opening 
 night), first performance of Boucicault's drama, ' Flying Scud,' Miss 
 Saunders played the character of Bob Buckskin the jockey. This 
 piece had a long run, and was revived at the same theatre in 1868, 
 Miss Saunders in her "original" character. In 1868 she joined 
 Miss Oliver's company at the Royalty Theatre, and appeared 
 during the following seasons in many original parts in burlesque 
 — Billy Taylor in Burnand's burlesque of that name ; Lord Ronald 
 in the same author's burlesque ' Claude du Val,' &c., &c. Among 
 Miss Saunders' more recent successes her impersonation oi Madame 
 Cuichard in the three-act comedy, ' Love and Honour,' founded on 
 Dumas the younger's ' Monsieur Alphonse,' is entitled to high 
 praise. The English version by Mr. Campbell Clarke was first 
 produced by the late Mdlle. Beatrice and her comedy-drama com- 
 pany in the provinces, and in August 1875 '"'a-S placed on the stage 
 of the Globe Theatre in London. With respect to Miss Saunders' 
 acting of the part of Madame Guichard, the Times (August 20, 
 1875) remarked as follows : — " Miss Charlotte Saunders, as Madame 
 de Guichard, abandons herself to every side of the character with 
 surprising facility, and nothing can be better in its way than her 
 simulation of the contending feelings with which the innkeeper's 
 widow dismisses the adventurer. Altogether, her Madame Guichard 
 is one of those portraitures of character which if once seen is not 
 to be forgotten." 
 
 SAVILLE, ELIZA HELENA, youngest daughter of the late 
 John Faucit Saville, formerly of the Haymarket and Adelphi, and 
 afterwards manager of the Nottingham, Sheffield, and other theatres 
 in the midland counties, and sister of Miss Kate Saville who was 
 an actress of considerable repute on the London stage prior to her 
 marriage in 1872. Miss Eliza Saville made her first appearance 
 on the stage at a very early age, playing children's parts at 
 the Theatre Royal, Nottingham, under her mother's management. 
 Having studied and practised at that theatre she was afterwards 
 
298 THE DRAMATIC LIST. 
 
 engaged as "leading lady" in Manchester, Sheffield, and Dublin 
 (1870-72). In 1873, on tour with Mr. Wybert Reeve's company, 
 she acted " with power and abihty " the part of Marian Halcombe 
 in ' The Woman in White,' adapted by Mr. Reeve from Mr. Wilkie 
 CoUins's novel of that name. During 1874-5 she fulfilled several 
 short special engagements in the provinces. In May 1878, at the 
 request of the late Mdlle. Beatrice, she undertook the title rdle in 
 ' The Woman of the People,' and sustained that and other leading 
 parts of the ripertoire of the Beatrice company up to the close of 
 the year. In the spring of 1879 ^^e rejoined that company under 
 Mr. Frank Harvey's management; and, on Easter Monday (April 14) 
 of the same year, made a very successful dibut in London at the 
 Olympic Theatre in the r6le and play last mentioned (' Woman of 
 the People '). 
 
 SAVILLE, KATE, sister of the above-mentioned EUza Helena 
 Saville, made her first appearance on the London stage September 
 24, 1859, at the Princess's Theatre, as Camilla Wiley in ' Ivy Hall,' 
 adapted by John Oxenford from the French ' Le Roman d'un Jeune 
 Homme Pauvre'of Octave Feuillet. On Monday, January 30, of 
 the following year she acted the part of Lucie Manette, first per- 
 formance at the Lyceum of ' The Tale of Two Cities,' one of the 
 most important of Madame Celeste's productions when she had 
 the management of that theatre. Miss Kate Saville was likewise 
 in the original cast of another of the plays produced there by the 
 same lady, namely, ' The House on the Bridge of Notre Dame,' in 
 which Miss Saville sustained the part oi Milaine de St. Ange. In 
 the two following years she was engaged at the Olympic Theatre, 
 where she " created " the part of Martha Gibbs in Tom Taylor's 
 'All that Glitters is not Gold'; of Lady Camilla Hailstone in 
 Watts Phillips's play, ' Camilla's Husband '; and May Edwards in 
 Tom Taylor's ' Ticket of Leave Man.' At the Strand Theatre, in 
 October 1863, Miss Saville played the leading rdle, first performance 
 of H. T. Craven's ' Miriam's Crime.' In the following year, on 
 February 15, at the Princess's Theatre, she acted the character of 
 Beatrice, first performance of Watts Phillips's comedy, ' Paul's 
 Return.' On Monday, April 2, 1866, at the Haymarket Theatre, 
 she played, at the first performance in London of Wesdand Mar- 
 ston's comedy entitled ' The Favourite of Fortune,' the part of 
 Hester Lorrington. In the same year, September 8, first per^ 
 formance at the Surrey Theatre of " the T. P. Cooke prize drama," 
 by A. R. Slous, entitled ' True to the Core,' she acted the leading 
 female role, Mrs. Truegold. Miss Kate Saville has also acted with 
 great success in the provinces. She retired from the stage on her 
 marriage in 1872. 
 
 SCOTT-SIDDONS, MARY FRANCES, great-grand-daughter 
 of the famous actress Sarah Siddons, one of whose three sons, 
 George, held a high civil appointment in India. A son of George 
 Siddons, Captain William Siddons, 35th Bengal Native Infantry, 
 married the daughter of Lieut.-Colonel Earle; and of this marriage 
 
SCOTT-SIDDONS, MARY FRANCES. 299 
 
 came Mary Frances Scott-Siddons, the subject of this record. 
 She first appeared on the stage at Edinburgh as Juliet in the 
 early part of 1866. In the year following, in London, she gave 
 public readings at the Hanover Square Rooms from Shakespeare's 
 plays. She made her dibut on the metropolitan stage, Monday, 
 April 8, of the same year, at the Haymarket Theatre, in the 
 character oi Rosalind ('As You Like It '). This performance was 
 thus noticed in the Daily Telegraph (April 10, 1867):— "Thg 
 favourable opinion of the histrionic qualifications of Mrs. Scott- 
 Siddons formed by the distinguished auditory who listened last 
 week with so much satisfaction to that lady's Shakespearian 
 readings at the Hanover Square Rooms, was on Monday evening 
 fully confirmed by a fashionable and crowded audience, assembled 
 to witness her dibut on the metropohtan stage as Rosalind. A 
 lady who can boast of a direct descent from the most illustrious of 
 our actresses, comes accredited with the strongest recommendation 
 to all who hold in reverence the names which adorn our Thespian 
 annals ; but Mrs. Scott-Siddons has a fair claim to theatrical dis- 
 tinction apart from hereditary honours. Well-trained in the busi- 
 ness of the stage through a course of provincial practice, there is 
 nothing in the dSutante which betrays the inexperience of the 
 novice. Possessed of a fine expressive face, which may be called 
 classical in its profile, and endowed with the advantages of a neat 
 symmetrical figure, Mrs. Scott-Siddons effectively supplies the 
 external requisites for this most fascinating of Shakespeare's 
 heroines. Her delivery of the text, on which she has manifestly 
 bestowed much thoughtful study, is characterized by earnestness 
 and intelligence, and her action is appropriate and unrestrained. 
 Judging by the enthusiastic plaudits so frequently bestowed through 
 the evening, her performance would seem to have exceeded the 
 most sanguine expectations her friends had entertained ; but the 
 good sense of the actress may be safely trusted to discriminate 
 between the liberal applause which is intended to encourage a 
 young aspirant, and a fervent spontaneous acknowledgment of a 
 great triumph fairly won in the world of art. It is when Rosalind 
 dons the doublet and hose that Mrs. Scott-Siddons gives her 
 impulses full play; and the bantering of Orlando in the forest and the 
 vivacious raillery of the imitative wooing were as effective as could 
 be desired. That the young actress who has been received with so 
 warm a welcome is deservedly entitled to the highest position on 
 the metropolitan boards, it would be too much to affirm ; but Mrs. 
 Scott-Siddons is unquestionably a valuable acquisition to any 
 theatre in which comedy is performed, and there may be latent 
 powers which only need time and opportunity to favourably 
 develop." 
 
 The Daily News (April 9, 1867) expressed the opinion that 
 " Mrs. Scott-Siddons's neat figure, pretty face, and pleasing arch 
 delivery, qualified her for light comedy, and her ease, confidence, 
 and freedom of gesture showed that she had an aptitude for acting. 
 Her reading of Rosalind was saucy and attractive. She lacked 
 the grand air of the tragedienne, which is not always an agreeable 
 
300 THE DRAMATIC list: 
 
 air, and many persons, missing this, will vote her unequal to the 
 embodiment of Shakespeare's lighter heroines. Her reception last 
 night by a friendly audience will doubtless encourage her to adopt 
 the stage as a profession, and her sprighthness and evident intelli- 
 gence will make her path easy. Her future will depend upon her- 
 self, her capacity for instruction, and the discretion of her advisers. 
 If she is not exactly the shining star we were led to expect, she is a 
 very lively and promising actress, who may be as easily spoilt as 
 improved." On Monday, September 2 of the same year, Mrs. 
 Scott-Siddons reappeared at the Haymarket in the same character. 
 In the autumn of 1868 she made her first professional appearance 
 in America, giving readings at Steinway Hall, New York, from 
 ' Macbeth ' and ' As You Like It.' Subsequently, Mrs. Scott- 
 Siddons entered upon an engagement at the Fifth Avenue Theatre 
 in the same city. After a long absence from London she entered 
 upon a brief engagement at the Haymarket Theatre in 1870, 
 reappearing there on Monday, July 1 1 of that year, as Pauline in 
 ' The Lady of Lyons,' and, during the same month, acting the part 
 of the heroine in Dance's comedietta ' Delicate Ground.' Mrs, 
 Scott-Siddons's next appearance of importance in London took 
 place on Saturday, May 4, 1872, at the Queen's Theatre, on which 
 occasion, "in the first original piece in which she had ever acted," 
 viz. ' Ordeal by Touch' (Richard Lee), she played the part of 
 Coralie. The piece was not a satisfactory success. Following the 
 last-mentioned date Mrs. Scott-Siddons was engaged on a "starring" 
 tour in the United States and Australia. In 1879, on Saturday, 
 June 21, she reappeared on the London stage at the Olympic 
 Theatre for the benefit of George Coleman, and recited two lyrical 
 pieces. 
 
 SEDGWICK, AMY (Mrs. Goostry), was born in 1835. She 
 had acquired reputation as an actress and much stage experience 
 in the provinces previous to her first appearance on the London 
 stage, which took place Monday, October 5, 1857, at the Hay- 
 market Theatre. The character chosen by Miss Sedgwick for her 
 debut, which was most successfid, was Pauline in 'The Lady of 
 Lyon's.' The Spectator (October 10, 1857) noticing the perform- 
 ance said : " This week we have had a dibut of more than ordinary 
 promise. Miss Sedgwick, an actress well-known in the northern 
 counties, has made her appearance as Pauline in ' The Lady of 
 Lyons.' The intelligence that she displays is no rare qualification, 
 for most of the new candidates for public favour who have lately 
 solicited applause, have shown that they tolerably well understand 
 the meaning of the part undertaken. It is in passing from the 
 conception to the execution that a difficulty has been found, and as 
 our recent debutantes have not been of the audacious kind, the 
 difficulty has been revealed, not by desperate leaps over the Umits 
 prescribed by Nature, but by a timid unwillingness to use the length 
 of tether which Nature liberally accords. Now Miss Sedgwick 
 acts not only with propriety, but with force ; she makes her words 
 and gestures tell, and, though in a quiet manner, marks out her 
 
SEDGWICK, AMY. 301 
 
 character thoroughly. We suspect she is an actress whose progress 
 will be worth watching." 
 
 The week following, on Tuesday, October 13, she acted the 
 character of Constance in ' The Love Chase,' as to which the 
 Athenaum (October 17, 1857) remarked; "Miss Sedgwick is not 
 without qualifications for the part, and her assumption of it has 
 proved that her natural attributes belong to the comic rather than 
 the tragic art, and that in the former she can display vigour and 
 feeling, as well as the possession of stage artifices. It was needful 
 to show this. . . . With a full intelligence of the character and its 
 conditions, Miss Sedgwick trusted to her native vigour for filling 
 up the usual theatrical outline, and impressed the audience with 
 the opinion that she acted -meW. She must get beyond this point 
 and render them unconscious that she is acting at all, while 
 realizing all the points of character with the utmost elaboration." 
 
 On Saturday, November 7, 1857, first performance at the Hay- 
 market of Mr. Tom Taylor's comedy, ' The Unequal Match,' Miss 
 Sedgwick sustained the part of Hester Grazebrook, afterwards, in 
 the play. Lady Arncliff. This according to Prof. Morley (Diary of 
 a London Playgoer, p. 198), was Miss Sedgwick's first appearance 
 here in a part for the acting of which she was without help from 
 traditions of the stage. " Her success was great and it was fairly 
 earned." The play met with a most unequivocal success. " Al- 
 though flat in some of its earlier parts, and weighted with two or 
 three very uninteresting minor charaqters, it is, on the whole, 
 spirited and entertaining, and the last ik( the three acts is new, 
 amusing, and lively. The plot turns on the history of a black- 
 smith's daughter, who marries a baronet and disgusts her husband 
 by her inaptitude for fine society, and finally, learning the lesson he 
 wishes her to acquire, disgusts him still more by the change in her 
 manners, her principles, and her feelings. At the end she throws 
 off the mask of affectation, and having convinced her husband that 
 simplicity is best, shows that she is simple still. This is the 
 moral of the ' Unequal Match.' But another sense is also given 
 to the words. There is a hollow-hearted coquette, who has once 
 rejected the baronet before he came to his honours and his wealth, 
 who sneers at his humble choice, and determines to win back the 
 heart she has once had offered her. She succeeds so far as to 
 entangle her old lover in a desperate flirtation, but in the end the 
 wife makes her husband feel the superiority of honest affection and 
 genuine worth, and the coquette is discovered to have entered on 
 an ' Unequal Match.' . . . Miss Amy Sedgwick played Lady 
 Arncliff. It is a difficult part to play, as she had to sustain three 
 characters so different as those of a village maiden, a bride 
 frightened by her guests, and a fine lady triumphing over a rival. 
 She shows herself quite equal to the task she has undertaken, and 
 acts throughout with an evenness of success which proves that her 
 merits are many and high. There is not, we think, any very great 
 promise in her performance ; she will not console veteran playgoers 
 for the loss of their old favourites, but she is a very useful accession to 
 the strength of the London stage." {Saturday Review, November 14, 
 
302 THE DRAMATIC LIST. 
 
 1857.) Another contemporary (the Times, November 9, 1857),. 
 discussing the merits of the performance remarks, " The character 
 of Hester requires no small ability on the part of the actress who 
 sustains it. In the first act she is the pretty rustic, placed amid a 
 scene that brings additional lustre to her charms — a village beauty, 
 marred by no humiliating contrast. In the second, she is the 
 pretty rustic out of place, and not a little petted, but still fond and 
 affectionate as ever, until jealousy of Mrs. Montresor converts her 
 into an indignant wife. In the third act the rustic is lost altogether 
 and we have the woman of fashion, with whom manner is every- 
 thing. Now, when we^say that Miss Amy Sedgwick went through 
 all these phases in a most satisfactory manner, as if perfectly at 
 home in each of them, and marking out each of them as distinctly 
 as possible, we give this young and rising actress 'the highest 
 commendation.' " 
 
 In February 1858, Miss Sedgwick, after some two months' absence, 
 appeared as Beatrice in a revival of ' Much Ado About Nothing ' 
 at the Haymarket Theatre. The performance was a very satis- 
 factory one, but, said the Daily News (February 23, 1858), "the 
 ars celare artem is still the one thing requisite ; a little less artificial, 
 a little less stagey in look, voice, and feature, and Miss Sedgwick 
 would be the best high-class comedy actress on the boards." The 
 author of The Diary of a London Playgoer records the following 
 opinion under date February 27, 1858, Haymarket: — "Beatrice, 
 in ' Much Ado About Nothing,' is not one of Miss Amy Sedgwick's- 
 best characters. In the earlier scenes the stage laugh is too forced 
 and too frequent, but in the latter scenes she succeeds better. . .-., 
 Miss Sedgwick shows in Beatrice behind the mask of a gay 
 mockery the gentle spirit of a woman. In the garden scene, after 
 listening to Hero and Ursula, she shows that her heart had not 
 been filled with a new thought, but only opened, — 
 
 ' For others say thou dost deserve ; and I 
 Believe it better than reportingly.' 
 
 Miss Sedgwick's Beatrice is in fact hearty in her love as in her 
 mirth, and that is right. The distinct representing of this is the 
 best feature in her performance." 
 
 At the same theatre, in the following month, she sustained the 
 part of Julia, in ' The Hunchback,' and " still further strengthened 
 her position with the theatrical public. When so many ephemeral 
 successes take place, when an apparent triumph in one character 
 is commonly followed by mere toleration in another, it is a great 
 distinction on the part of Miss Sedgwick that she never loses 
 ground. Her Constance and her Julia have more than confirmed 
 the favourable impression made by her Pauline, to say nothing of 
 the efficient support she gave to Mr. Tom Taylor's last new work, 
 ' The Unequal Match.' After a close observation of her Julia we 
 should say that the more tender side of this varied character is the 
 most completely depicted. Of the indignation with which she listens 
 to Helen's sneers at the fallen Sir Thomas, of the many passionate 
 
SEDGWICK, AMY. 303 
 
 passages at the commencement of the third act, and even during 
 the interview with Clifford, more might be made. There is an 
 absence of that thorough abandonment to the feeUng of the moment 
 that can render Julia one of the most powerful characters of the 
 modern drama. On the other hand, the softer emotions are 
 adequately expressed. The lingering look at the shreds of the torn 
 letter, the gentle appeals to Clifford's memory of a past affection, 
 are exceedingly pretty and natural. During the interview with 
 Master Walter in the fifth act she moreover attains a degree of 
 power that could scarcely be anticipated in the acts preceding ; 
 and the commanding position which she assumes in respect to her 
 guardian as she warns him against the sacrifice of her happiness, 
 is extremely well sustained. The whole character is, indeed, most 
 creditably represented, and the impression it makes upon the public 
 is, to all appearance, genuine." {Times, March 8, 1858.) 
 
 On June 30 and July 7, 1858, Miss Sedgwick performed the part 
 of Lady Teazle, in a revival of ' The School for Scandal,' at the 
 same theatre, in the presence of a crowded audience, "who listened 
 with the most profound attention to the masterpiece of Sheridan, 
 and applauded its many admirable points with genuine enthusiasm. 
 The excellent qualities which have distinguished Miss Sedgwick's 
 recent dramatic experiences in the metropolis — the vivacity and 
 intelligence which have marked all her exertions, and the fasci- 
 nating and artistic expression which she has at all times so largely 
 at command — were plentifully exhibited in her embodiment of 
 Lady Teazle. Stately and emphatic in her delivery of the serious 
 passages of the text — flight, graceful, and dexterous in the hu- 
 morous sallies in which her ladyship indulges — ever equal to 
 the situation, and fully adequate to a proper appreciation of the 
 author — it may be justly acknowledged that Miss Sedgwick's 
 performance of the part will rank with the best successes which 
 she has hitherto achieved. Her interview with Sir Peter in the 
 third act, in which she wins him over to the fulfilment of her 
 pecuniary desires, and her dignified explanation of the mystery 
 of the screen, were highly effective, and conceived and executed 
 with abundant thought and care, and were warmly and deservedly 
 applauded. Miss Sedgwick was several times recalled before the 
 curtain, and was greeted with enthusiasm and loaded with floral 
 offerings." {Daily Telegraph, July 8, 1858.) 
 
 On Saturday, March 12, 1859, still acting at the Haymarket, 
 Miss Sedgwick supported the characters of Juliana, in ' The 
 Honeymoon,' and Kate Robertson, in a new comedy written ex- 
 pressly for her by Mr. Palgrave Simpson, entitled 'The World 
 and the Stage.' " The house was crowded in every part, and the 
 tone of the audience was as enthusiastic as if a popular favourite 
 of many years' standing had claimed the annual tribute to her 
 exertions for the recreation of the public. Yet about a year and a 
 half ago the very name of Amy Sedgwick was unknown to the 
 great body of London playgoers. So striking an instance of 
 rapidly-acquired popularity in a department of histrionic art that 
 may fairly be called ' legitimate ' has not been known for a very 
 
304 TITE DRAMATIC LIST. 
 
 long time. Not content with impersonating Juliana in 'The 
 Honeymoon,' one of the leading characters in her repertory, Miss 
 Sedgwick produced a new comedy, entitled ' The World and the 
 Stage,' in which she played a part so prominent that she made 
 herself thoroughly responsible for the success of the piece. As 
 might be inferred from the title, the object of this work is to 
 vindicate the heroines of the stage from the aspersions frequently 
 cast upon them by the ' world.' With similar purpose Mr. Tom 
 Taylor composed his ' Masks and Faces,' but Kate Robertson, the 
 imaginary actress, represented by Miss Sedgwick, is a far more 
 solemn personage than the historical Peg Woffington, and the 
 new drama is throughout more serious in tone than its predecessor. 
 ... As far as the acting is concerned, the serious part of the 
 piece rests entirely with Miss Amy Sedgwick." (Times, March 14, 
 1859.) In 1859, in September, she appeared as Rosalind in 'As 
 You'^fcikfi It,' and the same month as Miss Dorillon in Mrs. 
 ~'Mhchbald's"j;omedy, ' Wives as they Were and Maids as they Are.' 
 In a notice of her acting in the first-named character the Standard 
 (September 20, 1859) said that throughout it was greeted with 
 considerable applause, and at the termination of the comedy she 
 was called before the curtain. " Notwithstanding this, it must be 
 fairly owned that the applause was due rather to Miss Sedgwick's 
 past success than to her impersonation of Rosalind, which, in 
 many respects, was far from an effective performance. It needed 
 life and flippancy ; there was little or no archness or vivacity ; 
 indeed, the key-note struck was of a lugubrious nature. Fancy 
 and by-play were utterly wanting, and the sprightly Rosalind was 
 divested of most of those charming characteristics with which 
 Shakespeare has invested her. It must be admitted that Miss 
 Sedgwick has achieved legitimate successes, but Rosalind cannot 
 be added to their number." 
 
 During i860 (February) Miss Sedgwick appeared at the Hay- 
 market as Mrs. Haller in ' The Stranger ' with some success . On 
 Wednesday, May 9 of that year, she acted the part of Una, first 
 performance of Edmund Falconer's play, ' The Family Secret ' ; 
 and on Saturday, June 23, Miss Vandeleur in the same author's 
 drama, 'Does He Love Me.'' In i86i she accepted an engage- 
 ment at the Olympic Theatre, " opening " on Monday, May 20, as 
 Lady Teazle, and subsequently playing there in various original 
 pieces and revivals until 1862. In that year she appeared at the 
 Princess's in two of her well-known impersonations, Julia (' The 
 Hunchback ') and Constance (' The Love Chase '). In 1863 Miss 
 Sedgwick renewed her engagement at the same theatre. In 
 February she appeared there in the following plays viz. ' One 
 Good Turn Deserves Another {Phcebe Topper) ; ' The Winning 
 Suit ' {Princess Orelia) ; and Mr. Cheltnam's dramatized version 
 of ' Aurora Floyd ' (the title rSle). In October 1866 she acted the 
 character of Lady Macbeth at Drury Lane during the enp-acrpmpnt 
 there of Mr. S. Phelps aaid Mr. Barry Sullivan. Her perfoimajice 
 of this part showed cleverness and merit, but was not equal to the. 
 ability she displayed in comedy. ^ 
 
SHORE, y. G. 305 
 
 The following year, in a new piece entitled ' The Coquette ' 
 (Mead), first performed at the Haymarket, July 8, she sustained 
 the part of the Countess Blanche de Raincourt. In May 1877 
 Miss Sedgwick reappeared on the Haymarket stage as Constance 
 in ' The Love Chase.' Since that date she has not played in 
 London. It may be remarked that Miss Amy Sedgwick has given 
 " dramatic recitals " in London and the provinces with much 
 success. 
 
 SHORE, J. G., first attracted notice on the London stage as a 
 member of the company of the Adelphi Theatre in 1856. On 
 Monday, February 11 of that year, he appeared there with the 
 Keeleys in a farce entitled ' That Blessed Baby ' (Moore), in which 
 he played the part of Mr. Finicle. The year following he joined 
 the company of. the Lyceum Theatre, and among other pieces first 
 produced there, acted in a pleasant little play by Leigh Hunt 
 entitled 'Love's Amazements; or. How will it end.?' the part of 
 Chevalier de Torsey. This play was first performed on Wednesday, 
 January 20, 1858. The Daily News (January 22, 1858) considered 
 the dialogue throughout to be admirably written, rising occasion- 
 ally to the very highest flight, and being filled with many quaint 
 conceits and pretty tropes and metaphors. " The acting was 
 excellent. Mr. Dillon is never so well suited as in the character of 
 absorbing mystery with a handsome person, a good heart, and 
 very little brains. He played with great spirit and verve, and 
 some of his bits of by-play were specially good. Mr. J. G. Shore, 
 who is undoubtedly the most promising actor in that most difficult 
 and most ungrateful line, the jeune premier, deserves special 
 commendations for his gentlemanly bearing, careful reading, and 
 clear utterance." In 1859 Mr. Shore became a member of the 
 company of the Princess's Theatre, under the late Mr. Augustus 
 Harris's management, and continued to act at that theatre for 
 some years. In November 1861, in a revival there of ' The Merry 
 Wives of Windsor,' Mr. Shore sustained the part of Master Slender. 
 In 1864, at the Lyceum Theatre, in the revival by Mr. Charles 
 Fechter of ' Hamlet,' he played Horatio. Afterwards he joined 
 the company of the Royalty Theatre, under the management of 
 the Misses Pelham. At that theatre, on Monday, January 16, 
 1865, in a little comedy of more than usual brilliancy, from the pen 
 of Mr. John Oxenford, entitled ' Billing and Cooing,' Mr. Shore 
 played the part oi Sir Thomas Turtle. When Miss Marie Wilton, 
 in conjunction with Mr. H. J. Byron, entered upon the manage- 
 ment of the Prince of Wales's Theatre, Mr. Shore became a 
 member of their company. On Monday, May i, 1865, in a 
 comedietta by Mr. J. P. Wooler, entitled 'The Squire of Ringwood 
 Chase,' then performed there for the first time, he sustained the 
 title rdle. The following year (1866), at the Princess's Theatre, in 
 a dramatic version of Mr. Charles Dickens's ' Barnaby Rudge,' 
 performed there for the first time on Monday, November 12, he 
 sustained the part of Sir John Chester. At the same theatre, on 
 Wednesday, February 6, 1867, first performance of an original 
 
3o6 THE DRAMATIC LIST. 
 
 drama by Mr. T. Robertson, entitled 'Shadow Tree Shaft,' he 
 played the part of Captain Mildmay. Since that time Mr. Shore 
 has appeared at several theatres in the provinces, and, at intervals, 
 on the stage of almost every theatre in London in a number of 
 original plays, and revivals of plays, always exhibiting that same 
 degree of care in his acting for which he was distinguished in the 
 early part of his career. 
 
 SINCLAIR, HENRY, was born in 1834, and entered the 
 dramatic profession in 1853 at Ipswich Theatre, under the 
 management of Mr. Hooper. He played at various provincial 
 theatres, Bristol, Plymouth, Birmingham, Sheffield, and Liverpool, 
 during that and the succeeding year, and first appeared in London 
 at Drury Lane Theatre in the character of Cassio in Shakespeare's 
 tragedy of ' Othello.' At the same theatre he has played various 
 Shakespearian leading and second parts, creating a very favour- 
 able impression in the character of Macduff. Mr. Sinclair has 
 rendered good service to the histrionic art in such characters as 
 Richmond, The Ghost (in ' Hamlet '), Prince Hal (to Mr. Phelps's 
 Falstaff), Henry VIII., Romeo, Roderick Dhu, Fabian dei Franchi 
 (' Corsican Brothers '), and Bassanio (' Merchant of Venice '). He 
 was the " original " Henri de Sartorys in Benjamin Webster 
 junior's adaptation from the French of ' Frou-Frou,' a part which 
 he acted with much success. In George March's adaptation of 
 Victorien Sardou's comedy-drama ' Nos Intimes ' (' Our Friends "), 
 Mr. Sinclair was a very able representative of Dr. Tholosan, a 
 part which he has played with much ability at the Olympic 
 Theatre in London. As a light comedian and character actor 
 Mr. Sinclair is possessed of considerable merit. He has taken 
 the " leading business " at several leading provincial theatres : 
 Birmingham, Plymouth, Sheffield, and Liverpool Theatres Royal ; 
 and was for three years a member of the travelling company of 
 the late Mdlle. Beatrice. 
 
 SOTHERN, EDWARD ASKEW, was born in Liverpool 
 April I, 1830, and made his first appearance on the stage at the 
 Jersey Theatre. In 1851 Mr. Sothern went to the United States 
 'and made his dibut on the American stage (with which he has 
 been so long and profitably connected) at the National Theatre 
 Boston, in September 1852, in the part of Dr. Pangloss in a 
 version of the younger Colman's comedy 'The Heir-at-Law.' Sub- 
 sequently Mr. Sothern went to New York, which may be regarded 
 as his dramatic birthplace, since it was here he first began in 
 earnest to study the histrionic profession. He became a member 
 of the company of Wallack's, and afterwards of Laura Keene's 
 Theatre. At this latter establishment, on May 12, 1858, he made 
 his great hit in the character of Lord Dundreary, in a piece by 
 Tom Taylor, entitled ' Our American Cousin.' So great was its 
 success, that previous to the production of the play in London 
 Mr. Sothern had acted Lord Du?idreary, the character in which 
 the sole interest of ' Our American Cousin ' centres, not less than a 
 
SOTHERN, EDWARD ASKEW. 307 
 
 thousand times. On Monday, November 11, 1861, he played the 
 part at the Haymarket Theatre for the first time. Said the 
 Athenceum (November 16, 1861), in a notice of the performance: — 
 " Whether the character {Lord Dundreary] by itself would sustain 
 any degree of interest we much doubt; but in the hands of Mr. 
 Sothern, the gentleman who has been acting in it for so many 
 hundred nights over the water, it is certainly the funniest thing 
 in the world. The part is abstractedly a vile caricature of an 
 inane nobleman, intensely ignorant, and extremely indolent. The 
 notion once accepted by the audience that such an absurd animal 
 could be the type of any class whatever, the actor was free to 
 exaggerate to any extent the representation of the ridiculous. Mr. 
 Sothern, in the quietest way, takes full advantage of his position, 
 and effectually subdues the audience to his mood. Laughter, 
 at all times irrepressible, finally culminates in a general convulsion, 
 which to our ears seemed quite a peculiarity — it was so strange, 
 and yet so natural. The occasion was simply the reading of a 
 letter from a brother in America, containing literally nothing more 
 than that he feared a former letter had miscarried from his having 
 forgotten to direct it. This, with certain inane comments on its 
 contents, sufficed to enable Mr. Sothern to produce the prodigious 
 effect we have indicated. We are therefore disposed to believe 
 that Mr. Sothern, as an eccentric actor, is a man of no ordinary 
 genius, and reasonably desire his further acquaintance. The public, 
 we have no doubt, will be of the same opinion." 
 
 In December of the same year Mr. Sothern appeared at the Hay- 
 market in a comedietta adapted from the French by himself, en- 
 titled 'Aunt's Advice.' In March 1863, in a piece called 'The 
 Little Treasure,' selected for the debut of Miss Ellen Terry, he 
 played the part of Captain Walter Maydenblush. In February 
 1864 he appeared as Bunkum Muller in " a piece of extravagance " 
 of the same title. On Saturday, April 30 of the same year, at the 
 same theatre, in ' David Garrick,' a play of some pathos, for which 
 the stage is indebted to the ingenuity of the late T. W. Robertson 
 (who in his turn was indebted to the French drama ' Sullivan ' for 
 the main points of his play), Mr. Sothern acted the title rdle. 
 
 The character of David Garrick was the first that had really 
 tested Mr. Sothern's powers beyond the Dundreary sphere. Its 
 peculiarity lies in the second act, where an assumption of the most 
 extravagant form of drunkenness is perpetually brought into contact 
 with the real agony of mind which is now on the point of casting 
 aside the mask of debauchery. The acting of Mr. Sothern in this 
 difficult situation was very fine. The inebriety was furious; the 
 manifested repugnance equally intense. On Monday, June 13 of 
 the same year, 'Lord Dundreary Married and Done For' (H. J. 
 Byron) was produced at the Haymarket — Mr. Sothern as Dun- 
 dreary. During his accustomed autumn tour in the provinces in 
 1864, Mr. Sothern acted in 'Used Up'; and later in the year, at 
 the Prince of Wales's Theatre, Liverpool (Monday, December 19), 
 played the leading part, Frank Jocelyn, in a new play by Watts 
 Phillips, entitled ' The Woman in Mauve.' It was a decided and 
 
3o8 THE DRAMATIC LIST. 
 
 brilliant success in the provinces, and was performed in London at 
 the Haymarket Theatre for the first time, Saturday, March l8, 
 1865, Mr; Sothern appearing in his original character. In May 
 of the same year he played the part of the Honourable Sam. 
 Slingsby, in a piece composed for him by Mr. John Oxenford, 
 entitled ' Brother Sam.' In March 1866, in Glasgow, Mr. Sothern 
 played for the first time Frank Annerly, in a new comedy by Mr. 
 Westland Marston, entitled 'The Favourite of Fortune.' This 
 piece was afterwards produced in London (April 2, 1866) at the 
 Haymarket Theatre. Discussing the merits of the performance, 
 the Daily News (April 3, 1866) said : — " Mr. Marston is one of the 
 very few living playwrights who trust to their own invention for 
 plots and characters, and who has made a reputation second only 
 to that of Sheridan Knowles as a writer of the poetical drama. 
 His laurels have been chiefly won in the latter capacity ; and much 
 as the modern stage is indebted to him for works which are a credit 
 to our dramatic literature, the present production is, we believe, the 
 first regular comedy, properly so called, which he has given to the 
 boards. . . . Mr. Marston may be congratulated upon the in- 
 genious construction of his comedy, the boldness with which he 
 terminates his first three acts without having recourse to conven- 
 tional ' situations,' the purity and beauty of his dialogue, and the 
 addition which he has made to our stock of stage-characters in the 
 person of a wealthy widow whom he calls ' Mrs. Lorrington.' With 
 singular good taste and judgment he has drawn a woman who 
 is vulgar, and shows her vulgarity, not by Malapropisms and a 
 liberally false use of the aspirate, but by the natural working of 
 the story. If not intended to be the ' head centre ' of the comedy, 
 she becomes that centre, in our opinion, by the skill with which 
 she is drawn ; though those who surround her, with very few 
 exceptions, are sketched with almost equal felicity. . . . The 
 chief characters were thus distributed : Frank Annerly, Mr. 
 Sothern ; Tom Sutherland, Mr. Buckstone ; Mr. Bromley, Mr. 
 Chippendale ; Hester Lorrington, Miss Kate Saville ; Lucy Lorring- 
 ton, Miss Nelly Moore; Mrs. Witherby, Mrs. E. Fitzwilham; and 
 Mrs. Lorrington, Mrs. Chippendale, late Miss Snowdon. Frank 
 Annerly, if it had not been admirably acted by Mr. Sothern, and 
 Mr. Sothern had not given it all the advantage of his well-deserved 
 popularity, would scarcely have struck the critical portion of the 
 audience as what is called a strong part. Mr. Sothern's great 
 merit consisted in his perfect naturalness. Tom Sutherland, though 
 represented by Mr. Buckstone, is no more of a low comedy cha- 
 racter than Captain Maydenblush in ' The Little Treasure,' but it 
 plays such an agreeable and important part in the comedy that it 
 stands upon an equality with Frank Annerly. . . . Mr. Sothern 
 has shown equal taste in selecting and appearing in an intellectual 
 comedy in which the characters are well balanced. The piece was 
 deservedly successful." 
 
 In November of this year, at Edinburgh and Glasgow, Mr. 
 Sothern appeared as Claude Melnotte; his acting of the part 
 is described in a contemporary local journal as having been 
 
SOTHERN, EDWARD ASKEW. 309 
 
 " thoroughly successful, and impressed with a humour of its ' 
 own." The Glasgow Herald (November 23, 1866) said that it 
 had '■ all the quietness and grace, the naturalness and the power 
 that the most fastidious critic could desire." In December 1866 
 at the Haymarket Theatre, he sustained the part of Harry Vivian 
 in a three-act comedy of Mr. Tom Taylor's, then first performed, 
 entitled ' A Lesson for Life,' in noticing which the Daily Telegraph 
 (December 29, 1876) said : — " As an earnest student in his profession 
 Mr. Sothern has worked with a zeal which has rarely been excelled. 
 The prominent characteristic of his style is the air of modem 
 refinement with which he surrounds the personage represented. 
 There is nothing conventional about his movements, nothing which 
 belongs to the stilted mannerism of the past school of histrionic art. 
 We have the polished ease of good society faithfully illustrated, the 
 reality of nature in place of the artificiality of the stage, and a life- 
 like portrait painted in vivid colours as an acceptable substitute for 
 the faded caricature which has too often passed current with hasty 
 observers for the semblance of a gentleman." On Monday, April 29, 
 
 1867, he acted the character of Robert Devlin, in a piece produced 
 under the title of 'A Wild Goose.' In July ("opening" the 8th) 
 1867 Mr. Sothern appeared on the Paris stage as Lord Dimdreary, 
 but met with scanty encouragement. On Saturday, March 14, 
 
 1868, at the Haymarket Theatre, first performance of 'A Hero of 
 Romance' (Westland Marston), an adaptation of M. Octave 
 Feuillet's ' Roman d'un Jeune Homme Pauvre,' he sustained the 
 part of Marquis Victor de Tourville. " The story has not much 
 originality or robust strength, but it is interesting, though much of 
 the interest is forced out of the petty details of servitude and the 
 etiquette of the servants' hall. The Marquis de Tourville, a 
 ruined gentleman, accepts the advice of a friend, and consents to 
 become a steward in a rich family named Dumont. He falls in 
 love with Mdlle. Dumont, a young lady of the class known on the 
 stage as haughty beauties. She treats him sometimes as a footman 
 — sometimes as a friend ; and the audience are shocked when they 
 hear her order him in a pet to call her carriage, and delighted when 
 he silently reproves her by ringing in a servant in livery. The 
 disguised marquis is known to a plotting governess in the fan>ily, 
 who is anxious to share his title, and, by a variety of arts which 
 need not be related, she does all she can to show him in the light 
 of a fortune-hunter and adventurer. By an accident the marquis- 
 stewart and the haughty beauty are locked up in a ruined tower by 
 moonlight, and the young lady, somewhat hastily, but naturally, 
 accuses him of having plotted to get her in that awkward and 
 compromising position. To show his good faith, with equal hasti- 
 ness he leaps off the top of the tower into an unknown abyss below, 
 dressed in strapped riding trousers. The reception of this scene, 
 at the close of the fourth act, shows that theatrical audiences have 
 not yet lost their appetite for ' sensational headers,' and the per- 
 formance of it by Mr. Sothern, dressed as we have indicated, was 
 both creditable to the actor and his tailor. This gymnastic proof 
 of good faith is not, however, sufficient for the young lady, and it is 
 
310 THE DRAMATIC LIST. 
 
 not until the hero has done several other noble things, including the 
 burning of a document which proves him to be the rightful owner 
 of the Dumont estates, and a tottering old grandfather, Dumont, to 
 be a villain, that he is allowed to marry the haughty beauty. . . . 
 The comedy of the play has been well developed, and the character 
 of a soft-headed, thick-speaking 'man of the world,' admirably 
 .played by Mr. Compton, is one of the few things to look back to 
 with satisfaction. Mr. Sothern has one great qualification for the 
 character he has chosen — that of the Marquis — he always acts like 
 a thorough gentleman. In all the scenes requiring earnestness and 
 dignity, he was good ; in the few scenes requiring pathos, he was 
 bad." {Daily News, March i6, 1868.) 
 
 On Thursday, January 14, 1869, he played at the Haymarket the 
 part of Colonel John White, on the occasion of the first perform- 
 ance of Mr. T. W. Robertson's comedy entitled ' Home,' founded 
 on a French piece, ' L'Aventurifere.' In May of the same year 
 Mr. Sothern acted the part of Hugh de Brass in Morton's farce ' A 
 Regular Fix.' In May 1871, first performance in London of Mr. 
 H. J. Byron's play ' An English Gentleman,' he performed the 
 part of Charles Chuckles. Mr. Sothern's most important imper- 
 sonations are, undoubtedly. Lord Dundreary and David Garrick, 
 and these he has presented on the American and English stage 
 over and over again during the past fifteen years, and, it may be 
 added, with invariable success. 
 
 In 1878 (Saturday, May 11) he reappeared at the Haymarket, 
 after a long absence in the United States, in a piece called ' The 
 Crushed Tragedian,' by H. J. Byron, converted from the same 
 author's play of ' The Prompter's Box,' originally produced at the 
 Adelphi Theatre in 1870. Mr. Sothern assumed the leading rdle, 
 Fitzaltamont. " Mr. Sothern's appearance was the signal for a 
 storm of applause, and for a long-continued roar of laughter. His 
 Fitzaltamont, we may say at once, is, like his Dundreary, neither 
 more nor less than an extravagant caricature. He has broadened 
 the lines laid down by Mr. Byron, who himself originally played 
 the part, and the character is now taken into the regions of up- 
 roarious farce. From the crown of his head to the sole of his foot 
 there stood the very ideal of what a crushed tragedian should be. 
 He was husky of voice, as became an actor who in one night was 
 wont to play Richard III., and the Stranger, and William in 
 ' Black-Eyed Susan,' to wind up with ; he was melancholy of 
 countenance, as became the poor devil, condemned to study nine- 
 teen parts a week ; the sepulchral tones, the glaring eyeballs, the 
 long hair, the wonderful 'stage walk,' and the melodramatic atti- 
 tudes — all made this character stand prominently forward, to tickle 
 the fancy of the audience, and to elicit repeated shouts of laughter. 
 The part now is unmistakably broad farce, and there may be some 
 to object that broad farce, carried through five acts, is just a little 
 too much. Fitzaltamont' s tragical declaration of love in the first 
 act, and the sudden Richelieu-like inspiration upon which the 'drop' 
 came down; his expressed scorn of a critical ruffian's rude remarks- 
 his chagrin as he hears a London manager describe how heartily 
 
so THERr}, L YTTON EDWARD. 311 
 
 he laughed over his attempts at pathetic acting ; and his reply to 
 the remark of the banker who has not been in a theatre for twenty 
 years, ' It is about the same time since I was in a bank)' in the 
 second act ; his determined efforts in the third to arouse the drunken 
 actor who is to support the daughter of his old friend ; his appear- 
 ance after a histrionic triumph in the fourth ; and his determination 
 to marry Miss Mountcashel in the fifth, all caused great hilarity ; 
 and, although everybody had to admit that the 'business' was 
 extravagant, there seemed to be no doubt existing as to its comi- 
 cality." {Era, May 19, 1878.) The following month Mr. Sothern 
 played the part of Sidney Spoonbill, in a new comedy by Mr. H. J. 
 Byron entitled ' The Hornet's Nest.' This impersonation, however, 
 cannot be said to have brought any additional lustre to Mr. 
 Sothern's fame as an actor. His present popularity in Eilgland 
 rests almost wholly upon his admirable rendering of the two 
 characters already specially indicated, viz. Dundreary and David 
 Garrick. In May 1879, after a few farewell performances of 
 characters already discussed, Mr. Sothern returned to the United 
 States. He has himself stated that it is to the Americans he is 
 indebted for whatever position he has attained in his profession, 
 since without their encouragement he would long ago have aban- 
 doned the stage. His dramatic life, he has remarked, has not 
 been altogether so cloudless as many perhaps have imagined. 
 "The early part of it was chiefly occupied in getting dismissed 
 for incapacity." It was his nature, however, to fight against 
 obstacles. His present high position in the dramatic profession 
 offers assurance that he has not worked and studied in vain. 
 
 SOTHERN, LYTTON EDWARD, born June 27, 1856, is son 
 of the above-named Edward Askew Sothern. He first appeared 
 on the stage Wednesday, July 24, 1872, at Drury Lane Theatre, 
 for the benefit of the Royal General Theatrical Fund, as Captain 
 Vernon in ' Our American Cousin,' and made his first professional 
 appearance at the Walnut Street Theatre, Philadelphia, in 1873, 
 as Viscount Veandore in ' The Marble Heart.' He subsequently 
 played the "light comedy" and "juvenile" business at that 
 theatre for one season. The following year Mr. Lytton Sothern 
 organized a company for, and went on tour with, his father in 
 the United States. Having returned to England in the autumn of 
 1874, he played for one season, at the Theatre Royal, Birmingham, 
 all the so-called "juvenile" business. In February 1875, at the 
 Haymarket Theatre, in a revival of Robertson's comedy ' Home,' 
 he appeared as Bertie Thompson. Subsequently he was engaged 
 at the Olympic Theatre. Following this Mr. L. Sothern went 
 to the Australian colonies, and presented certain of the characters 
 " created " by his father : Lord Dundreary, David Garrick, &c. 
 April 14, 1879, he " opened " at the Royalty Theatre, London, in a 
 comedy by Mr. G. R. Sims entitled ' Crutch and Toothpick ' 
 (designed to satirize some of the fashionable foibles of the day) as 
 Cecil Leighton. Mr. Sothern afterwards appeared at the Criterion 
 Theatre in ' Betsy,' sustaining the part of Mr. Adolphus Birkett. 
 
3 1 2 THE DRA MA TIC LIS T. 
 
 SOUTAR, MRS. R. See Farren, Ellen. 
 
 SOUTAR, ROBERT, eldest son of the late Robert Soutar, 
 journalist, is a comedian of established position ; has written 
 several farces, and is the author of various pantomimes which have 
 been produced with success at the Brighton, Marylebone, and 
 Victoria Theatres. Mr. Soutar has for some time held the posi- 
 tion of stage-manager at the Gaiety Theatre, under the lesseeship 
 of Mr. John HoUingshead. 
 
 STANDING, HERBERT, was born in Peckham, Surrey, 
 November 13, 1846, and first appeared on the stage in 1858, at the 
 Queen's Theatre, under the late Mr. Alfred Wigan's management, 
 as Langford in ' Still Waters Run Deep.' At the conclusion of 
 this engagement he played Prince Hal in selections from ' Henry 
 IV.' to the Falstaff of the late Mark Lemon on a tour through 
 the United Kingdom. After spending considerable time in 
 provincial towns, Mr. Standing was engaged by Mr. Dion 
 Boucicault for the part of Don Manuel in ' A Dark Night's Work ' 
 at the Princess's Theatre. Mr. Boucicault relinquishing the 
 management, Mr. Chatterton engaged Mr. Standing to support 
 the late Mr. Phelps ; and he appeared as Cassio in ' Othello,' 
 Lovewell in ' The Clandestine Marriage,' Valentine in ' Faust and 
 Marguerite, and other characters, with success. Subsequently 
 he became a member of the company of the Lyceum Theatre, 
 under Mr. Bateman's management, acting Christian in ' The 
 Bells ' (Mr. Irving as Mathias) ; and afterwards appeared at the 
 Prince of Wales's Theatre in a revival of ' The Merchant of 
 Venice.' Following this engagement, Mr. Standing appeared for a 
 brief season at the Mirror Theatre, Holborn, under Mr. Horace 
 Wigan's management ; and then joined the company of the 
 Criterion Theatre, where, Saturday, March 31, 1877, first per- 
 formance of ' The Pink Dominos ' (adapted by Mr. Albery from 
 MM. Hennequin and Delacour's 'Les Dominos Roses'), he played 
 Sir Percy Wagstaff. The piece had a considerable " run." At 
 the same theatre Mr. Standing acted a leading role in ' Truth ' 
 (Bronson Howard), produced there January 1879. 
 
 STANHOPE, ADELINE (Mrs. Amory Sullivan), daughter- 
 in-law of Barry Sullivan, was a pupil of Mr. John Ryder, and first 
 appeared in small parts at the Haymarket Theatre about 1872. 
 She afterwards went to America, playing in 'The Woman in 
 White ' with Mr. Wybert Reeve. After two seasons in Edinburgh, 
 during which time she played the entire round of "leading business," 
 she joined Mr. Barry Sullivan as leading lady, and went with him 
 on two tours through the provinces. In September 1879 she was 
 playing leading parts in San Francisco, California. 
 
 STANLEY, LEONORA ALMA, daughter of Stuart Stanley, 
 captain in the body-guard of the late Emperor Maximilian of 
 Mexico, was born at St. Helier's, Jersey, October 26, i860. She 
 
STEPHENS, MRS. JANE. 313 
 
 made her first appearance on the stage in December 1873 in the 
 pantomime of ' Cinderella,' at the Theatre Royal, Hull, in the 
 following year playing in ' Black-Eyed Susan ' and ' The Rose of 
 Auvergne ' at Cremorne Gardens. Afterwards she joined Mr. 
 HoUingshead's " Gaiety " company, of which she remained a 
 member till March 1875, performing such parts as Amaranthe 
 in ' Madame Angot,' Regina in 'Princess of Trebizonde,' &c. 
 With a short interval of engagement at the Philharmonic Theatre, 
 she rejoined the Gaiety company, and appeared in the burlesque 
 ' Little Don Csesar de Bazan.' In 1876 she appeared in the 
 pantomime arranged by the Messrs. Sanger ; and subsequently 
 played at various theatres with the late Mr. S. Phelps such 
 characters as Julie de Mortemar, in ' RicheUeu ' ; Anne Boleyn, 
 in 'Henry VIII.'; Lady Sneerwell, in 'School for Scandal.' 
 Miss Alma Stanley has successfully fulfilled engagements at the 
 Olympic, Royalty, Folly, and Crystal Palace Theatres in addition 
 to the Gaiety. She has performed the following parts with success, 
 namely, Zephyrina, in 'Belphegor'; Lady Betty Noel, ' Clancarty' ; 
 Georgy de Burgh, ' Turn of the Tide ' ; Julia, ' Life of an Actress ' ; 
 Lady Valeria, ' All that Glitters is not Gold,' &c., &c. 
 
 STEPHENS, MRS. JANE, made her first appearance on the 
 stage at the Olympic Theatre, under Samuel Buller's management, 
 in a small soubrette part. Afterwards she went into the provinces, 
 and " worked hard, playing everything and anything for nearly 
 three years." Returning to London, she was engaged by Mr. 
 Samuel Phelps " for boys and walking ladies " at Sadler's Wells 
 Theatre, and remained a member of the company (with an interval 
 of a season under Mrs. Warner at the Marylebone Theatre) for 
 four seasons, namely, from 1847 to 1852. Afterwards Mrs. Stephens 
 (who, it may be remarked, has always played in her own name, 
 although she was married previous to her adopting the stage as a 
 profession) joined the company of the Lyceum Theatre, under 
 Mr. Charles Mathews's management. When Mr. Alfred Wigan 
 assumed control of the affairs of the Olympic Theatre (1858), Mrs. 
 Stephens was engaged by him, and she remained connected with 
 that theatre for fourteen consecutive seasons, the management 
 changing four times during this period. Of the more successful 
 impersonations of Mrs. Stephens at the Olympic Theatre, we may 
 select the following as being worthy of special recognition. In 
 June 1854 (the second season of Mr. A. Wigan's management), in a 
 revival of ' Hush Money ' (George Dance), the part of Jasper 
 Touchwood being performed by the elder Robson, Mrs. Stephens * 
 acted the character oi Mrs. Crab. In March 1857 she " embodied 
 the part of an old country servant with great unction and marked 
 expression " in the original performance of ' Daddy Hardacre ' 
 (probably Robson's greatest impersonation), an adaptation by 
 Mr. Palgrave Simpson of MM. Bayard and Duport's ' La Fille 
 de I'Avare.' In May 1863, first performance at the Olympic 
 
 * In the play-bills ' Miss Stephens,' 
 
314 THE DRAMA TIC LIST. 
 
 Theatre of 'The Ticket-of- Leave Man' (Tom Taylor), Mrs. 
 Stephens played the part of Mrs. Willoughby, " an. amusingly 
 prominent personage .... whose flow of anecdote is unceasing, 
 and whose conversational powers resemble those of the memorable 
 Sairey Gamp. Her life is embittered by her boy Sam, to whose 
 enormities the vagaries of the incorrigible ' Bailey ' are venial 
 eccentricities ; but under the influence of Robert Brierly's teaching 
 he ultimately reforms, and thus gives additional point to the moral. 
 Mrs. Stephens made a clever bit of character out of the first, 
 which the house enjoyed amazingly." {Daily Telegraph, May 29, 
 1863.) Another contemporary journal alludes to Mrs. Willoughby 
 as being the character of the play, an old woman "whose inveteracy 
 and ' everlasting rotation of tongue,' interlarded with multitudinous 
 ' which's,' kept the audience in roars of laughter every time she 
 opened her mouth in speech. Mr. Tom Taylor has apprehended 
 the style and manner of the renowned ' monthly,' Mrs. Gamp, 
 with extraordinary fidelity. Nor could the part by any possibility 
 have been entrusted to better hands than those of Mrs. Stephens, 
 who, in her new performance, if nothing else, has proved herself 
 one of the very best ' character ' actresses of the day." {Morning 
 Herald, June i, 1863.) In August 1867, on the occasion of Miss 
 Kate Terry's farewell performances at the Adelphi Theatre, Mrs. 
 Stephens acted the Nurse in a revival of ' Romeo and Juliet ' with 
 much excellence. 
 
 During the same year Mrs. Stephens accepted an engagement 
 at the Holborn Theatre, under Mr. Sefton Parry's management, 
 " opening " there in October, in an unsuccessful drama by the late 
 T. W. Robertson, entitled ' For Love.' In this piece Mrs. Stephens 
 played Mrs. Mountflathwoiclt, " a master sketch of one of the 
 most amusing creations of modern comedy." {Standard, October 7, 
 1867.) She was a member of the same "actor-manager's" company 
 during his connection with the Globe Theatre, where, on November 
 28, 1868, first performance of a new and original five-act comedy, 
 by H. J. Byron, entitled ' Cyril's Success ; an Everyday Story,' 
 Mrs. Stephens acted Miss Pamela Grannet {Mrs. Pincher), " an 
 old schoolmistress, whose mission in this life is the hatred of all 
 men, and the inoculation of that hate amongst all the womankind 
 of her acquaintance. . . . Miss Grannefs description of the sepa- 
 ration from her husband is delicious. The culminating point will 
 become a proverb : ' But, my dear, when it comes to the question 
 of the man wanting more than his fair share of the thin part of the 
 salmon, it is time to part. Share and share alike — thick and thin — 
 say I — and I said it — and we parted upon a question of incom- 
 patibility.' " {Glowworm, November 30, 1868) In September 
 1869, first performance at the same theatre of Mr. T. W. Robert- 
 son's comedy ' Progress,' Mrs. Stephens sustained the part of 
 Miss Myrnie. At the same theatre, in October of the same year, 
 in ' Not Such a Fool as He Looks ' (H. J. Byron), the author 
 himself acting the principal part {see Byron, H. J.), Mrs. Stephens 
 played Mrs. Mould, presenting the public "with another of her 
 admirable portraits of old women." On Mr. S. Parry's returning 
 
STEPHENS, WILLIAM HENRY. 315 
 
 to the Holborn Theatre in 1870, Mrs. Stephens reappeared there 
 in her "original " part of Mrs. Willoiighby. In January 1871 she 
 accepted an engagement from Miss Litton, and on the occasion of 
 the opening of the Royal Court Theatre, Wednesday, January 25, 
 1-871, first performance of 'Randall's Thumb' (W. S. Gilbert), 
 Mrs. Stephens sustained the character of Mrs. Scantlebury, Mr. 
 Frank Matthews playing Mr. Scantlebury. At the same theatre 
 she appeared in ' Broken Spells ' (Dr. Westland Marston and 
 W. G. Wills) ; ' Dotheboys Hall ' (Mr. Daly Besemere), as Mrs. 
 Squeers ; ' Playing with Fire,' as the widow Crabstick, &c. In 
 October 1873 she "opened" at the Olympic Theatre, under Mr. 
 H. Neville's management, and continued to play there for three 
 consecutive seasons. In Mr. H. J. Byron's comedy of ' Sour 
 Grapes,' first performed there in October 1873, she sustained the 
 part of Mrs. Gunn, and she also appeared, with her usual success, 
 at the same theatre in the original casts of ' Lady Clancarty ' and 
 'The Spendthrift.' Later Mrs. Stephens appeared in the very 
 successful revival of ' New Men and Old Acres ' at the Court 
 Theatre, and has been recently (1879) acting at the Adelphi and 
 Criterion Theatres. Mrs. Stephens is generally allowed to be the 
 best actress of what are technically known as " old women's parts " 
 at present on the English stage. 
 
 STEPHENS, WILLIAM HENRY, was born in London, and 
 made his first appearance on the stage at the Theatre Royal, 
 Derby, April 11,' 1839. After playing for some considerable period 
 in the provinces, he was engaged at the Theatre Royal, Glasgow, 
 under J. H. Alexander's management, and at the Queen's Theatre, 
 Manchester, under the management of John Knowles, appear- 
 ing for the most part as "leading old man" and "eccentric 
 comedian." In 1854 Mr. Stephens left England for Australia; at 
 Sydney, he built the present Queen's Theatre. In 1858 he played 
 in San Francisco, New York, &c., returning to Sydney in i860. 
 Finally leaving the colonies in that year, and making his ddbut in 
 London, January 1861, at St. James's Theatre, under J. Vining's 
 management as the Marquis in ' Self-made.' Mr. Stephens has 
 appeared, with more or less success, at the following metropolitan 
 theatres, viz. Sadler's Wells, Princess's, Royalty, Olympic, Astley's, 
 Lyceum, Vaudeville. In August 1875 he went as stage-manager 
 of a dramatic company to Calcutta, and returned to England in 
 1876. Since that date he has appeared on the London stage at 
 various theatres. 
 
 STEWART, JULIA, daughter of a well-known Scotch comedian 
 resident in Edinburgh, David (' auld Davie ') Stewart, was born in 
 London, June 1862. She was educated to the stage from child- 
 hood, having made her first appearance at the Glasgow Theatre in 
 1868, in the child's part of Sybil in 'A Wolf in Sheep's Clothing.' 
 Thereupon she was engaged by the managers, Messrs. Glover and 
 Francis, for a term of years, and under their auspices played at the 
 Theatre Royal, Glasgow, and in Newcastle-on-Tyne, children and 
 
3 1 6 THE DRA MA TIC LIST. 
 
 boys' parts. In 1876 this engagement was concluded, and, in the 
 year following, being then a member of Miss Sarah .Thome's 
 dramatic company, Miss Stewart played her " first grown-up part," 
 that of Emma Marigold in ' My Awful Dad,' the late Mr. Charles 
 Mathews in the leading rSle. Wednesday, October 3, 1877, being 
 specially selected for the part, she played Maggie Macfarlane, 
 first performance of Mr. W. S. Gilbert's comedy ' Engaged,' at the 
 Haymarket Theatre. This was Miss Stewart's London dibtct, and 
 it was in every way successful. She played the same part during 
 the "run " of the piece in London, afterwards in the provinces, and 
 again in its revival at the Strand Theatre in the summer season 
 1878. At the end of her " Strand "engagement she "opened" at 
 the Haymarket as Mary Meredith, in a revival by Mr. Sothern of 
 'Our American Cousin.' Afterwards, on tour 1878-9, with the same 
 comedian, she played the like character, and that oi Ada Ingot in 
 'David Garrick.' In both of these parts she appeared to advantage, 
 and secured the good report of local journals. 
 
 ♦STIRLING, ARTHUR, was for many years a leading actor in 
 legitimate drama at the Bristol and Bath theatres, where he was a 
 great favourite. His first appearance on the London stage took place 
 at the St. James's Theatre, January 3, 1863, when he played Philip 
 Austin in ' Dark Cloud.' Since then he has appeared in many 
 London and provincial theatres with distinguished success. Among 
 his more recent impersonations in London may be mentioned 
 Patrick Carroll in ' The Omadhaun ' (a version "of ' Idiot of the 
 Mountain') November 1877, and Antonio in a burlesque of 'The 
 Merchant of Venice,' March 1878, at the Queen's Theatre ; and 
 the villain Lazare in 'Proof,' April 1878, at the Adelphi Theatre. 
 
 ♦STIRLING, MRS. ARTHUR {nie CLEVELAND), first at- 
 tracted notice as an actress at the Marylebone Theatre, then 
 under Mr. J. W. Wallack's management, as Juliet, Mrs. Wallack 
 playing Romeo. After her marriage to Mr. Charles Vyner (an 
 actor who was held in much esteem) she went with her husband 
 to Australia, and appeared for a long time in many other characters 
 of the legitimate drama in Australia and New Zealand. After the 
 sudden death of Mr. Vyner, who was killed by a fall from his horse 
 in Australia, Mrs. Vyner returned to England. She subsequently 
 married Mr. Arthur Stirling, and has appeared with that actor in 
 various theatres in London and the provinces, especially at Bath 
 and Bristol under the management of the late Mr. J. H. Chute. 
 Mrs. Arthur Stirling has been for many years an actress of 
 considerable reputation in legitimate drama, and is favourably 
 known for her impersonations of Lady Macbeth, Hermione, Portia 
 and other Shakespearian heroines, and also for her considerable 
 power as an elocutionist. Concerning her late appearances it 
 may be mentioned that she was the original Countess de Liniere 
 in 'The Two Orphans' in 1874 at the Olympic Theatre, and that 
 she took the character of Madame Deprets in ' Proof at the Adelphi 
 Theatre in April 1878. 
 
STIRLING, MRS. 317 
 
 STIRLING, MRS. {n^e CLIFTON, Fanny), was born in London, 
 July 1816, and made her first histrionic essay at the Coburg 
 Theatre. Afterwards she appeared at the Pavilion, playing a 
 variety of parts in tragedy, comedy, and melodrama. On January 
 I, 1836, Mrs. Stirling first appeared at the Adelphi Theatre, then 
 under the management of Mr. and Mrs. Yates, as Biddy Nutis, in 
 ' The Dream at Sea.' The same month she played in a drama by 
 Mr. Serle entitled ' The Ghost Story.' Mrs. Stirling acted at the 
 Adelphi the succeeding season in various pieces produced there, 
 melodramatic and farcical : ' Luke Somerton,' ' The Doom of 
 Marana,' ' Catching an Heiress,' &c. Her qualifications as an 
 actress were thus referred to in a contemporary journal : — " With- 
 out becoming too prolix by going into particulars, we may safely 
 assert that she (Mrs. Stirhng) possesses in an eminent degree 
 every requisite for a low-comedy performer ; that she uses aU with 
 admirable tact and discretion, and that she is withal a very pretty 
 woman." In 1836 she accepted an engagement at the St. James's 
 Theatre, playing there, in May, the leading character in " a very 
 pleasing and neatly-written burletta, entitled ' Love and Charity.' " 
 In 1839 (November), at Drury Lane Theatre, she sustained, "with 
 limited success," the part of Beatrice in a revival of ' Much Ado 
 - About Nothing ' ; and the same year, at the same theatre, the 
 leading female rdle in a piece entitled "' A Night in the Bastile.' 
 The year following Mrs. Stirling took the place of Miss Helen 
 Faucit at the Haymarket Theatre as Clara Douglas in ' Money,' 
 and in 1841, at the same theatre, sustained Mrs. Glover's character 
 of Mrs. Franklin in the same play. During Mr. Macready's 
 second season at Drury Lane, October 1842, Mrs. Stirling appeared 
 there as Celia in ' As You Like It,' as Sophia in Holcroft's ' Road 
 to Ruin,' and as Mrs. Foresight in Congreve's ' Love for Love.' 
 She also acted with great spirit with the late Charles Mathews 
 the younger in a farce written by him under the title of ' The Eton 
 Boy.' In 1845 she joined the company of the Princess's Theatre, 
 and appeared there with Mr. Macready, Mr. Wallack, Mr. and 
 Mrs. Charles Mathews, Mr. Compton, Mrs. Ternan, in several 
 plays produced under Mr. Macready's superintendence. She acted 
 at the same theatre with Miss Cushman during the first visit of 
 that accomphshed actress to England, on April 19, 1845, appear- 
 ing as Helen (to Miss Cushman's Julia) in ' The Hunchback.' 
 Wednesday, October 15, 1845, at the same theatre, she sustained 
 the part of Cordelia (' King Lear '), Mr. Macready in the leading 
 r6le. The following year, Wednesday, May 20, she acted the 
 Character of Madeline Weir, first performance of ' The King of 
 the Commons ' (White), the part of James V. of Scotland being 
 undertaken by Macready. In 1847, Tuesday, December 7, Mrs. 
 Stirling took part in the special Shakespearian performances at 
 the Theatre Royal, Covent Garden, arranged in behalf of the fund 
 for the purchase of Shakespeare's house at Stratford-on-Avon. 
 She played on this occasion Mrs. Ford in a selection from ' The 
 Merry Wives of Windsor ' (Act 3, Scs. 3 and 4 ; Act 4, Sc. 2). In 
 1848 Mrs. Stirling joined the company of the Olympic Theatre, 
 
3i8 THE DRAMATIC LIST. 
 
 and appeared there, September 4, as Laura Leeson in 'Time 
 Tries AH,' then performed for the first time. This, according to a 
 contemporary journal, was Mrs. Stirhng's first appearance on these 
 boards, and she was received with high welcome, which ^^ she 
 merited by her able tracings of the finer shades of the part. No 
 character could well be better suited to Mrs. Stirhng's style than 
 that of a fantastic maiden, who, mistaking the bias of her own 
 feelings, banishes from her presence and his country the man 
 whom she really loves. The drama is one in which the interest is 
 mental and sustained by the heroine." The same year (1848), at 
 the Olympic, she appeared as Juliana in ' The Honeymoon,' Kate 
 in ' The Taming of the Shrew,' and, with distinguished success, as 
 Cousin Cherry in the farce of that title. After the destruction by 
 fire of the Olympic (March 29, 1849), Mrs. Stirling accepted an 
 engagement at the New Strand Theatre, under Mr. Henry Farren's 
 management. On October 10 she played there the leading rdle in 
 ' The Reigning Favourite,' a piece translated by Mr. John Oxenford 
 from Scribe's tragedy of ' Adrienne Lecouvreur.' " Probably Mrs. 
 Stirling never acted so finely as in the character of Adrienne, 
 originally played by Mademoiselle Rachel. It is a very difficult 
 part, since, although a number of passions are to be displayed 
 with great intensity, they must at the same time be expressed with 
 quietness. Excepting in the death scene at the last, when she is 
 alone with Maurice and Michonnet, her emotions are in a state of 
 constant suppression. The intelligence with which Mrs. Stirling 
 seized on points not of themselves salient, and the great, though 
 quiet, force with which she gave them, were admirable. There 
 was a whole history of internal emotion, without anything like 
 violent ebullition. In the cited speeches which she had to deliver 
 in the course of the piece she laboured under a difficulty which 
 did not exist on the Parisian stage. To the French public these 
 speeches are all familiar, but. to the English they were only 
 rendered significant by Mrs. Stirling's excellent delivery." {Times, 
 October 10, 1849.) 
 
 The same year Mrs. Stirling appeared as the heroine in Mr. 
 Theodore Martin's version of ' King Rent's Daughter,' and as 
 Olivia in a version by Tom Taylor of ' The Vicar of Wakefield.' 
 In 1850, October 14, at the Olympic, she sustained the principal 
 r6le in Stirhng Coyne's ' My Wife's Daughter,' a version of ' La 
 Femme de Quarante Ans.' Monday, January 13, 1851, at the 
 same theatre, she played the part of Martha Gibbs in ' All that 
 Glitters is not Gold ' (Morton). The following April, in a dramatic 
 version of Addison's 'Sir Roger de Coverley,' produced at the 
 Olympic, Mrs. Stirling undertook the part of the Widow The 
 piece, though interesting, was not successful. After fulfiiling- a 
 short engagement at the Olympic Theatre, she returned to the 
 Haymarket, and reappeared there, April 21, 1852, as Fannv 
 Morrison, first performance of Mark Lemon's play ' Mind Your 
 Own Business.' On Saturday, November 20, 1852, first perform 
 ance at the Haymarket Theatre of 'Masks and Faces' Mrs" 
 Stirling played the part of Peg Woffington. " The plot of this 
 
STIRLING, FANNY. 319 
 
 piece is its weakest point. The nominal hero, Vane, is a poor 
 creature, weak as well as wicked, who excites no interest whatever, 
 and does not deserve an amiable and loving wife. The principal 
 figure is Mrs. Woffington, who is admirably drawn, and charm- 
 ingly represented by Mrs. Stirling. The character is a delightful 
 combination of grace, wit, spirit, nobleness of nature, and gene- 
 rosity. But this ideal Woffington is just such a creature as the 
 stiU more celebrated Mrs. Clive was in reality ; While Kitty Clive 
 (who is also one of the dramatis persona) plays an insignificant 
 part. Triplet, the poor denizen of Grub Street, is an excellent 
 sketch, embodied by Mr. Webster in that artistic and masterly 
 manner for which he is distinguished, with fine touches of homely 
 pathos." ipdtiy News, November 22, 1852.) 
 
 Mrs. Stirling), it may be noted, was the original Mrs. Trotter 
 Southdown in Taylor's comedy ' To Oblige Benson,' first per- 
 formed at the Olympic, Monday, March 6, 1854. This successful 
 piece was an adaptation of ' Un Service k Blanchard,' by MM. 
 Moreau and Delacour. Among other characters assumed by Mrs. 
 Stirling during her long connection with the Olympic the following 
 are deserving of being specially mentioned, viz. Lady Teazle 
 (June 22, 1855) ; Mrs. Bracegirdle, in the comedietta of ' The 
 Tragedy Queen ' (May 1856) ; Miss Dorrillon, in Mrs. Inchbald's 
 pomedy ' Wives as they Were and Maids as they Are ' (the same 
 month) ; Mrs. Levenson, in Mr. A. C. Troughton's ' Leading 
 Strings' (first performed October 19, 1857). In a notice of this 
 play in the Saturday Review (October 31, 1857) it is stated that 
 Mrs. Stirling, as the mother {Mrs. Levenson), exhibited one of the 
 most finished and sustained pieces of drawing-room acting that 
 had been seen in London for some years, and, from one end to the 
 other, her part was excellent. 
 
 In February 1857, at the Lyceum, Mrs. Stirling played the 
 leading female rdle, first performance of Mr. Tom Taylor's play 
 ,' A Wolf in Sheep's Clothing,' an adaptation of Madame Girardin's 
 ' Une Femme qui'ddteste son Mari.' At the Olympic, in October 
 1858, in a melodrama by Mr. Wilkie CoUins, entitled 'The Red 
 Vial,' Mrs. Stirling sustained the part of Madame Bergmann. 
 This play was of the most repulsive kind, and is alluded to in 
 contemporary criticism as " the most briUiant failure of the day." 
 Mrs. Stirling's acting was its one redeeming feature. Since 1858 
 Mrs. Stirling has appeared mostly in the position of a " star " 
 actress in characters in which she had already secured fame. In 
 the spring of 1869 she gave her first dramatic reading in London, 
 consisting of selections from the ' Midsummer Night's Dream.' 
 She has since occupied herself principally with this work, and 
 with her duties as Professor of Elocution at the London Academy 
 of Music, but later (1879) returned to the stage, and has been 
 acting in ' She Stoops to Conquer,' ' The Beaux' Stratagem,' &c., 
 &c., at the Imperial Theatre. 
 
 STIRLING, FANNY, daughter of Mrs. Stirling (Fanny Chfton), 
 made her dSbut_ on the London stage July 25, i860, as Miranda,. 
 
320 THE DRAMATIC LIST. 
 
 in 'The Enchanted Isle.' On Monday, January 7, 1861, she 
 appeared at the same theatre in her first important part, viz. 
 Miss Vandeleur, in Falconer's comedy ' Does He Love Me ? ' 
 Noticing this performance the AthencEum (January 12, 1861) 
 remarked as follows : — " Miss Stirling has great natural powers, 
 and merely requires cultivation in the art which she has chosen to 
 realize a decided success. Her portraiture of the heroine was ex- 
 ceedingly natural, full of girlish impulse, and occasionally revealing 
 extraordinary powers of fascination. In person and style she much 
 resembles her mother, and in time will probably become as attrac- 
 tive an actress." In March of the same year, at the Haymarket, 
 she played in a new piece, ' A Duke in Difficulties,' written by 
 Mr. Tom Taylor expressly for Mrs. and Miss Stirling, both of whom 
 appeared in it — the former as La Jocunde, the latter as Colombe. 
 Miss Stirling has appeared on the boards of all the principal theatres 
 in London. 
 
 ST. JOHN, MARGARET FLORENCE (Mrs. LiTHGOW James), 
 was born in Plymouth. At quite an early age she sang in public at 
 St. James's Hall in that town, and attracted much attention by her 
 unusual accomplishments as a singer and pianiste. For her early 
 training she was indebted to her father, himself a musician of no 
 mean ability; afterwards she completed her studies in London, 
 Miss St. John made her first appearance on the stage in English 
 opera at Preston, as one of the sisters in Rossini's comic opera 
 ' Cinderella,' and secured her first public success in that depart- 
 ment of dramatic art at Norwich, on Easter Monday of the same 
 year as Arline in Balfe's ' Bohemian Girl.' She subsequently for a 
 season played contralto parts in English opera under Mr. Duraud, 
 and afterwards joining Blanche Cole's company sustained, in the 
 provinces, the mezzo-soprano and contralto parts in the various 
 operas which formed that lady's stage repertoire. At the end of 
 ' this engagement Miss St. John joined the Rose Hersee Opera 
 Company, and performed with much success in a series of operas 
 at the Crystal Palace in August and September 1877. Among the 
 r6les which she acted there, the following may be mentioned, 
 viz. Cherubino (' Figaro ') ; Urbano (' Les Huguenots ') ; Azucena 
 (' Trovatore ') ; Maritana (in the opera of that name) ; Lelia 
 (' Satanella ') ; Cinderella (in Rossini's opera of that name) ; the 
 ^nd Goatherd (' Dinorah ') ; Adelgisa (' Norma ') ; Donjia Carmen 
 (' Rose of Castile ') ; Lady Allcash (' Fra Diavolo '), &c. At Easter 
 1878, Miss St. John made h.er di!but in London at the Folly Theatre 
 as Germaine in ' Les Cloches de Corneville,' a role which she had 
 previously performed very successfully in the provinces. Her first 
 " original " part was that of Madame Favart in the English version 
 of Offenbach's comic opera of that title, produced at the Strand 
 Theatre, Saturday, April 12, 1879. Referring to this performance, 
 the Daily News (April 14, 1879) remarked as follows :— " The 
 caste includes at least one lady who, though hitherto practically 
 unknown, may be expected to take a leading position in the in- 
 terpretation of operatic works of a light kind. We refer to Miss 
 
SUGDEN, CHARLES. 321 
 
 Horence St. John — a young actress of very pleasing appearance, 
 who acts with remarkable vivacity and grace, possesses a mezzo- 
 soprano voice of really fine quality, and sings in a style that 
 indicates a thoroughly sound training. Miss St. John has, we 
 believe, been recently a member of one of those peripatetic opera 
 companies which are better known to playgoers in provincial towns 
 and cities than they are te frequenters of the London theatres ; 
 if we mistake not, she was hot very long since even put to such 
 ' base uses ' as the enactment of a part in a pantomime at Brighton. 
 If so, however, the greater is the credit due to those who, dis- 
 ceriiing her rare and pleasing talents, have boldly introduced her 
 to a London audience in the leading part in this latest work of 
 a popular composer." The same journal adds : " Anions the most 
 successful of the songs is the soprano solo, ' Hearts clad in white,' 
 in which the salutation of the novice and the response of the 
 Abbess are contrasted with dramatic effect ; ' The Artless Thing,' a 
 solo in G and B flat, also sung by Miss St. John with very pleasant 
 humour ; and, above all, the vocal minuet, ' To age's dull Decem- 
 ber,' sung by the same lady — a very pretty and harmonious effect 
 being here produced by the simultaneous dance of the minuet by 
 the company." Miss St., John's voice partakes of three qualities, 
 contralto, mezzo-soprano, and soprano. She sings with compara- 
 tive ease from G below the stave to high C above it, clear and 
 sympathetic throughout, and is, besides, an excellent musician. 
 
 SUGDEN, CHARLES, was born at Cambridge in 1850, and 
 entered the dramatic profession in 1869 under the pseudonym of 
 " Charles Neville," first appearing at the Theatre Royal, Brighton, 
 in ' Nobody's Child,' and subsequently at the same theatre in other 
 small parts. During one week at that theatre he acted clown in 
 the pantomime. From Brighton Mr. Sugden proceeded to Dublin 
 and Edinburgh, enacting Laertes and other young men's parts in 
 Shakespearian plays, comedy, &c. He next appeared at the Princfe 
 of Wales's Theatre, Liverpool, as Bertie in ' New Men and Old 
 Acres.' Mr. Sugden made his first appearance on the London 
 stage Saturday, October 7, 1871, as Ernest in H. J. Byron's comedy 
 ' Partners for Life,' at the Globe Theatre, then under Montague's 
 management. In 1 873 he appeared at the Gaiety as Frank Rochdale 
 in the revival of Colman's ' John Bull,' in which Phelps, Charles 
 Mathews, Toole, Vezin, Lionel Brough, &c., took part. In 1874 he 
 accepted an engagement at the Olympic, and played William IIL 
 in Tom Taylor's ' Clancarty ' (for the first time appearing under his 
 real name, Charles Sugden), and Chevalier in 'The Two Orphans.' 
 
 On January 16, 1876, Mr. Sugden appeared as Charles Middle- 
 wick in ' Our Boys ' — first performed at the Vaudeville Theatre — 
 a character which he sustained during three hundred nights. At 
 the Prince of Wales's Theatre he has played Captain Bradford in 
 'Peril,' Alg-ie Fairfax in 'Diplomacy,' and Sir Harry Arncliff 
 in ' The Unequal Match,' " a part thoroughly well suited to a 
 style which errs occasionally on the side of over-repression. The 
 studiously subdued tones of Mr. Sugden's acting was in place here, 
 
 Y 
 
322 THE DRAMATIC LIST. 
 
 and its admirable ease and simplicity are well known." (Pall 
 Mall Gazette) 
 
 * SULLIVAN, BARRY, was born at Birmingllam in 1824, and' 
 made his first appearance on the stage at Cork in 1840. After' 
 studying for some time he joined the company of the Theatre Royal.b 
 Edinburgh. Previous to his appearance on the metropolitan stagej' 
 he had earned distinction in the provinces — notably at Manchester" 
 and Liverpool — as an actor of the poetic drama. Mr. SuUivanmadej 
 his ddbut in London, at the Haymarket Theatre, in the part of 
 Hamlet, Saturday, Februaiy 7, 1852. The Athencsum (February 14, 
 1852) thus notices this performance : — " Mr. Sullivan is slender of 
 figure and graceful in his attitudes, but his vocal organ is very 
 limited. His evident good taste prevented him from any attempt 
 to strain it ; but however well harmonized were the tones, the effects 
 produced could of course be proportioned only to the capacity of 
 the organ, and the result was a series of minute points and crotchety 
 new readings as substitutes for physical powers. That Mr. SuUivan 
 has mind, and can act well— that he possesses originality of concep- 
 tion and beauty of movement — that he has studied hard and 
 practised long — all this is evident. . . . His interview with the 
 Ghost was, in its expression of reverence, grace, and significance, 
 very fine ; and than his 'closet scene,' we never remember anything 
 more pathetic as well as picturesque. In a word, Mr. Sullivan acts 
 with great care and pains." In a lengthy criticism of Mr. Fechter's 
 performance of the character of Hamlet the Satiu'day Review of 
 April 6, 1 86 1, dwelling upon the novelties introduced by that actor 
 into the generally received reading of Shakespeare's play, remarked : 
 " When Mr. Barry Sullivan came out as Hamlet a few years ago, many 
 persons attended the Haymarket for the mere purpose of hearing 
 him say, ' I know a hawk from a heme — Pshaw ! ' instead of the 
 ordinary reading; and there is no doubt that the novelties of 
 Mr. Fechter are far more important and interesting. But young 
 critics may be usefully warned that the conventional is not neces- 
 sarily wrong, and that a great artist is not bound, as a matter of 
 duty, to scorn the teachings of his predecessors. A schoolboy who 
 commenced reciting the first book of ' .i^neid ' with the words 
 ' Armorum virique cano,' would be the most unconventional Latinist 
 in his class ; but his originality would hardly exempt him from the 
 penalties prescribed by the ancient code of birch." 
 
 At the Haymarket, February 14, 1852, Mr. Barry Sullivan acted 
 the character of Angiolo, in a five-act drama by Miss Vandenhoff, 
 entitled ' Woman's Heart.' On the 19th of April of the same year, 
 at the same theatre, he played the part of Evelyn in a revival of 
 'Money.' On Saturday, February 12, 1853, first performance, at the 
 Haymarket Theatre, of Lord Lytton's play ' Not so Bad as we 
 Seem' (written for, and originally played by, members of the 
 Guild of Literature), Mr. Sullivan sustained the part of Hardman. 
 " Mr. Stuart played the Duke of Middlesex with volcanic energy 
 and oppressive sense of ducal dignity, and Mr. Barry Sullivan that 
 of Hardman in a manner which will not allow him to be dismissed 
 
SULLIVAN, SARRV. 323 
 
 at the tail of a sentence. The impression left by this gentleman's 
 acting is, that he possesses a strong and clear dramatic intellect, 
 but lacks somewhat of the flexibility required by the characters of 
 comedy. Hence his playing in the earlier and more level scenes 
 was somewhat stiff and cumbrous, though always judicious ; but in 
 the last act, the burthen of which rested mainly upon him, he came 
 out with energy and fire, excited and sustained the interest of the 
 audience all through, and obtained a succession of well-merited 
 plaudits." {Daily News, February 14, 1853.) 
 
 In April of the same year, first performance, at the same theatre, 
 of Mr. Browning's play of ' Cplombe's Birthday,' Mr. Sullivan acted 
 the character of Valence. The same year he accepted an engage- 
 ment at the Standard Theatre, and played a leading role in Bennett's 
 drama ' Retribution ' (revived). In 1855 he returned to the Hay- 
 market Theatre, and in May appeared as Claude Melnotte, to 
 Miss Helen Faucit's Pauline (' Lady of Lyons ') ; in June as 
 Franklyn in ' Love's Martyrdom ' ; and subsequently, in the same 
 month, as Jaquis in 'As You Like It,' Miss Faucit playing Rosalind. 
 On Monday, October 8, 1855, at Drury Lane Theatre, Mr. Barry 
 Sullivan appeared as Tihrak, in " a grand Egyptian drama " by 
 Mr. J. FitzbaU, then performed for the first time. He continued to 
 play at the same theatre during the year following, and in 1857 
 accepted an engagement at Sadler's Wells, where he sustained 
 several important parts in the line of the legitimate drama. Subse- 
 quently he fulfilled various engagements in the United States. On 
 Monday, August 20, i860, he reappeared on the London boards, at 
 the St. James's Theatre, acting the character of Hamlet, in which, 
 eight years before, he had made his first appearance on the metro- 
 politan stage. In the interval Mr. Sullivan had devoted himself 
 with assiduity to the active duties of his calling, and had reaped all 
 the advantages that inevitably accrue from painstaking labour in 
 any profession. The Times (August 22, i860), noticing his reappear- 
 ance on the London stage, said : — " The summer performances at 
 the most western of the theatres (the St James's) take this week a 
 tragic direction, in consequence of the engagement of Mr. Barry 
 Sullivan, who has just returned from America. As on the occasion 
 when some years ago he made his first appearance before the 
 London public, he has chosen Hamlet for the inauguration of his 
 career. All the qualities that have rendered his memory estimable 
 in the minds of playgoers he retains to their full extent. He is a 
 careful, correct, and perspicuous declaimer, turning to good account 
 his natural advantages of voice and figure, and he is, moreover, 
 thoroughly versed in the routine of the part, which he has evidently 
 studied with laudable assiduity. Though he makes no particular 
 attempt to startle his audience, he is neither tame nor listless, and 
 all that he does is well considered and quite to the purpose. A 
 numerous audience witnessed his performance of Hamlet, and 
 greeted him with a hearty welcome." 
 
 From i860 to 1866 Mr. Sullivan devoted himself to dramatic 
 affairs in Australia, where for some time he was the chief actor and 
 manager of one of the principal theatres. In the latter year he 
 
 Y 2 
 
324 THE DRAMATIC LIST. 
 
 once more returned to the London stage, and reappeared, on 
 September 22, at Drury Lane Theatre, as Faulconbridge, in a 
 revival, by Messrs. Falconer and Chatterton, of ' King John,' and 
 in the month following as Macbeth. Mr. Sullivan also played other 
 characters in the drama of Shakespeare during the same engage- 
 ment. "The new Faulconbridge was safe with his audience from 
 his very first utterances," remarked the AtheniEum (September 29, 
 1866). "Mr. Sullivan's conception of the character is nearer to 
 that of Charles Kemble than of any other actor within the memory 
 of contemporaries. There is an abundance, but not a superabund- 
 ance of spirit in it ; the utmost freedom, without vulgarity ; a 
 graceful ease, and not a braggart swagger. . . . Mr. Sullivan's 
 success was not confined to the comedy or melodramatic element 
 of the character. There were other portions, in which his display 
 of feeling was given with a quiet but telling effect, no jot of which 
 was lost with the critical part of his audience, who were closely scan- 
 ning his speech, action, bearing, and expression. His by-play was 
 equally good ; that is, his part in the drama was never forgotten. 
 His very bow to King John was of a real Sir Richard to a sub- 
 stantial King ; and when he bent over the body of the dying 
 monarch there was earnestness of significance in tha action, as if 
 the gallant knight felt a respectful sorrow for the condition of his 
 uncle. ' Old Drury,' in short, may be congratulated on its acquisi- 
 tion of Mr. Barry Sullivan. Some time has passed since he won 
 golden opinions by his impersonation of Hamlet;, but a certain 
 lack of strength and want of practice were obsei'vable. Since then, 
 however, his experience in the colonies has made a considerable 
 difference in this respect. As manager and chief actor of an 
 Australian theatre he was compelled to venture what in England 
 he might have avoided ; and having, by his excellent conduct of 
 his establishment, secured an extensive patronage, was enabled to 
 make essay of his powers in the most trying parts. He succeeded, 
 and now has so manifestly improved in health and physique, that 
 he supported the part of Faulconbridge with the utmost ability and 
 success." 
 
 Another contemporary journal, the Daily Telegraph (October 3, 
 1866), thus discusses the merits of his acting in ' Macbeth ' : — " Mr. 
 Barry Sullivan's rendering of Macbeth is much less familiar to the 
 playgoing public of this country ; but if the sustained applause of 
 such a strong gathering as that of last evening be any criterion, the 
 admiration of the earnest lovers of Shakespeare, who are nightly 
 making ' Old Drury ' their trysting-place, wiU be found pretty 
 equally divided. Without attempting an elaborate analysis of the 
 character as presented by Mr. Sullivan, it would be difficult to 
 indicate the numerous points of departure from those readings with 
 which the town is familiar. It may be briefly stated, however, that 
 Mr. Barry Sulhvan strongly impresses his auditory with the con- 
 viction that, from the first supernatural soliciting of the witches, 
 Macbeth is fully resolved to remove all obstacles in the way of 
 his ambition, and that the letter to his wife conveys that inten- 
 tion. Lady Macbeth readily becomes the partner of his crime. 
 
SULLIVAN, BARRY. 325 
 
 but is thus hardly to be accused of being its instigator, and on 
 those passages in the text which tend to support this view the 
 tragedian places very forcible emphasis. There are some notable 
 variations also from the usual mode of delivering the most familiar 
 lines which will interest if they do not convince the hearer ; and of 
 these, ' Tide and the hour run through the roughest day,' may be 
 quoted as a fair specimen. The performance throughout exhibits 
 the characteristics of an actor who has at least had the courage to 
 venture on novel ground, and who possesses the power to render 
 justice to his own conception. It may be fairly objected to Mr. 
 Barry Sullivan's notion of the rapidity with which the thought of 
 the murder entered the mind of Macbeth, that his wife, who con- 
 siders him ' too full o' the milk of human kindness,' could have had 
 but little knowledge of the darker moods of his disposition, or else 
 we must be enforced to believe that his nature entirely changed on 
 being accosted by the witches. Whatever opinion may be enter- 
 tained it is in favour of the Macbeth of Tuesday night that he was 
 unconsciously assisted by Miss Amy Sedgwick, who, venturing for 
 the first time in London on the personation of Lady Macbeth, gave 
 a suggestive rather than a powerful rendering of the character. 
 Her performance is not lacking in intelligence, but it is deficient in 
 force, and much less decided in form and colour than could be 
 desired." 
 
 In 1868 Mr. Barry Sullivan entered, for a brief period, upon the 
 management of the Holborn Theatre, " opening " there, Saturday, 
 May I, as Evelyn in ' Money.' Since that date he has principally 
 occupied himself with "starring" in the United States, Canada, 
 Australia, and in England. In 1875, after various farewell dinners 
 given in his honour at the Alexandra Palace and elsewhere, Mr. 
 Barry Sullivan again sailed for the United States and made his first 
 appearance at Booth's Theatre, on August 30 of that year, in Hamlet. 
 Appleton's Journal (No. 338, vol. xiv., pp. 345-6) published the 
 following criticism on his acting of the part : — " Mr. Sullivan is a 
 long way from being a great actor. He has a very pleasing face 
 .and presence, a fine, mellow voice, and he knows how to pose in 
 very picturesque attitudes, and to fill the eye with a succession of 
 well-studied stage-pictures. He unites in these particulars the 
 instincts of the sculptor and the painter ; his eminently picturesque 
 make-ups show a fine taste for colour, and his attitudes evince a 
 plastic grace that would make him always an attractive actor in 
 purely picturesque parts. Nor is he without a calm, balanced in- 
 telligence. But there is absolutely no fire and no imagination. 
 His cool judgment keeps him always from rant or turbulence ; he 
 never 'oversteps the modesty of Nature'; in trutii. Nature with 
 him is rather closely veiled, and one can get no more than faint 
 glimpses of her true form and being. He errs altogether on the 
 side of tameness. His grasp of Hamlet is of the stage, stagey— 
 that is, it is just that perception of the part that a thoroughly 
 trained actor would have who has limited his study to all the 
 external arts — of how he shall walk, how he shall stand, how he 
 shall sit, how he shall do this and that piece of ' business,' how 
 
326 THE DRAMATIC LIST. 
 
 and where he shall deliver this and that line— but there is no sub- 
 jective insight, no heed of the fires that burn within, no psycho- 
 logical study, no imaginative grasp for the character of the melan- 
 choly and philosophic prince. His conception is that Hamlet is 
 wholly sane, but he never succeeds in catching even the spirit of 
 the assumed madness ; no 'antic disposition' confounds the court; 
 he never 'unpacks his heart with words,' for his heart carries no 
 burden. So sedate, so calm, so sane, so balanced, so fine and 
 courtly a Hamlet would never have given king, queen, or courtiers 
 a moment's uneasiness. He listens to the players in their trial- 
 speeches coolly, and when he finds himself alone gives no hint, in 
 the most impulsive and passionate speech in the play, either in 
 manner or expression, of the tumult of feeling which the words 
 describe. In the play-scene he makes a telling picture by graceful 
 posing on the floor ; and in fact throughout this actor is always 
 good in a stage-sense, but never really any thing more. He is not 
 vigorous enough to please the untutored, nor introspective enough 
 to charm the lovers of Shakespeare's great creation." He has 
 accepted brief engagements in London in the intervening period, 
 1875-79; his last performances of importance in the metropolis 
 having been at Drury Lane Theatre, in 1876, as Richard III, in 
 Gibber's version of Shakespeare's play, and in the character of 
 Macbeth, and (August 1879) ^s Bettedick at the Haymarket Theatre, 
 when he appeared for the benefit of Mr. Buckstone. 
 
 SWANBOROUGH, ADA, was born in London, and made her 
 dibut in November 1861, at the Strand Theatre, as King Christiaii, 
 in a comedietta adapted from the French by Mr. T. L. Greenwood, 
 entitled 'Is it the King?' Miss Ada Swanborough has played 
 many parts and "created" not a few at this theatre, long established 
 as the home of English burlesque and the domestic drama. Of 
 leading characters which she has from time to time undertaken the 
 following may be mentioned among the niore important : — Cicely 
 Homespu?i in 'The Heir-at-Law'; Estelle Fitzwalter in 'My 
 Preserver'; Matilda Gushington in 'Marriage at Any Price'; 
 Blanche in the burlesque of 'The Duke's Motto'; The Caliph 
 in Mr. W. Brough's ' Cjiliph of Bagdad ' ; Lady Constance de Grey 
 in ' The Field of the Cloth of Gold ' ; Countess cTEstrella in J. P. 
 Wooler's ' Maid of Honour'; Mabel Lyndwood in Burnand's bur- 
 lesque 'Windsor Castle.' In Burnand's extravaganza ' Der Frei- 
 schutz' Miss Ada Swanborough played the part of Agnes, and in 
 Brough's ' Pygmalion ; or. The Statue Fair,' the part of Venus. 
 At the Strand Theatre she sustained the part of Alexina in a two- 
 act drama by Sheridan Knowles entitled ' Alexina ; or, True unto 
 Death,' respecting which the Athenceufn wrote : " The weight of the 
 acting fell on Miss Ada Swanborough, who sustained the part of 
 the heroine with so much feeling and judgment, that, familiar as 
 we are with the general character of the persons and incidents, 
 she created quite an interest in her fortunes and destiny." Other 
 principal characters played by Miss Ada Swanborough at various 
 periods of her career have been — Pauline in ' The Very Latest 
 Edition of the Lady of Lyons'; Leonie in 'The Ladies' Battle'; 
 
SWINSOURNE, THOMAS. 327 
 
 Uardress Lregan in the burlesque ' Eily O'Connor ' ; Inez in 
 Burnand's burlesque of ' L'Africaine ' ; Kate McTavish in ' Old 
 Soldiers,' &c. On May 6, 1875, Byron's three-act comedy 'Weak 
 Woman '_ was produced at the Strand, Miss Ada Swanborough 
 undertaking the part of Helen Gaytkorne. December 5 of the 
 same year she appeared as Mrs. Sutherland in C. T. Cheltnam's 
 comedy ' A Lesson in Love.' In all the more successful comedies, 
 comediettas, burlesques, and extravaganzas produced at the Strand 
 Theatre under the present and past managements (1861-1878) Miss 
 Ada Swanborough has borne a principal rSle. In the spring of 
 1879 she went on tour in the provinces. 
 
 SWINBOURNE, THOMAS, was born in Birmingham, and 
 entered the theatrical profession at the age of eighteen. Four 
 years later he was playing the "leading business" on Mr. Jackman's 
 circuit of theatres, comprising Northampton, Gloucester, Stratford- 
 on-Avon, and Newcastle in Staffordshire, the last of the old 
 theatrical ''circuits." In 1850 he was leading actor at Newcastle- 
 on-Tyne. During his connection with the theatre in that town 
 he played Othello to the lago of Macready. Afterwards Mr. Swin- 
 bourne joined Mr. Alexander's company at the T. R. Glasgow, 
 acting in all the leading Shakespearian and other legitimate dramas, 
 and was next engaged at the T. R. Manchester, where he remained 
 four years. He made his first appearance on the London stage, 
 Monday, September 15, 1862, as Captain Randal Macgregor, in 
 Boucicault's spectacular drama ' The Relief of Lucknow,' then first 
 performed. Previous to his debut in London, Mr. Swinbourne had 
 " starred " in the provinces and in the United States with the late 
 Miss Vandenhoff, and obtained the good report of local journals. 
 The following, among other characters from time to time played 
 by Mr. Swinbourne in London, will serve to illustrate the position- 
 held by him in the dramatic profession. He became a member of 
 Mr. Boucicault's company when that gentleman opened Astley's 
 Amphitheatre as the ' Theatre Royal, Westminster.' On Monday, 
 January 26, 1863, he appeared there as Gear die Robertson in 
 Boucicault's dramatic version of ' The Heart of Midlothian,' then 
 performed for the first time. In the following year, Monday, 
 January 30, at the Adelphi Theatre, he sustained the character 
 of Master Walter in a revival of ' The Hunchback,' Miss Bate- 
 man playing Julia. He appeared at Drury Lane, September 23, 
 
 1865, as Macduff, to the Macbeth of Mr. Phelps and of Mr. 
 Anderson, alternately. The "revival" continued for six weeks. 
 October 28 of the same year, at the same theatre, he acted Caius 
 Cassius (' Julius Caesar ') for six nights ; Mr. Phelps, Brutus ; Mr. 
 Anderson, Marc Antony. November 4 of the same year, at the 
 same theatre, he played Hubert in a revival of ' King John ' ; 
 Phelps, King John ; Anderson, Faulconbridge ; Percy Resell e, 
 Arthur ; Miss Atkinson, Constance. At Easter 1866 he " opened " 
 at Sadler's Wells as Belphegor, and played during the season 
 William (' Black- Eyed Susan '), John Peerybingle (' Dot '), Pierre 
 Leroux ('The Poor Strollers'). At the same theatre, June 16, 
 
 1866, first performance of Mr. Farnie's version of Mr. Charles 
 
328 THE DRAMATIC LIST. 
 
 Dickens's 'Our Mutual Friend,' entitled 'The Golden Dustman,' 
 Mr. Swinbourne acted the part of John Harmon. In 1867, Mon- 
 day, January 21, at Drury Lane, in a revival of 'John Bull,' he 
 played Peregrine. He reappeared at Drury Lane Theatre Sep- 
 tember 22 of the same year, and played, among other parts during 
 the season, Petruchio (' Katherine and Petruchio 0, Jaques (' As 
 You Like It'), Walter in 'The Hunchback'; Miss Faucit as 
 Julia, and the late Walter Montgomery as Sir Thomas Clifford. 
 September 25, 1870, Mr. Swinbourne appeared at the Royal 
 Holborn Theatre, as Edmund Kean in the play of that name. 
 October 31, 1874, he appeared at the Lyceum Theatre as Claudius 
 in ' Hamlet,' which ran for 200 consecutive nights. At the same 
 theatre (September 25, 1875) he acted Macduff. In 1876 he went 
 on tour with Mr. Irving, and appeared as the Ghost in ' Hamlet,' 
 Cromwell in ' Charles I.,' &c. September 17, 1877, appeared at 
 the Olympic Theatre as Sergeant Ciff (' The Moonstone '). De- 
 cember 30, 1878, commenced an engagement at the Lyceum 
 Theatre under Mr. Irving's management, appearing as Horatio 
 in a revival of ' Hamlet,' previously to which he had appeared as 
 Othello at the Park Theatre : — " Mr. Swinbourne is, as aU play- 
 goers are aware, one of the soundest and most legitimate actors 
 of the day. His style, based upon the best traditions of the past, 
 is not so absolutely wedded to tradition as to become rigid or 
 mechanical. In choosing such a character as Othello he was 
 certainly well-advised. Quiet, easy, and natural in the opening 
 scenes, he was not wanting in force when occasion required, but 
 he did not make a hurricane of passion the principal feature of 
 the delineation. Passion, wisely and temperately employed, was 
 present, and in ample degree, but the vehemence of Othello's 
 jealousy was always tempered by tenderness. If he doubts, he 
 also doats — if he suspects, he also fondly loves ; and never in the 
 very tempest and whirlwind of the Moor's fiery rage do we forget 
 his former tenderness, his ever lingering devotion to the ideal in 
 which he had so devoutly believed, until the base tongue of the 
 honest lago ' had done its terrible work but too surely, aided as 
 it was by circumstances favouring the designs of a villain. To 
 enumerate the chief points of Mr. Swlnbourne's impersonation, we 
 may mention the clear and admirable manner in which the speech 
 to the Senate was delivered. This was given with excellent em- 
 phasis and feeling, and evoked hearty applause. The pathos of 
 the effective speech ending with ' Othello's occupation's gone ' also 
 gained due recognition, and the scenes between Othello and lago 
 proved in the strongest possible manner Mr. Swlnbourne's claim to 
 be regarded as a legitimate actor of a high class. The tenderness 
 and gentleness of the interviews with Desdemona, and the dignity 
 displayed in the scenes with Cassio, were further examples of 
 artistic and thoughtful work, deserving the warmest commendation. 
 We have only to add that the audience throughout fully endorsed 
 our own ojiinion respecting the ability Mr. Swinbourne displayed 
 by applauding repeatedly, and by calling him before the curtain 
 many times during the evening." {Era, October 6, 1878.) 
 
TAYLOR, FREDERIC A. 329 
 
 TAYLOR, FREDERICA, was born in Philadelphia, U.S.A., 
 of English parents, and brought to England in early childhood, 
 where she was educated for the stage, and entered the dramatic 
 profession in 1869 at the Oxford Theatre. Miss Taylor was 
 subsequently engaged by Mr. Sefton Parry for a short season. 
 In 1872-3 she fulfilled various engagements in the provinces, and 
 afterwards at the Brighton Theatre, under the management of the 
 late Mr. H. Nye Chart, where she appeared as Ophelia, Helen 
 ('The Hunchback'), Lydia (' Love Chase'). At the end of 1873 
 she was specially engaged by the management of the Theatre 
 Royal, Birmingham, to personate Oberon in a revival of ' The 
 Midsummer Night's Dream.' " As Oberon, Miss Taylor had the 
 advantage of a clear and natural expression, even in singing, so 
 that nearly every word and syllable were heard distinctly ; and her 
 vocal illustrations were greatly effective. She evidently took more 
 trouble than singers usually do to act as well as sing, and hence 
 every scene in which she appeared was an excellent success." 
 {Bir?ningham Daily News) From 1873 to 1875 Miss Taylor 
 was on tour in the provinces, playing various important parts, 
 notably Amy Robsart in Andrew Halliday's drama of ' Kenilworth.' 
 In 1876 she was specially engaged to play Paulina in Shakespeare's 
 ' Winter's Tale,' revived at the Royal Alexandra Theatre, Liverpool. 
 At the Theatre Royal, Birmingham, the same season, she played 
 Hermione ('Winter's Tale'). Among other important parts played 
 from time to time by Miss Taylor, the following may be noticed, 
 viz. Miss Hardcastle ('She Stoops to Conquer'), Lady Isabel 
 (' East Lynne '), Margaret Wentworth (' Henry Dunbar '), Es- 
 meralda (' Notre Dame '). 
 
 TAYLOR, JAMES GOULDE, was born in Manchester, and 
 first became connected with the stage as " walking gentleman " 
 at Aberdeen Theatre in 1858. The following year, at the same 
 theatre, he entered upon the r8le of " low comedy," a department 
 of stage work which he has followed with gratifying success ever 
 since. He made his first appearance on the London stage No- 
 vember 2, 1864, at the Olympic Theatre, as Timothy Topknot in a 
 new farce entitled ' My Wife's Bonnet.' During his engagement 
 there, continuing till 1869, he played Gillenormand in 'The Yellow 
 Passport,' and Pedrigo Potts in an English adaptation of Boildieu's 
 comic opera ' John of Paris ' in a way that obtained for him warm 
 commendation. In a notice of the latter play the Examiner 
 (August 7, 1869) remarked of Mr. Taylor's acting in it that it "might 
 challenge comparison with Liston's — his [Mr. Taylor's] /'^rfrz^o/'o//j 
 was a bit of true comedy, thoroughly humorous and enjoyable from 
 first to last, and yet never dashed with those ' gags ' of coarse farce 
 upon which too many comedians rely." At the termination of his 
 engagement at the Olympic he went to the Adelphi, and after- 
 wards to the Strand, Covent Garden, and Gaiety Theatres. At the 
 
330 THE DRAMATIC LIST. 
 
 latter he "opened" in March 1871 as Christopher Pym in Byron's 
 domestic drama 'Wait and Hope.' He brought himself pro- 
 minently into notice by his admirable acting at this theatre in 
 various parts, of which the following may be selected as examples, 
 namely, Verges in ' Much Ado About Nothing ' ; Isaac of York in 
 Byron's burlesque of ' Ivanhoe ' ; Jim Brass in ' Off the Line ' ; 
 Cabriolo in ' The Princess of Trebizonde ' ; Bertram in W. S. 
 Gilbert's burlesque ' Robert the Devil ' ; Sergeant Bouncer in 
 Arthur Sullivan's operetta of ' Cox and Box,' &c. It has been 
 remarked of Mr. Taylor that he is an actor who plays equally well 
 in drama, farce, burlesque, opera, and opera-bouffe. He has suc- 
 cessfully appeared in the United States and Canada, and largely 
 increased his reputation by his performance there in the part of 
 Sir Joseph Porter, K.C.B., in Gilbert and Sullivan's comic opera 
 ' H.M.S. Pinafore.' 
 
 TEARLE, GEORGE OSMOND, was born at Plymouth, 
 March 8, 1852, and entered the dramatic profession March 26, 
 1869, at the Adelphi Theatre, Liverpool, appearing as Guildenstern 
 in ' Hamlet.' He afterwards travelled through the provinces and 
 Scotland, accepting engagements at various theatres. In 187 1 
 he acted the part of Hamlet at Warrington. Mr. Tearle made 
 his first appearance on the London stage at the Gaiety Theatre, 
 March 26, 1875, in the play entitled ' Rose Michel.' Returning to 
 Liverpool, he again acted the part of Hariilet with some success. 
 Subsequently he played in ' Rip Van Winkle ' at the Princess's 
 Theatre, London, during the last engagement of Mr. Jefferson. 
 Since 1877 he has been fulfilling various engagements in the pro- 
 vinces. 
 
 TEESDALE, HENRY ROBERT, was born in London, 
 January 28, 1841, and made his first appearance on the stage at 
 the Margate Theatre in the autumn of 1867 for the benefit of Miss 
 Amy Sedgwick. On that occasion he played the part of Sir 
 Harry Aritcliff in ' The Unequal Match.' Mr. Teesdale entered 
 the dramatic profession January 1868, at Liverpool, under the 
 management of Mr. H. J. Byron, and played a variety of characters 
 at the Amphitheatre and Alexandra Theatre, including Polixenes 
 in a revival of The Winter's Tale,' and Antonio in ' The Merchant 
 of Venice.' Afterwards he joined the comedy company of Miss 
 Marie Wilton in the provinces, and sustained the parts of the 
 Graf von Staufenberg and The Croupier in Robertson's comedy of 
 ' Play,' and Captain Hawtree in the same author's comedy ' Caste.' 
 He made his first appearance in London at the Gaiety Theatre, 
 December 21, 1868, on the occasion of its opening under Mr. John 
 HoUingshead's management, in the character of Guy Chilstone in 
 ' On the Cards.' Mr. Teesdale remained at this theatre during 
 a year and eight months, and in 1870 went to the United States of 
 America, and entered upon an engagement at the Varieties Theatre, 
 New Orleans. He played there Digby Grant in Albery's ' Two 
 Roses.' Afterwards he went to New York, and appeared at the 
 
TEMPLE, RICHARD. 331 
 
 Olympic, Niblo's, and Wallack's theatres; at the latter theatre 
 sustaining the part of Bob Evans in Boucicault's play of ' Elfie.' 
 Returning to England in June 1872, he played a short engagement 
 at the New Royalty Theatre under Miss Bertram's management, 
 and afterwards rejoined Mr. HoUingshead's company at the Gaiety 
 for a season. Subsequently, he accepted an engagement at the 
 Haymarket Theatre to play the part' of Ted Thelney in Gilbert's 
 play entitled ' Charity,' and, following this, appeared at the Vaude- 
 ville Theatre as Dazzle in the second revival of ' London Assur- 
 ance.' In the spring of 1875 Mr. Teesdale entered into an engage- 
 ment with Mr. and Mrs. Bancroft to join the company of the Prince 
 pf Wales's Theatre, an engagement which continued to the close of 
 the summer season 1878. He played Henry Beauclerc, 'Diplo- 
 macy,' on tour with Mr. and Mrs. Kendal in the autumn of 1878. 
 In December 1878 he joined the company of the Lyceum Theatre, 
 and has been playing there Howard Leslie in the comedietta 
 ' Book the Third, Chapter the First,' &c. 
 
 TEMPLE, RICHARD (a nom de tliMtre; RICHARD COBB), 
 was born in London, March 2, 1847. At the outset of his career 
 he was in the office of his father, a stockbroker in the city of 
 London ; but, having a great partiality for the art, subsequently 
 studied music with a view of practising it as a profession. In 
 1868 he sang in public at several concerts, and for a short time 
 studied Italian opera on the Continent, the death of his father 
 precluding the necessary arrangements for a lengthened stay in 
 Italy. He played as an amateur at a benefit performance at the 
 Theatre Royal, Haymarket, in April 1868; and made his pro- 
 fessional d^but, May 31, 1869, at the Crystal Palace Theatre, as 
 Count Rodolpho in ' La Sonnambula.' Afterwards he went on tour 
 in the provinces to study parts, appearing as first baritone in several 
 English opera and opera-bouffe companies. November 17, 1877, 
 Mr. Temple appeared at the Opdra Comique, London, as Sir 
 Marmaduke Pointdextre in ' The Sorcerer ' (Gilbert and Sullivan), 
 and was the " original " Dick Deadeye in the same authors' popular 
 comic opera ' H.M.S. Pinafore,' first performed at the same theatre 
 Saturday, May 25, 1878, which character he continued to represent 
 for a lengthened period with very great success. 
 
 Mr. Temple " is a competent vocalist, always efficient, and fre- 
 quently very effective ; but he owes his position and popularity in 
 a great measure to his facility in stage business, and to his readi- 
 ness in seizing the humorous features of a new character " {^Era, 
 December 9, 1877). 
 
 TERRISS, WILLIAM (a nom de thidtre), son of the late 
 George Lewin, Esq., barrister-at-law, and nephew of the eminent 
 historian the late George Grote, was born in London 1849, ^"d 
 educated at Windermere College and Jesus College, Oxford. He 
 was for a short time in the Royal Navy ; but subsequently entered 
 the dramatic profession, October 1869, at the Prince of Wales's 
 Theatre, Birmingham. After playing various minor parts there for 
 
332 THE DRAMA TIC LIST. 
 
 some months, he became a member of the company of the Prince 
 of Wales's Theatre, London, under Mr. and Mrs. Bancroft's manage- 
 ment. Subsequently (1871) he removed to Drury Lane Theatre, 
 playing in the late Andrew Halliday's drama of ' Rebecca,' and 
 later on as Malcolm Grceme in ' The Lady of the Lake.' After- 
 wards he joined the Strand company, enacting Doricourt in ' The 
 Belle's Stratagem' during the 250 consecutive representations 
 of the play at that theatre. Having returned to Drury Lane 
 Theatre on the production there of ' Richard Coeur de Lion,' he 
 sustained the part of Sir Kenneth. Following the withdrawal 
 of this play, Mr. Terriss essayed Romeo to the Juliet of Miss 
 Wallis, and subsequently played Captain Molyneux in Boucicault's 
 ' Shaughraun.' The drama last named had an extended run, 
 and, after the Drury Lane season, was removed to the Adelphi 
 stage. Mr. Terriss has played in various revivals at the Adelphi 
 and Princess's Theatres, and was selected by Mr. W. G. Wills to 
 sustain the part of yulian Peveril in his drama ' England,' first 
 performed at Drury Lane. On March 30, 1878, at the Royal 
 Court Theatre, he played Squire Thornhill in the same author's 
 play of ' Olivia,' then first performed. On Monday, September 16, 
 1878, first performance at the Haymarket Theatre of H. J. Byron's 
 "comedy-drama" entitled ' Conscience Money,' Mr. Terriss acted 
 the part of Sydney Sefton, and was excellent in it, " giving an 
 altogether new presentation of villany. It is difficult to imagine an 
 improvement more rapid or more distinct than that this young 
 actor has made since he quitted melodrama for comedy." {Globe, 
 September 17, 1878.) On Thursday, October 3, 1878, in a revival 
 at the same theatre of ' The Rivals,' Mr. Terriss sustained the part 
 of Captain Absolute j and on Monday, December 2. in the first 
 performance at the same theatre of ' The Crisis,' by Mr. Albery, 
 he acted Fawley Denham. On April 14, 1879, he appeared as 
 Walter North in W. G. Wills's play ' Ellen,' then first performed, 
 and on Thursday, June 12, 1879, in ' Brag,' by the same author, he 
 took the part of Htigh Merryman. Mr. Terriss is now (November 
 1879) engaged at the St. James's Theatre, playing Comte de la 
 Roque in ' Monsieur le Due,' and Jack Gambler in 'The Queen's 
 Shdling.' 
 
 TERRY, EDWARD O'CONNOR, was born in London, 
 March 10, 1844, and made his first appearance on any stage, 
 August 15, 1863, at the Mechanics' Institute, Christchurch, Hants, 
 as Wormwood in 'The Lottery Ticket.' Afterwards (1864) he 
 appeared at the following places, viz. Rochester, Guernsey, Shef- 
 field, Newcastle, and the Isle of Man. At the Theatre Royal, 
 Belfast, in the following years (1865-6), he played, among other 
 parts, Tom Twig in ' Catching an Heiress,' Touchstone, Asa 
 Trenchard ('Our American Cousin'), Squire Chivey ('David 
 Garrick '), Tony Lumpkin, &c. Mr. Terry made his first appear- 
 ance on the London stage, at the Surrey Theatre, September 1867, 
 as Fiiinikin Fussleton in ' A Cure for the Fidgets.' Afterwards, 
 the same year, he appeared at the Lyceum Theatre, under Mr. E. 
 
TERRY, ELLEN. 333 
 
 T. Smith's managemeRt, as the First Gravedigger in a revival of 
 ' Hamlet.' In 1869 (August) Mr. Terry joined the company of the 
 Strand Theatre, and, in a revival of Mr. Byron's burlesque ' The 
 Pilgrim of Love,' played the part of the King of Toledo. " But 
 the great man of the performance," remarked the Times (August 
 1869), " is Mr. Edward Terry, who has at once made his mark as a 
 grotesque actor of most singular qualifications. His slim figure 
 recalls to mind the four French dancers who appeared at the 
 Princess's some two years ago. His habitual melancholy, which 
 is itself expressed by the oddest postures, is relieved by frantic 
 Terpsichorean explosions, varying the routine of the ordinary 
 ' breakdown ' with eccentricities after the manner of Callot. As a 
 comic singer he is'also a proficient ; and a dismal ditty, in which 
 the unhappy monarch recounts the maladies he has suffered with 
 very sorrowful mirth, is encored no less than three times amid roars 
 of laughter. Mr. Terry has fashioned for himself a character out 
 of the King of Toledo, and about the impression made by this 
 there can be no mistake." At the Strand Theatre, during the time 
 he was a member of its company, Mr. Terry played the following 
 original parts, viz. Kalyba in Burnand's burlesque of ' Sir George 
 and A Dragon ' ; Polyphloisboio in the same author's burlesque of 
 ' Orion ' ; Cassidy in Byron's comedy of ' Old Soldiers ' ; Lietitenant 
 Lamb in the same author's comedy of ' Old Sailors ' ; Calino in a 
 burlesque under the title of ' Nemesis,' written by Mr. Farnie ; the 
 Widow Sheppard in ' Little Jack Sheppard ' (burlesque), also by 
 Mr. Farnie ; Joe Sally in ' Dolly's Delusion ' (R. Reece) ; and 
 Captain Ginger in Byron's comedy ' Weak Woman.' After ful- 
 fiUing his long engagement at the Strand, Mr. Terry became a 
 member of the company of the Gaiety Theatre, under Mr. John 
 HoUingshead's management. In 1877-8 he played there the 
 following original parts, viz. King of Spain in ' Little Don Cjesar 
 de Bazan ' (Byron) ; Devilshoof in ' The Bohemian Gyurl ' (Byron) ; 
 and Mephistopheles in ' Little Doctor Faust' (Byron). On Monday, 
 September 2, 1878, at the Gaiety Theatre, Mr. Terry played the 
 leading rdle in Burnand's comedy entitled ' Jeames,' founded on 
 ' Jeames's Diary ' of W. M. Thackeray. He is still a member of 
 Mr. HoUingshead's company. 
 
 TERRY, ELLEN (Mrs. CHARLES KELLY, a nom de thidtre 
 [Ward ell]), was born in 1848. Towards the termination of Mr. 
 Kean's memorable period of management of the Princess's Theatre 
 she made her first appearance on the stage in a child's part, that 
 of Mamilius in 'The Winter's Tale,^' April 28, 1856. The Times 
 (May I, 1856), making note of the fact, remarks: "Miss Ellen 
 ^lerrjc -plays the hoy Mamilius with a vivacious precocity that • 
 ^roves-herarworthyrerative of her sister. Miss Kate." On Monday, 
 October 18, 1 858, sh e acted the part 9f Arthiir ialhe -second re^' 
 vival of ' King John,' under Mr. Kean's superintendence, at the 
 P i irice s b's, " "Tytffr" great sweetness, clearness of enunciation, and 
 
 delicate Ught and shade^]] In March 1863 Miss Ellen Terry made 
 
 what may be termed her professionar2§^«i'"at the Hay market 
 
334 THE DRAMATIC LIST. 
 
 Theatre, in the part of Gertrude in 'The Little Treasure' — Mr. 
 Sothern as Captain Maydenblush. " The version of that charming 
 little piece ' La Joie de la Maison,' which is well known in London 
 as ' The Little Treasure,' has within the last few weeks been found 
 pre-eminently useful. Revived at the Adelphi, it enabled Miss 
 Marie Wilton to display talent for a wider range of impersonation 
 than had been usually associated with her name. Performed now 
 at the Haymarket, where it was originally produced, it presents 
 Miss Ellen Terry in an entirely new light. But a short time since 
 this young lady was known as the successor of her sister, Miss Kate 
 Terry, in the representation of the most juvenile characters ; and 
 now she is matured into one of the happiest specimens of what the 
 French call the inginue that have been seen on any stage. There 
 is nothing conventional or affected in her performance of the Little 
 Treasure, but the young girl of buoyant spirits, kindly heart, 
 impulsive emotions, and somewhat remiss education is presented 
 in her natural shape, free and uncontrolled as her long back-hair. 
 Particularly excellent is her assumption o'f that perfect confidence 
 which arises from complete innocence of evil. Well may poor 
 Captain Maydenblush be stricken with terror when she makes him 
 an offer of her hand, with an audacity that the most impudent 
 citizen of the demi-7nonde might strive in vain to acquire." {'limes, 
 March 25, 1863.) Her next appearance on the London boards 
 requiring notice took place October 24, 1867, on the occasion of the 
 opening of the new Queen's Theatre, Long Acre. The piece of the 
 evening, by Charles Reade, was entitled ' The Double Marriage,' in 
 which Miss Ellen Terry sustained the part of Rose de Beaurepaire. 
 From the last mentioned date down to 1874 Miss Ellen Terry 
 seems to have accepted no professional engagements in the me- 
 tropolis. In the last mentioned year, on February 28, she made 
 her reappearance on the stage, at the Queen's Theatre, as Philippa 
 Chester in a revival of Charles Reade's drama ' The Wandering 
 Heir.' Discussing the merits of this performance the Daily Tele- 
 graph (March 2, 1874) said : " Miss EUen Terry possesses exactly 
 the qualifications demanded by such a character as Philippa, and 
 k the undiminished brightness and buoyancy of her style became at 
 once apparent in the scene when the hoyden dwells with such 
 dehght on her love of boyish pastimes, yet shows how much she 
 retains of girlish modesty and simplicity. Hardly less effective 
 when the action is transferred to America, and Philippa appears in 
 male attire, was her generous devotion to the interests of James 
 Annesley ; . . . . while the struggle under masculine garb to veil 
 repeated signs of strong womanly affection was most artistically 
 indicated. Mr. Charles Reade's drama of ' The Wandering Heir 
 which possesses a highly interesting stoiy wrought out with re- 
 markable ingenuity, has thus become endowed with an additional 
 element of attraction, and the prosperous career of a piece having a 
 peculiar significance at the present time promises to be prolonged 
 far beyond the hundred nights it has already nearly attained." 
 
 In the last mentioned year, on Saturday, April 18, at Astley's 
 Theatre, she played a leading role {Susan Mcrton) in Mr. Chai-les 
 
TERRY, ELLEN. 335 
 
 Reade's drama 'It is Never Too Late to Mend.' In 1875 (April), 
 in a revival, at the Prince of Wales's Theatre, of 'The Merchant of 
 Venice,' she acted the character of Portia. Respecting this revival 
 the Daily News (April 19, 1875) was of opinion that there was not 
 much to be said of any individual performer in it with the single 
 exception of Miss Ellen Terry. " But that is a large exception. 
 This is indeed the Portia that Shakespeare drew. The bold 
 innocence, the lively wit and quick intelligence, the grace and 
 elegance of manner, and all the youth and freshness of this 
 exquisite creation, can rarely have been depicted in such har- 
 monious combination. Nor is this delightful actress less successful 
 in indicating the tenderness and depth of passion which lie under 
 that frolicsome exterior. Miss Terry's figure, at once graceful and 
 commanding, and her singularly sweet and expressive countenance, 
 doubtless aid her much ; but this performance is essentially artistic. 
 Nor is there to be found in it a trace of the ' pedantry and affecta- 
 tion ' which distinguished critics have erroneously imagined to be 
 essential features of the character. The lady clearly does not 
 belong to the school who imagine that the whole art of acting 
 consists in not acting at all. She is, on the contrary, very inventive 
 in what the players call 'business' — her emphasis is carefully 
 studied, and her action and movements all receive that subtle 
 infusion of colour which raise them into the region of art, and 
 always prevent them from becoming commonplace. But, instead 
 of being less natural on this account, sincerity and truth are 
 stamped Upon her entire performance." 
 
 In May of the same year, at the same theatre, Miss Ellen Terry 
 sustained the part of Clara Douglas in a revival of ' Money,' acting 
 with " an emoti o nal power in whi ch she is now unequal led " (the 
 AthenaUm, Juiie 5, 1875). " Nothing, however, will dtstinguish 
 this revival so favourably as the exquisitely graceful, tender, and 
 charming performance of Clara Douglas by Miss Ellen Terry. 
 Not only are voice and gesture alike winning and sympathetic, but 
 in a hundred little details which would escape the notice of any but 
 an actress of the very highest capacity does Miss Terry prove her 
 power. The expression of her face during the reading of the will 
 which gives fortune to Evelyn is supremely beautiful, her moan of 
 anguish as she hears the proposal to Georgina irresistibly touching, 
 and the final reconciliation intense in its blissful serenity. Miss 
 Terry has the_r are__gift of identifying herself jv ith the persona ge * 
 she presents, and neither on' our own stage noT"on the a renchdo 
 we remember any exempUfications of womanly self-sacrifice and 
 tenderness which surpasses the Clara Douglas at the Prince of 
 Wales's." {Standard, May 31, 1875.) 
 
 On Saturday, August 7, 1875, acting for one night only at the 
 Princess's Theatre, she played Pauline in ' The Lady of Lyons.' The 
 effect of this performance, according to the AthencEum (August 14, 
 1875), was to set the seal upon a growing reputation, and to make 
 evident the fact that an actress of a high, if not the highest, order 
 had arisen in our midst. Said that journal : " One of the pleasantest, 
 inasmuch as it is one of the rarest, tasks the critic is called upon to 
 
336 THE DRAMATIC LIST. 
 
 fulfil is that of heralding to the world the advent of genius. So 
 vast a space separates, ordinarily, aspiration from accomplishment, 
 the critic's duty becomes merged in that of the censor, and the 
 public comes to regard him as one whose sole function is to point 
 out inequalities of workmanship and failure of effort. In the case 
 of things dramatic and histrionic, it is rarely indeed the critic can do 
 more than suggest some promise of talent behind crude performance 
 — some glimpse of meaning or intention in a commonplace rendering. 
 There is, accordingly, a pleasure of no ordinary kind in announcing 
 a fact Miss Terry's recent performances have fully established, viz. 
 that an actress has developed in whom there is that perception of 
 analogies, that insight into mysteries, and that power of interpreta- 
 tion, on which the world has bestowed the name of genius. Cir- 
 cumstances took Miss Terry from the stage at a time when men 
 dimly perceived in her the promise which has since been realized. 
 It is probable that some delay in that maturity of style indispensable 
 to perfection in histrionic art has resulted from this break in her 
 career. The interval can scarcely have been misspent, however, 
 since Miss Terry reappeared on the stage with ripened powers and 
 with improved method. After one or two attractive performances 
 in parts which showed one side only of her talent, Miss Terry 
 went to the Prince of Wales's Theatre and played Portia in ' The 
 Merchant of Venice,' and Clara Douglas in ' Money.' To these 
 roles is now added a third, the result of the three being to prove 
 Miss Terry a subtle interpreter of poetic character, and an admirable 
 exponent of various phases of passion. Physical advantages are, 
 of course, an all-important portion of the stock-in-trade of an actress. 
 The long, tender lines of a singularly graceful figure add wonderful 
 picturesqueness to the illustrations Miss Terry affords. 
 
 " Her presentation of Paulitie comprised a series of pictures each 
 more graceful than the preceding, and all too good for the lacka- 
 daisical play in which she appeared. They would have been 
 perfectly in place as illustrations to some border ballad or legend 
 of ' The Round Table.' More important, however, than this gift 
 of picturesqueness, magical as is its effect in illustrating art, is the 
 power of getting inside a character and revealing it to the public. 
 This, in the case of Portia, Miss Terry did, showing one of the 
 loveliest of Shakespearian creations in colours in which few, among 
 students even, had dressed it, flooding it, so to speak, with a light 
 of illumination. As interpretation, her Pauline was less successful. 
 Pride, which in the character of Pauline divides the empire with 
 Love, in the interpretation makes scarcely a fight. Conceding, 
 however, that the conception is wrong to this extent, the im- 
 personation is singularly fine. A score of natural and artistic 
 touches reveal the tenderness and longing of the woman's heart ; 
 while the rendering of the fourth act, in which Pauline seeks to 
 force herself from the environing arms of her parents and join her 
 lover, whose words of farewell sting her to madness, is one of those 
 pieces of electrical acting that produce upon the mind an effect of 
 which art in other developments seems scarcely capable. It is too 
 early yet to gauge fully the talent which has revealed itself. It 
 
TERRY, ELLEN. 337 
 
 seems probable that Miss Terry's powers will be restrained to 
 depicting the grace, tenderness, and passion of love. In the short 
 scene in the third act, in which Pauline chides her lover for 
 treachery, the actress scarcely rose to the requisite indignation. 
 Limiting, however, what is to be hoped from her within the bounds 
 indicated, what chance is there not afforded ? Juliet in the stronger 
 scenes would be, we should fancy, outside the physical resources 
 of the artist. Beatrice, RosaUnd, Viola, Imogen, Miranda, and a 
 score of other characters of the most delicate and fragrant beauty, 
 are, however, all within what appears to be her range. In the 
 present state of public feeling respecting the Shakespearian drama, 
 it will be strange indeed if some manager does not take the oppor- 
 tunity of mounting some of those plays for which her talent is so 
 eminently adapted. The period during which an actress can play 
 such parts with effect is brief; and a portion of Miss Terry's 
 career has already been lost so far as the stage is concerned. 
 There will be regretable waste if talent so specially suited to the 
 Shakespearian drama is confined to Lord Lytton's facile sentiment 
 and sparkling rhetoric." 
 
 In November 1875, in a revival at the Prince of Wales's Theatre 
 of Masks and Faces,' she supported the character oi Mabel Vane ; 
 and in the following year (May), at the same theatre, Blanche in a 
 revival of T. W. Robertson's comedy ' Ours.' In 1876 she joined 
 the company of the Royal Court Theatre, and appeared there, in 
 November, in a revival of ' New Men and Old Acres.' At the 
 same theatre, March 30, 1878, first performance of W. G. Wills's 
 play of ' Olivia,' founded on ' The Vicar of Wakefield,' Miss Ellen 
 Terry played the title role. Said the Daily News (April i, 1878) : 
 " To do justice to the tact of the author, to his thoroughly skilful 
 handling of his materials, and to the poetical taste and feeling, and 
 the dramatic energy of the dialogues which he has written, would 
 require far more space than can here be given. A similar remark 
 may with equal justice be applied to the acting of the play. Miss 
 Ellen Terry suppresses something of the pertness and vanity of 
 O/zVz'a'j character while giving prominence to -her confiding inno- 
 cence. Her temporary hesitation and distrust of her lover's rakish 
 language are nevertheless distinctly and finely marked. Mr. Wills 
 has introduced a pretty and touching scene, in which she takes 
 leave of her family one by one, bestowing small presents and many 
 kisses for the little ones ; and herein the simple feeling of the 
 actress was touching in a high degree. The crowning scene, how- 
 ever, is that in the inn, where by an irresistible impulse Olivia 
 is seen to thrust from her violently, with both hands, the man who 
 has outraged, betrayed, and insulted her. This outburst produced 
 upon the audience a powerful effect." Miss EUen Terry continued 
 to play the part during the very successful " run " of the piece. 
 . On Monday, December 30, 1878, the "opening" night of Mr. 
 Henry Irving's management of the Lyceum Theatre, she appeared 
 as Ophelia in the revival of ' Hamlet,' the play chosen for the 
 occasion. The cast included, besides the manager himself (in the 
 title role), Mr. Forrester, as Claudius; Mr. Chippendale, Polonius; 
 
 z 
 
338 THE DRAMA TIC LIST. 
 
 Mr. Mead, the Ghost ; Mr. Swinbourne, Horatio ; Miss Paunce- 
 fort, The Queen. The Saturday Review (May 24, 1879) considers 
 that it is as Ophelia that Miss Terry has won for herself a place in 
 the first rank of actresses. In this performance is found the same 
 "power of conception of a tragic part, and of execution so perfect 
 that every word seems to be spoken, every gesture to be made, 
 from the emotion of the moment, on the importance of vi'hich we 
 have already insisted. The pathos of the mad scene is not more 
 thought out or more natural than the emotion shown in the scene 
 where Polonius dismisses Laertes to his ship, a scene of which 
 Miss Terry relieves the possible tedium by exhibiting, during 
 Polonius's speech, the interest which a sister would naturally feel 
 in her brother's prospects. Miss Terry's performance begins by 
 striking a note of nature, and is natural and complete throughout, 
 with one exception. Throughout one is impressed by the con- 
 sistency of the actress's conception, and by the perfect expression 
 given to her idea. These qualities are especially remarkable in the 
 mad scene. Here, instead of the incoherent outpouring of imbecile 
 unconnected phrases which has too often passed for Shakespeare's 
 representation of Ophelia's madness. Miss Terry shows us an in- 
 telligible and (if one may use a seemingly paradoxical term) con- 
 sistent state of dementia. That is, her power of facial expression, 
 her action, and her intonation, combine to show us the origin in 
 her disordered state of mind of each wild and whirling word that 
 she utters. Every broken phrase and strange image is suggested 
 by some recollection of the time before she was distraught. The 
 intense pathos with which this catching up of interrupted threads of 
 thought is presented it is impossible to describe, except in the 
 words of Laertes : — 
 
 ' Thought and affliction, passion, hell itself, 
 She turns to favour and to prettiness.' 
 
 The exception referred to above occurs in the scene where Ophelia 
 returns Hamlet's presents. Here Miss Terry is too much given to 
 tears, too little to amazement. But this is a very small blemish, if 
 it is a blemish, in a performance full of beauty." 
 
 Apropos of this performance Punch (January 11, 1879, P- 1°) 
 published the following : — " Punch lately read the very sapient 
 criticism that ' Ophelia is a part into which it is impossible to put 
 much fresh signiticance.' He especially admires this wise saw, when 
 he thinks of the entirely fresh significance put by Ellen Terry into 
 the great scene of the third act in which Hamlet does his best to 
 wrench the love of her out of his heart and breaks hers in the 
 effort ; wheii he retraces the delicate shades by which this admirable 
 actress distinguished the pangs of despised love from the worse 
 pangs which follow the discovery that the noble mind she has so 
 worshipped is overthrown — a misery summed up in the exquisite 
 closing lines of the scene, which are the epitaph, not of her lost 
 love, but of Hamlet's shattered reason. 
 
 " If anything more intellectually conceived or more exquisitely 
 
TERRY, KATE. 339 
 
 wrought out has been seen on the English stage in this generation, 
 it has not been within Punch's memory." 
 
 On Thursday, April 17 of the same year, Mr. Irving revived'The 
 Lady of Lyons,' in which Miss Terry acted Pauline. " Certainly a 
 more truthful or touching, a more refined or more exquisitely 
 womanly performance of the character has not been witnessed. It 
 differs from that of most preceding representatives of the part 
 chiefly in the predominance of the quality of tenderness. Those 
 who are fortunate enough to have seen this actress's performance 
 in Mr. Wills's play of 'Olivia' cannot have forgotten the terrific 
 power of her expression of hatred and aversion for the man who 
 had so basely betrayed a trusting nature. If, therefore. Miss Terry 
 chooses to moderate those fierce denunciatory tones, to soften down 
 those bitter sarcasms and angry taunts which it has been customary 
 rather to colour highly than to subdue, she will not be suspected of 
 falling short of the occasion from any lack of means. She chooses, 
 apparently, rather to exhibit the love of the woman still struggling 
 to show itself in spite of the cruel fraud of which she is the victim, 
 and to appear as crushed for awhile by a sensitive woman's dread 
 of the mockery of idle tongues, rather than moved by fierce resent- 
 ment towards her betrayer. All this is very beautiful, and the 
 inexpressible grace of all her movements and attitudes, the perfect 
 simplicity, truth, and directness of all her utterances, add to the 
 performance a singular charm. Yet it must be confessed that 
 nature portrayed so moderately and with so much sweetness and 
 truth is a little out of keeping with the somewhat artificial character 
 of the play. The old and more emphasized style was unquestion- 
 ably that which was in the mind of the author when he wrote the 
 speeches that are assigned to the proud lady in the hour of her 
 humiliation." {Daily News, April 18, 1879.) ^i 'he revival of 
 ' Eugene Aram ' during June of the same year Miss Terry acted 
 the part of Ruth Meadows with considerable tenderness and grace. 
 
 TERRY, KATE (Mrs. ARTHUR LEWIS), was born in i'844, and 
 made her first appearance on the stage at the Princess's Theatre, 
 during the management of Mr. Charles Kean. On Monday, 
 February 9, 1852, she acted there the part of Arthur in a revival 
 of ' King John.' Accoirding to the Times (February 10, 1852), 
 " Hubert, one of the most interesting characters in the piece, was 
 played by Mr. Ryder with a great deal of manly pathos, to the 
 effect of which the clever acting of Miss Terry as Arthur greatly 
 contributed. Here and there marks of training might be traced in 
 this little girl : but she was much more easy and natural than is 
 usually the case with juvenile performers." In Lord Macaulay's 
 diary of February 6, 1852 (see Trevelyan's Life of Lord Macaulay, 
 vol ii. page 301), he alludes to Miss Kate Terry's performance of 
 Prince Arthur at Windsor Castle in these terms: "The scene 
 between King John and Hubert, and that between Hubert and 
 Arthur, were very telhng. . . . The little girl who acted Arthur 
 did wonders." In a footnote to this passage the author says : " It 
 is almost worth while to be past middle life in order to have seen 
 
 z 2 
 
340 THE DRAMA TIC LIST. 
 
 Miss Kate Terry in Arthitr." Miss Kate Terry's first public 
 performance of importance took place at the same theatre, April 
 17, 1858, in the character of Cordelia (' King Lear') ; Mr. Charles 
 Kean played the King — one of his most marvellous impersonations 
 —on the occasion. Miss Kate Terry gained praise for the "simple, 
 beautiful style in which she expressed the natural feelings proper to 
 the situations assigned to her in this wonderful drama" {A thenceum, 
 April 24, 1858). In the previous year she had played the part of 
 Ariel in a revival of 'The Tempest,' at the same theatre. With 
 an enterprise and liberality rare in theatrical annals, Mr. Kean had 
 produced three of his Shakespearian revivals within nine months. 
 ' The Tempest ' was even more remarkable as an effort of labour 
 and invention than its predecessors. " In this revival of ' The 
 Tempest ' the whole interest of the play is concentrated and the 
 whole burden thrown on Ariel. The task which Mr. Kean appears 
 to have set himself is to show Ariel in the greatest possible variety 
 of situations, keeping up the notion of a spiritual being by the 
 dazzling light with which he is surrounded, the suddenness of his 
 appearance, and the swiftness with which he passes from spot to 
 spot. . . . The part was taken by Miss Kate Terry, who brought 
 to it youth, grace, and intelligence. In one point alone was there a 
 departure from the conception of Shakespeare — Ariel did not sing." 
 {Saturday Review, July 4, 1857.) 
 
 In March 1859, towards the close of Mr. Charles Kean's long 
 term of management, he produced Shakespeare's tragedy of ' King 
 Henry the Fifth,' in which Miss Terry appeared. " The union of 
 England and France in one kingdom is the ambitious sentiment 
 of the play, and the heroism of the English character the spirit that 
 pervades the scenes. This is exemplified in the small as well as 
 the great incidents ; and in none, in acting, did it come out more 
 significantly than in the little part of the boy belonging to the 
 Pistol group of characters at the end of the first act. Miss Kate 
 Terry, as the impersonator of the brave youth, in the heroic and 
 pleasing attitude with which he listened to the sound of the drum, 
 and the measured march with which he followed delightedly the 
 spirit-stirring music, showed us at once the sympathetic gallantry 
 of the English lad going to the wars. There was in it an in- 
 telligible indication of the wonderful daring by which the battle 
 of Agincourt was won. To men who were once such lads as he 
 nothing was impossible. The trait was well brought out ; and that 
 little bit of acting, in regard to its completeness, was the gem of 
 the performance." {Athenaum, April 2, 1859.) In the year 1862 
 Miss Terry joined the company under Mr. Alfred Wigan's manao-e- 
 ment at the St. James's Theatre, and subsequently under that^'of 
 Miss Herbert when the theatre passed into her hands. It was 
 during this engagement that Miss Terry, then only eighteen years 
 old, had her first chance of playing a leading part before a London 
 audience, and at once made her mark as an actress of exceptional 
 gifts, when, owing to the sudden indisposition of Miss Herbert 
 she was called upon at a few minutes' notice (being then actually 
 dressing for the stage to play a new part in ' Under the Rose ') 
 
TERRY, KATE. 341 
 
 to take the part of Mrs. Union in ' Friends or Foes.' This 
 performance was so excellent, and especially so considering the 
 peculiarly trying circumstances in which it was presented, as to 
 advance Miss Terry at once to the front rank of her profession. 
 The Daily News (March 29, 1862), discussing the merits of the 
 play, thus wrote of Miss Terry's part in it : " Mr. Horace Wigan's 
 extremely clever adaptation of ' Nos Intimes ' to the English stage 
 continues to attract large audiences to this pretty little theatre (St. 
 James's). . . . Our present intention is not, however, to repeat a 
 favourable notice of a comedy which has drawn all Paris to the 
 ' Vaudeville ' for the last few months, and is scarcely less enjoyed 
 in its new dress at the St. James's ; but to record with all the 
 praises it so well deserves the performance of the young and rising 
 actress who has undertaken the part of Mrs. Union. Since 
 Monday last, in consequence of the regretted sudden illness of 
 Miss Herbert, Miss Kate Terry has risen at a bound to the 
 highest rank in her profession by her performance of Mrs. Union. 
 We confess it fairly surprised us, and no doubt has equally surprised 
 the few among the audience who were not misled by the name of 
 Miss Herbert in the playbill. Miss Kate Terry was, if we mistake 
 not, the Ariel of ' The Tempest,' at the Princess's Theatre, under 
 Mr. C. Kean's management, and many of our readers will remember 
 the tender grace of her impersonation of that ' blithe spirit.' She is 
 now in all respects an accomplished dramatic artist ; and there is 
 no actress on the English, or even on the French, stage who could 
 have surpassed her in the part of Mrs. Union in ' Friends or Foes.' 
 It is a part that demands exceptional qualifications in an actress — 
 charm of looks, mobility of expression, grace and dignity of manner, 
 and that nameless ease and self-possession which is usually de- 
 scribed as ' high-bred.' But the part requires much more than all 
 this. Once and again, Mrs. Union, virtuous and honest, but 
 attractive and fond of admiration, hovers on the brink of that 
 precipice over which innocent flirtations are so apt to slide ; and to 
 preserve her character with the audience that too facile and in- 
 dulgent sympathy which is her besetting danger must never appear 
 self-conscious or in the slightest degree meretricious. Miss Kate 
 Terry manages these inflections of character with so happy an 
 instinct that the audience never for a moment loses confidence in 
 the wife whose gravest error is a momentary imprudence. It is 
 altogether a most charming deUneation, and we believe could not 
 be surpassed on any stage. The English theatre is not so rich in 
 promising actresses that we can afford to withhold a word of 
 hearty and sincere encouragement when it is so justly due as in 
 the present instance. Miss Kate Terry in this performance has 
 displayed qualities as an actress in sentimental comedy which have 
 vanished from the EngUsh stage since the retirement of Miss 
 Fortescue." 
 
 Having fulfilled various engagements in the provinces, Miss Kate 
 Terry joined, in 1863, the company of the Lyceum Theatre, under 
 Mr. Charles Fechter's management, and, on January 15, appeared 
 there as Blanche de Nevers, first performance of 'The Duke's 
 
342 THE DRAMATIC LIST. 
 
 Motto' (John Brougham). On October 31 of the same year, first 
 performance of ' Bel Demonio ' at the same theatre, she sustained 
 the part of Lena, " not only like one who has received instruction, 
 but who has impulses of hei" own, or which, at all events, seem 
 spontaneous." Saturday, May 21, 1864, at the Lyceum, m a 
 revival by Mr. Charles Fechter of ' Hamlet,' in which he played 
 the title role, Miss Terry supported the part of Ophelia. The same 
 year she joined the company of the Olympic Theatre, and at the 
 first performance there, Wednesday, November 2, of ' The Hidden 
 Hand' (Tom Taylor), played the part of Lady Penarvon, "in 
 which character she proved that she is already a good actress, and 
 contains the promise of being a better." The following year (1865), 
 Saturday, March 4, first performance of a play entitled 'The 
 Settling Day' (Tom Taylor), at the same theatre. Miss Terry 
 undertook the character of Mrs. Markland. The same year 
 (1865), in June, at the same theatre, in a revival of Shakespeare's 
 ' Twelfth Night,' she acted the dual parts of Viola and Sebastian; 
 and in July the character of the Countess de MatiUon in Tom 
 Taylor's drama ' The Serf ; or. Love Levels All.' " Miss Kate 
 Terry, with that bright intelligence which illumines every character 
 she undertakes, played the proud but devotedly-loving countess, 
 and exhibited a grace of expression and an intensity of feeling 
 which deservedly elicited the warmest recognitions of a thoroughly 
 sympathetic audience." {Daily Telegraph, July 3, 1865.) 
 
 In December 1865 Miss Terry sustained the part of Margaret 
 Wentworth, first performance of Tom Taylor's dramatic version of 
 Miss Braddon's novel ' Henry Dunbar.' In May 1866, stiU at the 
 Olympic Theatre, she performed the part of Edith Trevelyan, the 
 heroine, in a play by Leicester Buckingham entitled ' Love's 
 Martyrdom'; and on Monday, October i, the leading female rSle 
 in 'A Wolf in Sheep's Clothing,' then first performed at the 
 Adelphi Theatre. The same year, in a play by Dion Boucicault 
 entitled ' Hunted Down,' first performed at Manchester, Miss 
 Terry undertook the part of Mary Leigh j and in November of 
 the same year, at the Adelphi Theatre, London, she appeared as 
 the heroine in a piece called ' A Sister's Penance,' by Messrs. 
 Tom Taylor and A. W. Dubourg. " Of Miss Kate Terry's acting 
 in this interesting drama it is impossible to speak too highly, and 
 the situation in the third act is especially interpreted by her with a 
 force and tenderness of expression which it is not too much to say 
 no other actress on the stage could equal. Heartily welcomed on 
 her recovery from her late severe indisposition, her performance 
 was throughout greeted with the warmest plaudits and the most 
 unequivocal signs of admiration ; and for real pathos, deep sensi- 
 bility, and true feeling her achievement has never been surpassed." 
 {Daily Telegraph, November 27, 1S66.) In 1867, on Saturday, 
 June I, first performance at the same theatre of Charles Reade's 
 adaptation of Mr. Tennyson's ' Dora,' she sustained the title rdle. 
 " The second act ... is remarkable chiefly for the variety and 
 ingenuity of the touches of true life with which Miss Terry pro- 
 ceeds in her embodiment of Dora. Still thoroughly a couiitry 
 
TERRY, KATE. 343 
 
 girl, simple, yet shrewd, with depths of womanly feeling and little 
 feminine piquancies ; meek as a mouse, but with something in her 
 of the power of angels, she trips on her way of quiet loving kindness 
 in a shabby hat and cotton gloves, and morsel of silk cape over a 
 dress with narrow skirt. Her uncle gives her money for fine dress ; 
 but of that, and of all that she can call hers to give, the utmost toll 
 is taken for the sustenance of the unhappy outcasts. How touching 
 it all is, and true with the real poetry of life, we feel throughout ; 
 the interest in the character rises steadily as the play goes on, and 
 culminates as it should in the last scene." {Examiner, June 18, 
 1867.) 
 
 On August 31 of the same year, at the Adelphi Theatre, Miss 
 Kate Terry made her farewell of the stage in the character of 
 Juliet, and received an extraordinary ovation. The Athenaum 
 (September 7, 1867) thus summed up Miss Terry's professional 
 merits : — " She is certainly a charming actress. Without much 
 physical power, she could nevertheless give, without ostensible 
 effort, great force by an apparently involuntary gesture or motion 
 to the expression of feeling or sentiment. As an artist she gained 
 her ends by an economy of means, and never wasted her powers 
 by overstepping the modesty of nature. Her strength, however, 
 was tried in original parts, which she invested with grace and 
 tenderness. Accordingly our popular dramatists were ambitious to 
 write characters for her. The last of such in which she appeared 
 was Mr. Charles Reade's Dora, which, though not exactly the 
 same as Mr. Tennyson's, was still a stage portrait of distinctive 
 elegance. These parts, however, did not give Miss Kate Terry 
 that standing with the public which she deserved, and she was 
 justly desirous of showing her skill in more severe art before finally 
 leaving the stage. She therefore commenced a series of parts from 
 Shakespeare, Bulwer Lytton, and Sheridan Knowles. The public 
 at once responded to the appeal, and were charmed with the 
 delicate interpretation which she gave to Beatrice, Pauline, Julia, 
 and Juliet. In all these parts Miss Terry was remarkable for the 
 independence of her conceptions, as well as for her spirit or her 
 pathos. They had not in some instances, perhaps, the energy of 
 which actresses of more robust physique are capable ; but there 
 was in all a fine poetic appreciation and a subtle judgment which 
 satisfied the taste of the more refined among the audiences which 
 she was now capable of commanding. These were both numerous 
 and fashionable." To the Daily News (August 28, 1867), Miss 
 Terry's acting had always seemed to be more intellectual than 
 emotional — to have had more head than heart in its composition. 
 " There has been a want of blood, of vitality, in many of her clever 
 and highly-elaborated impersonations. Her voice and face have to 
 a certain extent been against her ; the former is thin and slightly 
 heady ; the latter wants openness and breadth of effect about the 
 eyes. She'is seen to most advantage in parts requiring repose of 
 manner ; but stage repose is, after all, a mere second-rate artificial 
 trick that has no claim to stand by the side of force and passion. 
 . . . Miss Terry's Jttliet is one of her best impersonations. Nearly 
 
344 THE DRAMA TIC LIST. 
 
 everything she does in it is done with apparent effort ; but the intention 
 is excellent, and the execution only fails in parts from pure physical 
 weakness. The potion scene in the chamber, for example, requires 
 more bodily force than she is able to throw into it. The point in 
 the scene with the Nurse at the close of the third act, where Juliet 
 ceases to be a weak, loving girl, and becomes suddenly a strong, 
 self-reliant woman, was admirably marked. The balcony scene 
 was a little artificial, but very charming ; not perhaps girlish 
 enough, and not so demonstrative as Mdlle. Stella Colas made it. 
 In elocutionary grace and power it was equal to Miss Helen 
 Faucit's recent performance of the same character." 
 
 According to the Examiner (September 7, 1867) : " In ' The 
 Hunchback' the acting of Miss Kate Terry was, in the country- 
 bred phase of the part of Julia, full of charming touches, and 
 without straining for points, but rather an avoidance of strain, had 
 a true pathos in the close of the third act which drew many tears. 
 The failure in the scene in the fourth act, with Clifford as a 
 secretary, was no failure of conception, but a want of strength to 
 cover with the actor's art the tediousness of the writing by which 
 an attempt was made to pile up the agonies of the situation. The 
 long argument with herself of Julia, before she will look at the 
 secretary who has Clifford's voice, remained with her as dull on the 
 stage as in the book." 
 
 The following interesting account of Miss Terry's farewell per- 
 formance appeared in the Times (September 2, 1867) : — " It is 
 seldom that the theatrical chronicler has to describe a scene like 
 that at the New Adelphi on Saturday, when Miss Kate Terry took 
 her farewell of the stage as Juliet. Successes, demonstrations, and 
 ovations of a kind, may be made to order ; but the scene of Satur- 
 day was one of those genuine, spontaneous, and irrepressible out- 
 bursts of public recognition which carry their credentials of sincerity 
 along with them. The widespread feeling that the stage is losing 
 one of its chosen ornaments had been manifested by the full 
 houses, more and more crowded on each successive night, which, 
 even at this deadest of the dead season, have been attracted to the 
 New Adelphi by Miss Terry's farewell performances. Their attrac- 
 tion came to its climax and its close on Saturday, when the theatre 
 was crammed, from the orchestra to the remotest nook in the 
 gallery where a spectator could press or perch, with such an 
 audience as we have never before seen gathered within its walls. At 
 the conclusion of the tragedy, in the course of which Miss Terry 
 was called for at the end of each act except the fourth, when the 
 good taste of the more intelligent part of the audience suppressed 
 the demand. Miss Terry came on before the curtain in obedience 
 to a thundering summons from every part of the house, and, almost 
 overcome with the combined excitement of the part and the occa- 
 sion, stood for some moments curtseying and smiling under the 
 shower of bouquets and the storm of kindly greeting. Nor when 
 she had retired with her armful of flowers — looking, in the white 
 robe and dishevelled hair of Juliet's death-scene, as she used to 
 look in Opheha— was the audience satisfied. Again Miss Terry 
 
TERRY, KATE. 345 
 
 was recalled, and again she appeared to receive the loud and long- 
 continued plaudits of the crowd. Then the stalls began to clear. 
 But the storm of voices and clapping of hands continued from pit, 
 boxes, and gallery, through the overture of the farce, swelling till 
 it threatened to grow into a tempest. The curtain rose for the 
 farce ; still the thunder roared. CJne of the actors, quite inaudible 
 in the clamour, began the performance, but the roar grew louder 
 and louder, till at last Mr. Phillips came on in the dress of Friar 
 Lawrence, and, with a stohdity so well assumed that it seemed 
 perfectly natural, asked, in the stereotyped phrase of the theatre, the 
 pleasure of the audience : ' Kate Terry ! ' was the reply from a 
 chorus of a thousand stentorian voices ; and then the fair favourite 
 of the night appeared once more, pale, and dressed to leave the 
 theatre, and, when the renewed roar of recognition had subsided, in 
 answer to her appealing dumb-show, spoke, with pathetic effect, a 
 few hesitating words, evidently the inspiration of the moment, but 
 more telling than any set speech, to this effect : — ' How I wish from 
 my heart 1 could tell you how I feel your kindness, not to-night 
 only, but through the many years of my professional life. What 
 can I say to you but thanks, thanks, and good-bye ! ' After this 
 short and simple farewell, under a still louder salvo of acclamation, 
 unmistakably proving itself popular by its hearty uproariousness, 
 the young actress, almost overpowered by the feelings of the 
 moment, retired with faltering steps, and the crowded audience 
 poured out of the house, their sudden exit en masse being in itself 
 one of the most flattering tributes to the actress whose last appear- 
 ance had drawn them together. 
 
 " This remarkable manifestation of popular favour and regard is 
 worth recording, not only as a striking theatrical incident, which 
 those who were present can never forget, but because it proves that 
 the frequenters of even the pit and gallery of a theatre where, till 
 Miss Terry came, the finer springs of dramatic effect have very 
 rarely been drawn on, can rapidly be brought to recognise and 
 value acting of a singularly refined and delicate kind — so refined 
 and delicate indeed, that some of those who profess to guide the 
 public taste have been apt to insist on its wanting physical power. 
 On Saturday night it was made evident to demonstration, if other 
 evidence had been wanting, that Miss Terry had wrought her spells 
 over the frequenters of pit and gallery, as vijcU as of boxes and stalls. 
 In the interests of refined dramatic art this is a cheering set-off to 
 many indications that seem to make the other way. It shows that 
 if the theatrical ' masses ' — those who are roughly lumped as the 
 ' British Public ' — are unable to discriminate nicely between dia- 
 monds and paste, and so take a good deal of coarse glassware for 
 real stones, they are, nevertheless, susceptible to the influence of 
 refined, earnest, intelligent and conscientious acting when they have 
 the rare opportunity of seeing it. 
 
 " How well Miss Terry's acting merits all these epithets has been 
 abundantly proved, not only through her recent course of farewell 
 performances, in which she has filled a range of parts so widely 
 different as to show a variety of power in itself as rare as the grace, 
 
346 THE DRAMATIC LIST. 
 
 refinement, intelligence, and feeling she has put into her acting, 
 but through the whole of a career extending from four years old to 
 four-and-twenty. If it is worth saying anything precise of her 
 performances now, we may note here that she never gave a more 
 triumphant answer to the critics who have charged her with want 
 of power than in her acting of Juliet on Saturday. It was striking 
 to observe the marked improvement on her first performance of the 
 part last Tuesday. On Saturday her finest scenes were, unquestion- 
 ably, those of fiercest (not of tenderest) passion, beautiful as were 
 the latter in themselves. Perhaps the excitement of the occasion 
 wrought most in unison, with the feeling of Juliefs more violent 
 passages of emotion. Perhaps the actress wished in this closing 
 performance to assert her power in the point in which alone it had 
 been questioned by fair and competent critics. But whatever the 
 cause, in the scene where yuliet learns Romeo's banishment, in her 
 agonised pleading with her parents, in her subsequent interview 
 with Friar Lawrence, and — crown of the series — in the scene where 
 she drinks the sleeping-draught. Miss Terry rose on Saturday to a 
 height she never touched before, and left us more than ever under 
 the impression that the stage is losing in her more than even her 
 warmest admirers have hitherto been content to believe." 
 
 Following her retirement from the stage, Miss Kate Terry married 
 Mr. Arthur Lewis. 
 
 TERRY, MARION, made her professional ^/i5«/ at Manchester, 
 in July 1873, ^s Ophelia in ' Hamlet,' arranged by Mr. Tom Taylor. 
 The same year, October 4, she appeared for the first time on the 
 London boards, at the Olympic Theatre, in a revival of a piece 
 entitled' A Game of Romps'; and the following year, at the same 
 theatre, played Hero, in a revival of Shakespeare's ' Much Ado 
 About Nothing.' Subsequently she joined the company of the 
 Strand Theatre, and performed there in various plays of H. J. 
 Byron — as Clara Mayjield in ' Old Sailors ' ; Lilian Gathorne in 
 ' Weak Woman,' &c. At the Haymarket, in September 1876, first 
 performance of W. S. Gilbert's drama ' Dan'l Druce, Blacksmith,' 
 Miss Marion Terry played the part of Dorothy. At the same 
 theatre, on January 20, 1877, in a revival of the same author's play 
 ' Pygmalion and Galatea,' she sustained the latter character, apropos 
 of which performance the Athencsum, January 27, 1877, published 
 the following : — " Miss Terry possesses what Mr. Ruskin calls ' a 
 serenity of effortless grace.' Her expression has purity and earnest- 
 ness in combination. The original charm which is her distinguish- 
 ing attribute is no mere mask for incapacity. Depth and tender- 
 ness of feeling are discovered behind it, and the manner in which 
 power is expressed is surprising in one so young. These are the 
 
 principal attributes of Galatea Miss Terry's performance 
 
 displays at points a little crudeness. It is none the less, as a whole, 
 an admirably suggestive representation." During the same en- 
 gagement she appeared as Zeolide (the part originally played by 
 Mrs. Kendal) in 'The Palace of Truth'; Lydia in Sheridan 
 Knowles's ' Love Chase '; in the original part of Belhida in W. S. 
 
TERRY, FLORENCE. 347 
 
 Gilbert's comedy ' Engaged ' ; and as Florence Bristow in ' The 
 Crushed Tragedian ' (Byron). In the Spring of 1878, at the Olympic 
 Theatre, she enacted the heroine in W. S. Gilbert's ' Vagabond.' 
 In August 1878, at the Court Theatre, she took the place of her 
 sister, Miss Ellen Terry, as Olivia in the play of that name ; and 
 in October of the same year, at the Olympic, played Louise in a 
 revival of ' The Two Orphans.' Miss Terry was the " original " 
 Marie de Courcelles in a new play in five acts, entitled ' A Re- 
 publican Marriage ' (Mrs. Holford), first performed at the Olympic, 
 Saturday (afternoon), November 8, 1878. 
 
 TERRY, FLORENCE, made her d^but on the London stage 
 Wednesday, June 15, 1870, at the Adelphi Theatre, as Louison in 
 an English version of MoliSre's ' Le Malade Imaginaire,' entitled 
 ' The Robust Invalid.' She has fulfilled various engagements at 
 London theatres since that time. Florence Terry was the "original" 
 Little Nell of Halliday's play of that title, first performed at the 
 Olympic, Saturday, November 19, 1870. "Much interest was 
 manifested in the appearance of Miss Florence Terry as Nell. 
 She has evidently been subjected to a severe training, and with an 
 intelligent face and manner, has all the business at her fingers' 
 ends. A slight staginess and artificialness will probably disappear 
 as the young lady grows older." {Daily News, November 21, 1870.) 
 
 In 1876-7, in the provinces, she played Lady Betty Noel in Tom 
 Taylor's play 'Clancarty'; and Cynisca ('Pygmalion and Galatea') ; 
 Myrza ('Palace of Truth"); Dorothy ('Danl Druce'); Jenny 
 Northcote ('Sweethearts'), during the same year at various theatres 
 in .the provinces. At Christmas 1877 she played the heroine in a 
 revival of ' The Turn of the Tide ' at the Olympic ; and in the 
 spring of 1878 Olivia in the play of that name in the provinces. 
 She was the " original " Ellen in Mr. Wills's unsuccessful play of 
 that name produced at the Haymarket, April 14, 1879. 
 
 THOMPSON, LYDIA (Mrs. ALEXANDER HENDERSON), was 
 born in London. At the outset of her stage career she earned a 
 considerable reputation as a skilful and accomplished dancer in 
 fairy spectacle and burlesque. She made her professional dibut as 
 a principal dancer in the ballet at Her Majesty's Theatre in 1852. 
 The following year (December 26) Miss Thompson began her 
 career in that line of dramatic " business '' in which, afterwards, 
 she took the lead in London, in acting Little Silverhair, in the 
 Christmas piece produced at the Haymarket Theatre, eatitled 
 'Little Silverhair; or. Harlequin and the Three Bears.' In 1854 
 she played Little Bo-Peep, in the Christmas piece of that title pro- 
 duced at the same theatre. In December 1856, a contemporary 
 journal, noticing the absence of Miss Lydia Thompson's name from 
 the theatrical playbills of the Christmas season, remarked : •' Persons 
 who miss from the pantomime ballets that popular and promising 
 artist [Miss Lydia Thompson], may be appeased by hearing that 
 she is dancing her way through the theatres of Germany with 
 pleasant success." In 1859 (November 16) Miss Thompson 
 
348 THE DRAMATIC LIST. 
 
 appeared at the St James's Theatre in a fairy spectacle, which was 
 received with much favour by the playgoing pubhc, enftlea 1 lie 
 Swan and Edgar '—Cyg?ietta, Miss Lydia Thompson, by whom 
 the dancing, of course, was exquisitely executed. At the same 
 theatre, the following year, in a " baUet-«««-burlesque, entitled My 
 Name is Norval,' she played the part of Young h'orval. Monday, 
 April 9, i860. Miss Thompson appeared at the Lyceum Theatre in 
 a burlesque, originally played by members of the Savage Club for 
 a charitable purpose, entitled 'The Forty Thieves'; and sub- 
 sequently, November 5, i860, as Fanchette in 'The Pets of the 
 Parterre,' written by Stirling Coyne. In 1861, August 19, first 
 performance at the same theatre of Falconer's play ' Woman ; or. 
 Love against the World,' she acted the character of Norah; and 
 in an after-piece by the same author, entitled ' The Fetches,' 
 the part of Mary Brady. But Miss Lydia Thompson will be 
 best remembered as a sparkling and extremely clever actress in 
 burlesque, in which, for many years, few excelled her on the 
 London stage. Perhaps the best examples of her excellence in this 
 department of the histrionic art have been witnessed in such pieces 
 as ' Der Freischutz ' (H. J. Byron) ; 'The Field of the Cloth of 
 Gold' (W. Brough) ; and ' Blue Beard.' Miss Lydia Thompson, it 
 may be added, has met with well-deserved success on the American 
 stage. She has several times visited the United States with her 
 so-called " burlesque troupe." In October 1878 she appeared at the 
 Folly Theatre, London, of which her husband was proprietor and 
 manager; and in the spring of 1879 accepted an engagement at 
 the Imperial Theatre, and played during the season Pauline in a 
 burlesque of 'The Lady of Lyons' (W. Younge). 
 
 THORNE, EMILY, sister of the under-mentioned Sarah and 
 Thomas Thorne, made her first appearance on the English stage 
 at the Strand Theatre (then Punch's Playhouse), in a benefit per- 
 formance, in the part of Sally Scraggs in ' Stage Struck,' and with 
 such success that she was induced to enter the dramatic profession. 
 Her first engagements were at the Theatres Royal, Manchester and 
 Bristol. Miss Emily Thorne made her d^biit in London, Easter 
 Monday 1859, at the Adelphi Theatre, in the title rdle of ' The Fair 
 One with the Golden Locks.' She was engaged at the Adelphi for 
 three years. In 1862 she went to the United States, opening at 
 the Winter Garden, New York, in an impersonation of The Goddess 
 of Liberty. She remained in America for seven years, and travelled 
 there extensively as an English ballad singer. After her return to 
 London she fulfilled engagements at St. James's, Opera Comique, 
 Criterion, and, later, the Haymarket Theatres, where she appeared 
 in May 1879 as Mrs. Malaprop in 'The Rivals.' 
 
 THORNE, SARAH, was born in London, and entered the 
 dramatic profession when a child, playing in pantomime and 
 various children's parts, at the Pavilion Theatre, London during 
 the time it was under the management of her father. She made 
 her professional dibut in London at the Surrey Theatre under the 
 
THORNE, THOMAS. 349 
 
 management of Messrs. Shepherd and Creswick, and afterwards 
 accepted an engagement as " leading lady " at the Theatre Royal, 
 Dublin, where she had the advantage of being associated in the 
 representation of principal Shakespearian characters with the late 
 G. V. Brooke and Charles Kean. Among important characters 
 assumed by Miss Thorne during this engagement, and the 
 " starring " tours in Ireland and Scotland immediately succeeding 
 it, may be mentioned the following : — Desdemona in ' Othello,' 
 Pauline in ' The Lady of Lyons,' Portia in ' The Merchant of 
 Venice,' Mrs. Haller in ' The Stranger,' the Duchess de Torre- 
 nueva in ' Faint Heart Never Won Fair Lady,' Helen Macgregor 
 to Lady Don's Diana Vernon in the operatic play of 'Rob Roy'; 
 Margaret Aylmer in ' Love's Sacrifice,' and Juliet in ' Romeo and 
 Juliet.' At the Brighton Theatre, August 1863, Miss Thorne played 
 Lady Audley in the dramatic version of 'Lady Audley's Secret,' 
 and Zoe, the Octoroon, in the melodrama of that name. April 1 865 
 she appeared as Leah and Juliet at the Paisley Theatre Royal, 
 subsequently enacting the same characters at the Prince of Wales's 
 Opera House, Edinburgh. In the summer of 1865 Miss Thorne 
 accepted an engagement at the Jersey New Theatre Royal. From 
 October 1865 to March 1866 she was engaged at the Royal 
 Standard Theatre, London, performing the more popular of Shake- 
 speare's plays with Messrs. Creswick and Ryder. After the retire- 
 ment of Mr. Thorne from the management of the Margate Theatre 
 Miss Sarah Thorne became the lessee, conducting its affairs with 
 more or less prosperity for a period of seven years. Retiring from 
 the lesseeship she undertook the management of the Worcester 
 theatre until it was destroyed by fire in November 1877. More 
 recently she formed . a company for the purpose of supporting the 
 late Mr. Charles Mathews on his provincial tours, afterwards renew- 
 ing her management of Margate Theatre. Miss Thorne is now 
 (November 1879) lessee of Astley's Amphitheatre. 
 
 THORNE, THOMAS, brother of the above named Sarah 
 Thorne, first attracted notice on the London stage in 1862 as an 
 actor at the Surrey Theatre. On Saturday, October 4 of that 
 year, he appeared there in a comic drama entitled ' Tom's Life,' 
 in " which he played a number of characters suited to show the 
 comprehensiveness' of his capacity as a comic actor." Two years 
 later, 1864, he joined the company of the Strand Theatre, with 
 which he was connected until 1870, playing leading parts in many 
 of the various farces, burlesques, and dramas produced there during 
 the protracted term of his engagement. In 1870, in conjunction 
 with Messrs. Montague and James, he entered upon the manage- 
 ment of the Vaudeville Theatre, and produced there on the opening 
 night 'Tor Love or Money' (Andrew Halliday), and a burlesque 
 entitled ' Don Carlos ; or, the Infante in Arms.' Saturday, June 4, 
 1870, first performance at the Vaudeville Theatre of Albery's play 
 ' Two Roses,' he acted the part of Caleb Deecie. On Saturday, 
 September 9, 1871, first performance at the same theatre of Albery's 
 play ' Apple Blossoms,' he sustained the part of the Great Baggs. 
 
350 THE DRAMATIC LIST. 
 
 Mr. Thorne took part in the successful revivals of ' The School for 
 Scandal' and 'Road to Ruin' at his theatre, during the years 
 1872-3. The first-named comedy had the unprecedented " run" of 
 412 nights, and he acted in it the part of Crabtree. On April i, 
 1874, first performance at the Vaudeville of Albery's comedy entitled 
 ' Pride,' Mr. Thorne played the part of Barnabas Smith. On 
 Saturday, January i5, 1875, first performance at the same theatre 
 of H. J. Byron's comedy ' Our Boys,' Mr. Thorne sustained the 
 part of Talbot Champneys. This piece was performed nightly at 
 the Vaudeville Theatre from Saturday, January 16, 1875, to Friday, 
 April 18, 1879. Saturday, April 19, 1879, first performance at the 
 Vaudeville Theatre of a new and original comedy by Mr. Byron 
 entitled ' Our Girls,' Mr. Thorne sustained the part of Tony Judson. 
 In the revival of 'Two Roses' (September 24, 1879) he reappeared 
 as Caleb Deecie, and was the only representative of the original cast 
 of the piece. 
 
 TITHERADGE, GEORGE SUTTON, was born at Ports- 
 mouth, December 9, 1848, and entered the dramatic profession in 
 October 1866, at the Theatre Royal, Portsmouth. From 1867 to 
 1872 he was engaged at various theatres in the provinces, viz. at 
 the Theatres Royal, Stockton-on Tees, Bath, Croydon, Glasgow, 
 Southampton, and at the Lyceum Theatre, Sunderland. During 
 a part of this time he travelled with Charles Dillon, personating 
 juvenile parts in Shakespeare's plays, and subsequently became 
 engaged as "leading actor" at the Theatres Royal, Bradford and 
 Newcastle-on-Tyne. In 1874 Mr. Titheradge played in the pro- 
 vinces the heroes in Albery's comedies, under the direction of 
 Mr. Flockton. In 1874-5 he was "leading actor" at the Theatre 
 Royal, Bristol, and afterwards, the same year, joined Miss Marriott 
 on a provincial tour, playing such parts as Matthew Elmore, 
 Master Walter, Rob Roy, &.c. Mr. Titheradge was "leading actor" 
 at the Theatre Royal, Birmingham, 1875-6; and subsequently, in 
 the latter year, became stage-manager and " leading actor " of the 
 Chippendale Comedy Company, acting the parts of Dr. Cantwell, 
 Dr. Pangloss, yoseph Surface, &c. In 1876-7 he was "leading 
 actor" of Mr. G. Anderson's company at the Corinthian Theatre, 
 Calcutta. During this engagement he was selected by the authori- 
 ties to proclaim Her Majesty the Queen " Empress of India " at 
 the Calcutta Durbar, January i, 1877. He first performed on the 
 London stage, October 6, 1877, at the Royal Court Theatre, as 
 Sir Francis Marsden in ' The House of Darnley.' 
 
 In 1878 Mr. Titheradge appeared at the St. James's Theatre, 
 playing the parts of Clancarty, lago, &c., and " creating " the part 
 of Captain Saxby in Taylor and Meritt's play ' Such is the Law.' 
 
 TOOLE, JOHN LAWRENCE, was born in London in 1832. 
 He first attracted notice as an actor during his connection with an 
 amateur dramatic club which gave periodical entertainments at the 
 Walworth Institution. Mr. Toole made his first appearance on the 
 stage proper at the Ipswich Theatre Royal; and in 1852 adopted 
 the stage as a profession, accepting, during that year an engagement 
 
TOOLE, JOHN LA WRENCE. 351 
 
 at the Queen's Theatre, Dubhn. Subsequently he acted in the 
 provinces for some eighteen months, principally in the Irish and 
 Scotch cities. He made his ddbut on the London stage July 22, 
 1852, at the Haymarket Theatre, as Simmons in 'The Spitalfields 
 Weaver.' On Monday, October 2, 1854, at the St. James's Theatre, 
 under Mrs. Seymour's management, he played Sam Pepys in ' The 
 King's Rival' (T. Taylor and C. Reade), acting the same evening 
 in a farce by Charles Selby, entitled ' My Friend the Major,' the 
 part of the hero — " a sheriff's officer disguised as a friend, showing 
 an amount of humour in his odd ball-room adventures which was 
 well appreciated by the house." At the same theatre, the same year, 
 Mr. Toole played Pierre, in a piece entitled ' Honour before Titles.' 
 From the St. James's Theatre Mr. Toole went to the Lyceum, 
 and in September 1856 played there, with considerable success, the 
 parts of Fanfarronade in 'Belphegor' (Mr. Charles Dillon acting 
 the title rdle), and Autolycus in a burlesque by William Brough 
 entitled ' Perdita ; or, the Royal Milkmaid.' Subsequently, at the 
 same theatre, he appeared in a farce entitled ' Doing the Hansom,' 
 in which he increased his reputation by his spirited eccentricities. 
 Mr. Toole remained a member of the company of the Lyceum 
 Theatre until 1859, when he accepted an engagement under Mr. 
 Benjamin Webster at the New Adelphi Theatre. There, in January 
 of that year, he acted in the burlesque of ' Asmodeus ' the title role. 
 On May 9, 1859, at the same theatre, he "created" the part of 
 Mr. Spriggins, in the amusing farce of ' Ici on parte Frangais,' a 
 part which became subsequently, when acted by Mr. Toole, an 
 especial favourite with the public. In August of the same year he 
 performed with great success at the same theatre Augustus de 
 Rosherville, in a revival of ' The Willow Copse ' (of this eccentric 
 character Wright was the original personator). In January i860, 
 at the Adelphi, Mr. Dickens's ' Christmas Carol' introduced Mr. 
 Toole for the first time as an actor capable of more than amusing 
 extravagance. " His Bob Cratchit contains homely, natural touches 
 that enable it to stand its ground beside the Mrs. Cratchit of Miss 
 Woolgar (Mrs. Mellon), one of the neatest possible stage pictures 
 of a bustling, bothered, scolding, and kind-hearted mother of a 
 poor man's family, at home with many cares." {Journal of a 
 London Playgoer, Prof. Henry Morley, p. 243.) During the same 
 year,'in the first performance at the same theatre of Watts PhiUips's 
 drama ' Paper Wings,' Mr. Toole sustained the part of William 
 Kite; at Drury Lane Theatre, in a drama by the same author 
 entitled ' A Story of '45,' he acted the character of Enoch Flicker, 
 " a character that stands out from the" rest, and is so well performed 
 by the excellent comedian to whom it is confided, that it is likely to 
 . be the main attraction of the drama " {AthencBum, November 17, 
 i860). March i, 1862, first performance at the Adelphi of 'The 
 Life of an Actress,' he played Wapshot; and in the same year, 
 Monday, April 14, at the same theatre, Caleb Plummer, in Dion 
 Boucicault's dramatic version of ' The Cricket on the Hearth,' 
 entitled ' Dot.' His performance of this part was noticed in con- 
 temporary journals as being of the highest merit. 
 
3 5 2 THE DRA MA TIC LIS T. 
 
 In 1864 Mr. Toole played the leading character in a farce by 
 Brough and HalHday entitled 'The Area Belle,' first performed at 
 the Adelphi Theatre, Monday, March 7 of that year. The pomt of 
 this piece was the singing by Mr. Toole of an amusing ditty. The 
 Horrible Tale,' which attained considerable popularity. In August 
 (Monday, 8th) of the same year he played Mr. Lysimachus Tootles, 
 in a farcical piece entitled ' My Wife's Maid.' _ The foUowmg 
 month, at the same theatre, in a piece written specially for him by 
 Mr. John Oxenford, entitled ' Stephen Digges ' (adapted from 
 Balzac's novel ' Le P^re Goriot'), Mr. Toole acted the title rdle. 
 Stephen Digges is a serio-comic character, whose peculiarities at 
 first excite laughter, then beget esteem, and at last the warmest 
 sympathy. " Mr. Toole had a character to sustain which made 
 the utmost demand on his powers, and the masterly manner in 
 which he accomplished a very arduous task will be accepted as a 
 convincing proof that the range of his talents has not even yet been 
 properly estimated. Thoroughly true to nature, the performance 
 was replete with evidence of the highest kind of art. . . . The 
 drama was a complete success.'' {Daily Telegraph, September 16, 
 1864.) 
 
 In 1865, January 30, in a revival of 'The Hunchback,' at the 
 Adelphi (Miss Bateman as Julia), he acted the part of Fathom. 
 At the same theatre, July 1865, first performance of 'Through Fire 
 and Water' (Walter Gordon), he sustained the character of Joe 
 Bright. " Although the majority of characters to which Mr. J. L. 
 Toole devotes his talents belong to the region of broad farce, and 
 for the most part only derive their reality from the special ability of 
 the actor to delineate individual peculiarity, he generally strikes 
 into another line whenever he would make an impression of more 
 than ordinary strength, as if convinced that his proper vocation 
 was to follow the late Mr. F. Robson in semi-pathetic illustrations 
 of plebeian life. . . . The action takes place in a stratum of society 
 which is respectable, though humble, the groupings are simple, and 
 the personages have all more or less of marked character, and are 
 all more or less important, the principal figure in whom the interest 
 of the piece culminates being more strongly marked than the rest, and 
 so conceived as to command by turns the laughter and compassion 
 ofthe audience, and to exhibit the most violently contrasted emotions. 
 This figure is Joe Bright, a fireman, who is of course represented 
 by Mr. J. L. Toole. He is a thoroughly honest fellow, who achieves 
 infinite honour and wins innumerable medals by a gallant dis- 
 charge of his perilous duties, and is, withal, so modest, that he 
 cannot bear to hear himself even slightly praised. ... All the 
 parts are good and all are well acted. That Mr. J. L. Toole, as 
 Joe Bright, would represent to perfection the honest plebeian, good 
 at heart, and thick of head, might easily be foreseen ; but there is 
 novelty in the drunken outburst that brings the first act to its close. 
 Droll inebriety is common enough upon the stage, and Mr. B. 
 Webster in 'Janet Pride' gives an admirable picture of the habitual 
 drunkenness by which a man endeavours to silence the voice of an 
 evil conscience. But the effect of ardent spirits rapidly imbibed by 
 
iVUl^t., yUHIM LAWRhNCE. 353 
 
 a man who is already distressed in mind, and who is suddenly 
 converted from a comparatively rational being into an ungovernable 
 savage, ready to commit any deed of violence, has been seldom, if 
 eyer, represented, and Mr. Toole has never more forcibly displayed 
 his faculty for profitable observation than in his terrific exhibition 
 of this peculiar phase of human frailty." {Times, July 3, 1868.) 
 
 In May 1866, first performance of 'The Fast Family' (B. Webster, 
 jun.), adapted from M. Victorien Sardou's comedy ' La Famille 
 Benoiton,' Mr. Toole acted the part of Prudent. In January 1868 
 he joined the company of the new Queen's Theatre, Long Acre, 
 and in a comedy by H. J. Byron, entitled ' Dearer than Life,' 
 " created " the part oi Michael Garner. " The plot of ' Dearer than 
 Life ' is comparatively simple. Its hero, Michael Garner, is an 
 industrious tradesman who has acquired a comfortable subsistence 
 by long years of honest labour. A strange compound of shrewd- 
 ness and good-nature, a man whose natural quickness of perception 
 is a little clouded by an unusually affectionate and trusting disposi- 
 tion, it is his lot to be married to a woman whose whole hopes are 
 bound up in an only son. This son, at the commencement of the 
 story, is about twenty-five years of age, employed in a merchant's 
 office in the city. It is the old tale of temptation and weakness. 
 By the influence of a wily and unscrupulous associate Charles 
 Garner is led into betting and silly speculation. He is not deficient 
 in good feeling, but he has ideas above his station. The story 
 commences on the twenty-seventh anniversary of old Gai-ner's 
 wedding. By the ' scratching ' of a favourite, Charles has been 
 irretrievably ruined. He is engaged to a pretty cousin, and this 
 young lady, Lucy Garner, is loved with a strange earnestness by 
 his worthless and perfidious friend, Bob Gassit. A curious old 
 uncle appears in the form of Mr. Ben Garner, who is chronically 
 under the influence of gin. Lucy is one of those true and constant 
 lovers of whose existence plays and romances inform us. She 
 knows her Charley is wild, but she is bent on redeeming and re- 
 forming him. She is quite proof against the insidious advances of 
 Mr. Bob Gassit, and though she does not share Mrs. Garner's blind 
 confidence on her side, she contrives to minister to the old lady's 
 weakness. Old Garner has a shrewd suspicion that his son has 
 not been doing right, but he never imagines that he has committed 
 a crime. After a while it appears from Charlie's embarrassed 
 manner that he is in trouble. Lucy finds this out, and taxes him 
 with being in difficulties, and promises to relieve him by obtaining a 
 sum of money which has been carefully hoarded up by his mother. 
 
 " In the meantime, the company invited to assist in celebrating 
 the anniversary of the marriage arrives. Chief amongst these is Mr. 
 Bolter, an old friend of Michael's, who has gained some small repu- 
 tation for convivial talents. Young Garner, rather refined by inter- 
 course with sharpers, sneers at Bolter, but Michael fraternizes with 
 him, talks of old times, and sings a song about the grip of an honest 
 man. The party adjourn to dinner, but while they are enjoying 
 themselves, Mr. Kedgeley, the employer of Charles, appears, de- 
 mands an interview with Michael Garner, and informs him that his 
 
 2 A 
 
354 THE DRAMATIC LIST. 
 
 son has forged and embezzled. The heart-broken father calls for the 
 reprobate, urges him to fly from justice, and accuses himself ot the 
 crime. The last act is in a garret in Lambeth. The whole family have 
 been reduced from comparative comfort to starvation. Old Garner 
 is a messenger earning a few shillings per week. Lucy is a seam- 
 stress ; Mrs. Garner is bedridden, and Gassit is still persecuting 
 Lucy with his suit. True to her old love, the herome resists all 
 the devices of Gassit, and though her landlady is fighting for rent, 
 bears out patiently to the last. Ben Garner, in a fit of maudhn 
 repentance, comes up to the garret, begs his brother to forgive him, 
 and leaves a bottle of gin, which the despairing messenger swallows. 
 In the intoxication which follows Michael loses all control of 
 himself, and indulges in a bitter invective against his worthless son. 
 This is overheard by Mrs. Gamer, who shrieks out and falls as if 
 dead. This misfortune sobers Garner; but at an opportune moment 
 the long-lost son turns up, with abundance of money, to save his 
 starving relatives. The piece ends with the defeat of the schemer, 
 Gassit, and the reward of virtue in the persons of old Garner, his 
 wife, and Lucy. 
 
 " Of course, the burden of the drama rests upon the shoulders of 
 Mr. J. L. Toole, for whom it was written. Long ago, in Caleb 
 Plummer, Mr. Toole proved that he not only possessed the quaintest 
 and most genial humour, but that, like most genuine humorists, he 
 had a large fund of pathos. Nothing could have been more natural, 
 more touching, more effective than his representation of Michael 
 Garner, the honest tradesman, the loving husband, the courageous 
 and self-sacrificing toiler. The character may be rare, but that it 
 is real was proved by the actor. Every situation in the piece was 
 made striking and successful by Mr. Toole's thorough earnestness 
 and his artistic attention to detail. The second act bears a danger- 
 ous resemblance to the second act of ' The Porter's Knot,' and with 
 any other actor it might have been a failure. But Mr. Toole is 
 thoroughly original, and the resemblance of the piece to that in 
 which the late Mr. Robson achieved his greatest success only 
 serves to show the contrast between the styles of the two actors. 
 In some of the scenes he far excelled his impersonation of the old 
 toy-maker, great as that was. The finest points were in the close 
 of the second and the beginning of the third acts. The intense 
 grief of the father when his son's guilt is revealed, the outburst of 
 passionate affection when he implores him to fly from justice, and 
 the utter despair which follows, were wonderfully reahzed. In the 
 garret scene Mr. Toole improved upon himself. His delineation of 
 the brave old man who could endure starvation with a pleasant 
 face, and could be cheerful under the heaviest burden of misery, 
 was only surpassed by the sudden exhibition of passion when, 
 excited by the drink which his worthless brother has brought him, 
 Michael flamed out into a denunciation of his son's guilt. Again, 
 on the conclusion of the drama, when the old man's ready wit^ 
 inspired by an unexpected good fortune, obtained a fair opportunity' 
 Mr. Toole contrived to mingle, with consummate skill, the humour 
 and the pathos of the situation." {Standard, June 9, 1868.) 
 
TYARS, FRANK. 355 
 
 The following year, at the same theatre, he played Jack Snipe, 
 in a drama by Watts Phillips entitled 'Not Guilty'; and later 
 (December 13, 1869), at the Gaiety Theatre, in a play expressly 
 written for him by Mr. H. J. Byron, under the title of ' Uncle 
 Dick's Darling,' the part of Dick Dolland. 
 
 After a long and very successful tour in the provinces, Mr. 
 Toole reappeared on the London stage at the Gaiety Theatre, 
 in November 1871, and played in 'Paul Pry' (the title rSle), 'The 
 Spitalfields Weaver,' &c. Tuesday, December 26 of the same year, 
 at the same theatre, he played Thespis, in a Christmas piece by 
 W. S. Gilbert, entitled ' Thespis ; or, the Gods Grown Old.' ♦ In 
 April 1872, still at the Gaiety, he performed the part of Neefit, first 
 performance of ' Shilly-Shally ' (A. TroUope and C. Reade) ; and in 
 December 1873, Mawworm, in a revival of Bickerstaflfe's comedy 
 'The Hypocrite.' In 1874 (April), at the Globe Theatre, first per- 
 formance of Mr. Albery's comedy ' Wig and Gown,' he acted the 
 character of Hammond Coote. In 1875 Mr. Toole went to the 
 United States, and represented his best known impersonations in 
 the principal American cities. His latest, and perhaps one of his 
 most complete successes for some years past, has been in the part 
 of Chawles,'in Mr. Byron's comic drama ' A Fool and his Money.' 
 It was in this character that Mr. Toole reappeared before a London 
 audience on November 17, 1879, on the opening of the Folly 
 Theatre under his management. 
 
 TYARS, FRANK, was born in Kent, 1848, and entered the 
 dramatic profession in 1870, first appearing on any stage at the 
 Standard Theatre, Bishopsgate. Subsequently he joined the com- 
 panies of the Pavilion and Portsmouth Theatres, and remained with 
 them for some months. In 1876 he was again connected with the 
 "stock" company of the Portsmouth Theatre as "leading man." 
 Mr. Tyars appeared at the Theatre Royal, Drury Lane, Septem- 
 ber 23, 1876, as Norfolk in 'Richard III.,' and afterwards as Rosse 
 in ' Macbeth.' In January 1 877 he played the character of Kinchela 
 in 'The Shaughraun,' at the Adelphi Theatre; and in May was 
 engaged to perform at the Lyceum Theatre, under Mrs. Bateman's 
 management, Dorval in 'The Lyons Mail.' Subsequently Mr. 
 Tyars accompanied Mr. Henry Irving on tour through the 
 provinces, playing Claudius ('Hamlet'), Cromwell ('Charles 1.'), 
 Richmond {' Richard III.'), &c. He reappeared at the Lyceum in 
 December 1877 as Dorval ('The Lyons Mail'), followed by Crom- 
 well in 'Charles I.,' and later (April 1878) as Nemours in the 
 revival of 'Louis XI,' More recently (1878-9) he has been acting 
 at the same theatre as Claudius in a revival of 'Hamlet,' Arm- 
 strong in ' The Iron Chest,' and the Prince of Morocco in ' The 
 Merchant of Venice.' 
 
356 THE DRAMATIC LIST. 
 
 VANDENHOFF, CHARLES, was born at Hammersmith, 
 Middlesex, and made his dibut at Drury Lane Theatre, Septem- 
 ber 15, 1862, under the direction of Mr. Dion Boucicault, as Geordie 
 Macgregor in ' The Rehef of Lucknow.' At the termmation of the 
 Drury Lane season he accompanied Mr. Boucicault to the Theatre 
 Royal, Westminster (formerly Astley's, and now Sanger's Amphi- 
 theatre), where he continued till June 1863. Still associated with 
 Mk and Mrs. Boucicault, on Easter Monday 1864 he appeared 
 with them at the Theatre Royal, Dubhn, as Hardress Cregan, 
 during an engagement of four weeks. On the 3rd of May in the 
 same year he represented the character of Cassio at the Shakespeare 
 Tercentenary Festival. The two succeeding years were passed in 
 active provincial practice in Liverpool, Sheffield, &c. In 1866 Mr. 
 H. L. Bateman, chancing to visit Oxford, where Mr. Vandenhoff 
 was acting, engaged him to support Miss Kate Bateman (Mrs. 
 Crowe) in a starring tour through the United States. The severe ill- 
 ness of the latter prevented the contract being carried into effect, and 
 Mr. Vandenhoff's services were transferred to the Olympic Theatre, 
 New York, where in October 1866 he played Lord Dundreary to the 
 Asa Trenchard of Mr. Joseph Jefferson. Subsequently he became 
 " leading man " at Baltimore, Washington, and Richmond Theatres ; 
 and after accepting an engagement at Philadelphia to appear with 
 Mr. Jefferson as Lord Dundreary and Dick Dowlas, he commenced 
 a summer season at Montreal on the 4th of June, 1868. After three 
 months of hard work and close study in Canada, Mr. Vandenhoff 
 was selected to fill the position of leading juvenile and light 
 comedian at Selwyn's Theatre, Boston, a house famous for its 
 representations of old and modern comedy. After a series of 
 comedy representations at the Fifth Avenue Theatre and Wallack's, 
 New York, where Mr. Vandenhoff sustained the part of Luke Blom- 
 field in Charles Reade's charming drama of ' Dora,' he returned, 
 in September 1869, for a second season to Boston, and renewed his 
 successes in the old comedies which still formed the chief attraction. 
 He next accompanied Miss Maggie Mitchell, an accomplished 
 American actress, on a tour through the States, and in September 
 1 870 commenced, at an increased salary, his third engagement at 
 Selwyn's Theatre, which had been rechristened "The Globe "and 
 committed to the management of the late Charles Fechter. The 
 new departure was not prosperous. 'Monte Christo,' though re- 
 tained in the bills for many nights, had a depressing effect on the 
 treasury, and after five months' reign of the new dictator he was 
 displaced. A more active director ruled in his stead, and the 
 Globe returned to its first love, the old comedies at once restoring 
 the prosperity of the theatre. In May 1871 Mr. Vandenhoff sailed 
 for England, and in August of the same year appeared at the 
 Theatre Royal, Dublin, as leading support to Mr. J. L. Toole. In 
 September he travelled with the popular comedian to Cork" and 
 Limerick, and in October returned to Dublin to act with Miss 
 
VAUGHAN, KATE. 357 
 
 Bateman. The production of Halliday's 'Great City' followed 
 Miss Bateman's representations of ' Leah,' and Mr. Vandenhoff was 
 Successful in his assumption of Jacob Blount. Mr. Vandenhoff 
 continued in the provinces till December 1874, when he returned to 
 America, and where he remained for two years. On May 17, [876, 
 he returned to London, and was selected by Mr. F. B. Chatterton 
 to enact the Duke of Buckingham in the revival of ' Richard III.' 
 at Drury Lane. At the end of his London engagement Mr. 
 Vandenhoff accepted the leading position in a company organized 
 for the presentation of Mr. W. S. Gilbert's comedies. In ' Sweet- 
 hearts,' ' Tom Cobb,' ' The Wedding March,' and ' The Vagabond,' 
 Mr. Vandenhoff interpreted the chief characters. Mr. Vandenhoff 
 remained with this organization till December 7, 1878, and after 
 a rest resumed his professional labours at the Theatre Royal, 
 Brighton, early in February 1879, appearing there as Tom Robinson 
 in Mr. Reade's drama of ' Never Too Late to Mend.' 
 
 * VAUGHAN, KATE, an actress who has earned some distinction 
 in burlesque, was a member of Miss Litton's company at the Court 
 Theatre in 1872, and appeared there in a subordinate part in the 
 burlesque extravaganza 'In re' Becca.' She afterwards appeared 
 in pantomime at Drury Lane Theatre, and is at present a member 
 of the company of the Gaiety Theatre, where her graceful dancing 
 forms, generally, one of the leading attractions in the burlesques 
 placed on its stage. 
 
 ♦VENNE, LOTTIE, was a member of the company of the 
 Nottingham Theatre in 1869, and in the year following of the 
 Brighton Theatre, where she attracted notice by her acting in 
 the part of Robin Hood in the pantomime of ' The Babes in the 
 Wood,' Christmas 1870. In 1873 she was a member of Miss 
 Litton's company at the Court Theatre, and appeared there as 
 Zayda in the burlesque ' The Happy Land.' She afterwards joined 
 the company of the Holborn, Strand, and later (1879) of the Criterion 
 Theatres, where on August 6 she appeared as ' Betsy ' at the first 
 performance of Mr. Burnand's comedy of that name. 
 
 VEZIN, HERMAN, was born in Philadelphia, March 2, 1829, 
 and graduated at the University of Pennsylvania in 1847; being 
 admitted to the degree of M.A. three years later. In 1850, partly 
 through the influence of the late Charles Kean, Mr. Vezin entered 
 the dramatic profession in England by accepting an engagement at 
 the Theatre Royal, York, under the management of John Langford 
 Pritchard. He played there various subordinate parts, including 
 the character of Balthasar in ' Much Ado About Nothing,' during 
 Mr. and Mrs. Charles Kean's representation of that play at the 
 York Theatre. Afterwards he accepted an engagement at South- 
 ampton, during which he had the opportunity of acting with the 
 celebrated Mrs. Nesbitt ; and subsequently at the Theatre Royal, 
 Edinburgh. In 185 1 Mr. Vezin joined Mrs. Barnett's company 
 on the " Ryde, Guildford, and Reading circuit," playing leading 
 
3S8 THE DRAMATIC LIST. 
 
 cha.ra.cters,—Rzchelieti, Claude Melnotte, Young Nerval, &c. He, 
 made his first appearance in London on Easter Monday, 1852, at 
 the Princess's Theatre, in the part of Pembroke in ' King John, 
 when Mr. Charles Kean had the management of that establishment. 
 During the season 1852-3 Mr. Vezin played Chatillon in 'King 
 John,' Rosse in 'Macbeth,' and Montgiron in 'The Corsican 
 Brothers.' In 1857 he visited America. On his return to England 
 in 1859 he took the Surrey Theatre, playing Hamlet, Othello, 
 Shylock, King John, Louis XL, &c. The first most important 
 engagement undertaken by Mr. Vezin was in i860, at Sadler's 
 Wells, then under Mr. Phelps's management. He played after- 
 wards, with marked success, the character of Laertes, to Mr. 
 Fechter's Hamlet, for seventy-three nights at the Princess's 
 Theatre, in 1861. Subsequently he " opened" at the Lyceum with 
 Mr. Falconer as Mr. Arden in his comedy of ' Woman ; or, Love 
 against the World,' and afterwards acted the part of Harry 
 Kavanagh in the same author's drama ' Peep o' Day.' In 1863 
 Mr. Herman Vezin married Mrs. Charles Young, an actress of 
 considerable reputation. After playing various important engage- 
 ments at metropolitan and other theatres, in 1 867 he produced ' The 
 Man o' Airlie' (W. G. Wills) at the Princess's, playing James 
 Harebell, a character with which Mr. Vezin's name will always be 
 associated in dramatic annals. In a notice of this play appearing 
 in the Sj>ectator (July 27, 1867) great praise is awarded him for 
 having ventured, " in an era of burlesque, melodramas, and great 
 triumphs of carpentering, to bring out on the stage a genuine and 
 modern English tragedy, in which the main interest is of a kind 
 the mass of playgoers necessarily cannot appreciate, yet which 
 produces on the majority of them the most overpowering effect. 
 
 " The writer," continues the article, " had stroUed, on the second 
 night of the performance, into the pit, knowing nothing of the piece 
 or its author, rather expecting, in fact, a Highland melodrama, and 
 he can bear unbiassed testimony to the depth of feeling several 
 times displayed. Women, evidently of the lower middle class, who 
 scarcely understood the bad Scotch in which the dialogue is carried 
 on, were sobbing umestrainedly ; and if the stout Scotch tradesman 
 who stood next him was not crying, why he ought to consult an 
 oculist about the state of his eyes. The value of this emotion, as a 
 test of the value of the piece, is increased by the fact that it was due 
 exclusively to sympathy with mental pain of a rare and spiritual 
 kind— the agony of a ruined and maddened poet ; agony, no doubt, 
 in part that of a bereaved husband, and therefore common to man- 
 kind, but in part also that of a blasted literary and poetic ambition, 
 which might, under other treatment, have seemed ridiculous. To 
 make shop-girls care— care to pain— because an ignorant simpleton 
 in a plaid cannot get his ' sangs ' published, seems to us a triumph 
 of art. ^ 
 
 "Mr. Herman Vezin has taken Burns for his model— as per- 
 haps, the only model obtainable— and acts the character well' He 
 looks the simple, not ungainly Scotchman, with a genuine" inde- 
 pendence and a slight trace of vanity, and creates a sympathy for 
 
VEZIN, HERMAN. 359 
 
 him in the audience which in the pit showed itself in the oddest 
 forms. ' Oh ! hang it ! ' said a man near us, ' that's a fine beggar ! — 
 what is he saying ? ' and then, and all through the piece, extempore 
 translations were offered in audible tones in four or five parts of the 
 pit. His anxiety about his book ; his fear for his wife, who cannot 
 live in towns ; his dread of dependence ; his credulous simplicity — 
 simplicity pierced by a vein of Scotch canniness as silk by a 
 coloured thread — are all admirably brought out ; and so is the 
 nervous, impressionable nature of the man — the sensitiveness which 
 may endanger his reason. In the third act the action quickens. 
 Harebell has accepted a situation as private secretary ; his wife has 
 died of the close city air, and the poet, frenzied by her loss, sad- 
 dened and bewildered by the prostration of his hope of literary 
 fame, wearied with the incessant copying of letters and memoranda, 
 gradually loses his reason ; wakes for a moment to refuse to betray 
 the man who has plundered him, and finally fancies he sees his 
 dead wife, and walks over the stage with his arm in that of her 
 invisible spirit, his face expressing a bewildered fondness, his left 
 hand patting the air where her hand should have been, in the 
 strained affection of insanity. 
 
 " Mr. Vezin did the scene well. There was no applause except 
 from one fool of a claqueur, who, we hope, will read this opinion of 
 his judgment ; but over the house, dropping as it were from gallery 
 to pit, descended a dead, strained silence — a silence such as we 
 never but once remember in a theatre — succeeded, as Harebell 
 vanished, by a roar of recall. Every side of an emotion of extra- 
 ordinary complexity — insanity produced by grief, but shot as it 
 were with literary vanity and regret, and tempered by natural sweet- 
 ness, courtesy, and simplicity of nature — had, we are satisfied, been 
 caught by the least trained portion of the audience. 
 . " The exit is supposed to be followed by a suicide ; an interval 
 occurs of twenty years, during which the ' sangs ' have become the 
 delight of the people, and the curtain draws up on the prepara- 
 tions for inaugurating, by the side of the loch he loved, a statue to 
 the poet of the poor. Under the stone representative of himself — 
 the light gleaming on the graven young face and the living aged 
 one, gibbering and mourning, amid starts of half recollection — sits 
 the supposed suicide, a lunatic beggar, till the ceremonial includes 
 one of his own ballads. The well-known sounds clear the clouded 
 memory ; he adds the last verse ; is recognized, and dies a beggar 
 at the foot of the statue raised to celebrate his glory as a poet. No 
 words can fairly express the dramatic power of the scene to any 
 cultivated mind. The blasted life of a poet culminates in a situation 
 which makes his failure and his grand success, the fulfilment and 
 futility of his hopes, his misery and his pride, his triumph and his 
 utter fall, patent to men who, in all probabiUty, never read a line 
 of poetry in their lives. To make such a destiny so manifest — to 
 show an artist utterly beaten down by a fate as remorseless as ever 
 ^schylus imagined, yet in the moment of utter prostration, by the 
 innate power of his art, beating that fate down, rioting in the 
 rapture of a victory which leaves him an idiot beggar — is an effort 
 
36o THE DRAMATIC LIST. 
 
 for which, in an EngUsh playwright, we were not prepared ; as 
 httle prepared as we were for its success. There is nothing what- 
 ever to break the unity of the work. The hope, and the failure, and 
 the triumph of a poet, furnish the beginning and the end of a 
 tragedy of which a great poet might be proud." 
 
 Another character which greatly increased the reputation of 
 Mr. Herman Vezin as a painstaking and judicious artist was that 
 of Doctor Davey, in a comedy of that name, adapted from the 
 French ' Le Docteur Robin' :— " The points in the performance are 
 three : one where he (JDoctor Davey) tells a tale of a child on the 
 roof of a house in pursuit of a flower, to the terror of her mother 
 and the crowd in the street, in order to show that acting may exist 
 without reference to the adjuncts of the stage ; another where he 
 assumes the garb of a physician, and counsels the young lady on 
 the state of her affections ; and the third, where he feigns inebriety 
 in order to disgust her with himself and induce her to accept 
 the lover selected for her by her father." The delineation was 
 admirable in each of its phases. On October 3, 1868, Mr. Vezin 
 sustained the part of Sir Grey de Malpas, first performance of 
 Lord Lytton's drama 'The Rightful Heir'; and subsequently the 
 character of Philip Earnscliffe in Burnand's play ' The Turn of 
 the Tide ' — a piece which had a considerable " run." 
 
 In 1869 Westland Marston's ' Life for Life ' was produced at the 
 Lyceum Theatre, in which Mr. Herman Vezin played Murdoch 
 Mackane, His representation of the part was admirable in all 
 respects. " It has those qualities in which our tragic acting is 
 most deficient." {Aihenceum, March 1869.) On July 4, 1870, at 
 the Gaiety, he played Dubosc and Lesurques in ' The Courier of 
 Lyons.' " The double impersonation of Mr. Herman Vezin is 
 marked by much more refinement than is ordinarily imparted to 
 either character. His Dubosc is a thoroughly cold-blooded villain, 
 but not of the low and repulsive type generally shown, while his 
 Joseph Lesurques is a high-minded, honest gentleman in every 
 speech and action. Both these characters have been the medium 
 for a good deal of ranting and extravagant declamation. It is, 
 perhaps, needless to say that Mr. Herman Vezin indulges in no 
 such propensity. Even in those passages where the flood of feehng 
 is most let loose, as in the second act, when the evidences of 
 condemnation gather thick around him, and every clue to his 
 innocence seems lost, his energy and action are consistently those 
 of an innocent man wrongly accused and in despair of succour. 
 His repeated calls before the curtain the first night testified the 
 appreciation of the audience to a performance equally powerful, 
 pathetic, and pleasing." (Examiner, July 9, 1870.) 
 
 On September 9, 1871, Wills's ' Hinko ' was performed for the 
 first tmie at the Queen's Theatre, Mr. Vezin undertaking the 
 principal character. In 1872 he played the part oi Martel in ' The 
 Son of the Soil' at the Court Theatre ; during 1873 Robert -iudlev 
 in ' Lady Audley's Secret,' and Peregrine in 'John Bull'- and in 
 1874 Stgurd in 'The White Pilgrim,' and Ford in 'The Merrv 
 Wives of Windsor.' In 1875, at the Opdra Comique, he played 
 
VEZIN, HERMAN. 361 
 
 faques in ' As You Like It.' " The Jagues of Mr. Vezin almost 
 merits to be termed a creation. Even the elderly 'make-up' is 
 new, and every line uttered gives evidence of thought." {Times, 
 February 27, 1875.) At the Haymarket Theatre, October 2, 1875, 
 he "created " the part of Percy Pendragon in Byron's ' Married 
 in Haste.' The piece ran for a considerable time. By far the 
 most noteworthy performance in the comedy, according to the 
 Daily News (October 4, 1875), was that of Mr. Herman Vezin 
 in the part of an eccentric uncle. " Choleric uncles, who disown 
 their nephews on slight provocation, and take them to their 
 arms again on equally slender grounds, cannot be classed among 
 dramatic novelties, nor does the addition in this case of a passion 
 for bric-a-brac hunting, which often borders on the ludicrous, 
 add any valuable touch of art to a long familiar creation. The 
 effect which was produced by Mr. Vezin's acting was indeed 
 almost entirely due to the earnestness of' his manner, to the just 
 emphasis of his delivery, and to the sincerity which was suggested 
 by numberless details of action and expression, almost too subtle 
 to be noted separately, yet in their entirety impressive in a high 
 degree. His face and figure had been admirably ' made up ' to 
 represent age without exaggeration or caricature. This is a kind 
 of impersonation in which Mr. Vezin has not often been seen ; but 
 it is in every respect a piece of acting of a very remarkable kind." 
 
 During the year 1 876 he acted Macbeth, at Drury Lane ; Othello, 
 at the Alexandra Palace ; the Man d' Air lie, at the Haymarket ; 
 and Dan'l Druce (the first performance of that play, September 1 1, 
 1876), at the same theatre, with very great success. On the 
 production at the Crystal Palace, June 13, 1876, of Sophocles' 
 ' CEdipus Colonos,' the title rSle was assigned to Mr. Vezin, who 
 won distinction by the performance. " As a declaimer of English 
 Mr. Vezin has no equal on our stage," remarked the Times. " If 
 he could only have been permitted to speak the language which 
 Sophocles has put into the mouth of CEdipus we can imagine few 
 performances of the sort to which we should listen with greater 
 pleasure. . . . We have used the word declaimer in this place 
 advisedly, for of acting in its modern sense there is in the Greek 
 drama no need, nor is there room for it. It is with his voice only 
 that Mr. Vezin has here scope to show his powers as an actor, and 
 he shows them to very excellent advantage." In 1877 he played 
 De TaW in ' The Danischeffs ' at the St. James's Theatre, followed 
 by the character of Sir Giles Overreach. Both were important 
 successes. On March 30, 1878, Mr. Vezin sustained, at the Royal 
 Court Theatre, the character of Dr. Primrose in Wills's ' Olivia,' a 
 play which met with remarkable favour. " Mr. Herman Vezin's 
 vicar has, by the very nature of the play, become a somewhat 
 sententious and didactic person. Necessarily he loses in great 
 measure that tempering power of humorously half-conscious re- 
 velation of his own weaknesses which is afforded him in the story 
 as the supposed Writer of the narrative ; and, as we have said, he 
 texists in the play chiefly as the father of the injured Olivia. But 
 the figure of the vicar is always impressive, and no more pathetic 
 
363 THE DRAMATIC LIST. 
 
 performance could well be imagined than that of Mr. Vezin during 
 and after the finding of his daughter ; and again when he sinks to 
 rest in the old simple but refined home, from which Mr. Wills s 
 story does not permit the family to be removed." (Daily News, 
 April I, 1878.) It may be added that ' Olivia ' "ran" for 136 nights, 
 finishing September 6, 1878. September 23 Mr. Vezin "opened" 
 at the Adelphi Theatre as Pierre Lorance in ' Proof,' a version of 
 ' Une Cause Cdlfebre,' and continued to play the part till February I, 
 1879. At the same theatre, during the season, he appeared as 
 Master Walter, alternating with Sir Thomas Clifford, in ' The 
 Hunchback,' and as Joseph Surface in ' The School for Scandal ' ; 
 and at morning performances as Richelieu. 
 
 Mr. Herman Vezin is entitled to be ranked among the few 
 refined and accomplished actors of the poetic drama now on the 
 English stage. He has from the beginning of his career con- 
 scientiously studied acting as an art, and has devoted his talents, 
 as far as the opportunity has been afforded him, to the thoughtful 
 impersonation of Shakespearian character, and of such parts as 
 belong to the higher range of our dramatic literature. In the 
 representation of these he has been in the main successful, and 
 has succeeded in enlisting the attention of the critical, and the 
 sympathy , and appreciation of the thoughtful portion of the audience 
 in whatever theatre he has appeared. 
 
 VEZIN, JANE ELIZABETH (formerly Mrs. CHARLES 
 Young), previous to her appearance on the Enghsh stage, had 
 gained a reputation as an actress in the " legitimate " drama in 
 Australia. She made her dibut in London at Sadler's Wells 
 Theatre, on September 15, 1857, in the part of Julia in 'The 
 Hunchback.' The Ti7nes (September 16, 1857), noticing her first 
 appearance, said : — " Of all the female characters in the ordinary 
 EngUsh repertory there is none that affords greater room for 
 display than this favourite creation of Mr. Sheridan Knowles ; but 
 on that very account it is one that renders prognostication respect- 
 ing the future career of an artist pecuHarly difficult. Several 
 actresses have made it their especial aim to ' get up ' Julia for a 
 first part, arid after producing a great effect in it have disappointed 
 the pubUc in their subsequent impersonations. With respect to 
 Mrs. Charles Young, her performance was so promising that, were 
 it not for the prudential considerations just named, she might be 
 safely declared a decided acquisition to our histrionic force. From 
 stage-trick she is thoroughly free ; her expression, even of the most 
 intense emotions, is easy and unexaggerated ; and her delivery 
 throughout is unaffected and natural. The overwhelming grief of 
 Julia in the latter half of the play is most touchingly and truth- 
 fully delineated ; but in the force that is required to give some of 
 the great 'points' of the character the young lady is deficient. 
 The deficiency, we should say, is purely physical, for a more 
 thorough apprehension of the meaning of the part, in all the' 
 situations belonging to it, could scarcely be desired." The same 
 month she appeared at Sadler's Wells in the characters of Imogen 
 
VEZIN, JANE ELIZABETH. 363 
 
 in ' Cymbeline,' and the Princess of France in ' Love's Labour 
 Lost ' ; and in the following month as Rosalind in ' As You Like 
 It,' performing the latter part "not without some sweetness and 
 considerable impulse, pleasant enough in its way, but without that 
 art which is necessary to give variety to the perpetual wit which it 
 is her province to utter. It is not by always speaking in a high 
 key that the sayings of Rosalind can be made emphatic ; there is 
 in such a style of elocution the danger of monotony to be-'avoided." 
 {Athenceum, October 31, 1857.) During the same year Mrs. 
 Charles Young appeared at the same theatre in the following 
 characters : Clara Douglas (' Money') ; Desdemona (' Othello') ; 
 Portia (' Merchant of Venice ') ; Cordelia (' King Lear ') ; Mrs. 
 Haller (' The Stranger ') ; Juliana (' The Honeymoon ') ; Mrs. 
 Ford (' Merry Wives of Windsor ") ; Lady Mabel (' Patrician's 
 Daughter ') ; Mrs. Oakley (' Jealous Wife ') ; Pauline (' Lady of 
 Lyons ') ; Virginia (' Virginius '). 
 
 In 1858 Mrs. Charles Young accepted a brief engagement at the 
 Haymarket, returning to Sadler's Wells for the following season. 
 In September of that year she appeared at the latter theatre as 
 Lady Townley in ' The Provoked Husband,' respecting which per- 
 formance the following entry appears in Prof. Morley's Diary of a 
 London Playgoer, p. 222 : — " If the play has been produced for 
 the special increase of any one artist's reputation, it has been pro- 
 duced for the credit of Mrs. Charles Young. This lady won her 
 first laui-els at Sadler's Wells, and is provided there with the best 
 opportunities of triumph. In ' The Provoked Husband ' she is as 
 truly the high-bred lady as her husband is the high-bred lord. . . . 
 She is fascinating in her folly, innocent even in the seeming heart- 
 lessness of her frivolity, so light that none can hope to fix her 
 attention long enough to find a passage through it to her heart ; and 
 when her attention is at last riveted by the strong measure that her 
 husband is compelled to take, she is a woman with a woman's 
 nature, beautiful, after all, in its distress. Lady Townley is perhaps 
 the part in which Mrs. Charles Young has found herself most free 
 to exercise her skill.'' In 1859 (February 24) she appeared at the 
 same theatre as Juliet j and on March 21 at the Lyceum, as 
 Pauline in ' The Lady of Lyons.' In September of the same year, 
 on the occasion of the opening of the Princess's Theatre, under Mr. 
 Augustus Harris's management, she sustained the character of 
 Amoret, in a play adapted from the French of Octave Feuillet (' Le 
 Roman d'un Jeune Homme Pauvre '), by John Oxenford, entitled 
 ' Ivy Hall.' She repeated her impersonation of Rosalind (' As You 
 Like It ') on the occasion of the opening of Sadler's Wells Theatre 
 under Mr. Phelps's sole management, September 8, i860. April 22, 
 l85i, first performance at the Haymarket Theatre of Mr. Stirling 
 Coyne's play of ' Black Sheep,' Mrs. Charles Young supported the 
 part of Ethel Maynard, and on August 19, at the Lyceum, first per- 
 . formance of Edmund Falconer's drama ' Woman ; or. Love against 
 the World,' she acted the part of Geraldine WArcy. The same 
 year, Monday, September 30, on the occasion of Edwin Booth's 
 dibut at the Haymarket Theatre in the character of Shy lock, 
 
364 THE DRAMATIC LIST. 
 
 Mrs. Charles Young played Portia (' Merchant of Venice ')• At the 
 same theatre in 1862 (Monday, March 10), first performance ot 
 Westland Marston's drama 'The Wife's Portrait 'she sustamed 
 the character of Clara Lindsay. In 1863 Mrs. Charles Young was 
 married to Herman Vezin, and thenceforward appeared on the stage 
 under that name. In January 1864, at the Princess's Theatre, m 
 Westland Marston's ' Donna Diana,' a poetical English version of 
 Joseph Schreyvogel's ' Donna Diana' (a version of ' El Desden con 
 el Desden ' of Moreto), Mrs. Herman Vezin played the leading role, 
 Diana, in a way " which assured the success of this play on the 
 London boards " [Journal of a London Playgoer, Henry Morley, 
 p. 326). Saturday, October 8, 1864, at Drury Lane, under Mr. 
 Phelps's management, ' Othello ' was produced with the strongest 
 cast that the profession then afforded. Mr. Phelps played Othello; 
 Mr. Creswick, lago ; Mr. Walter Lacy, Roderigo ; Mrs. Herman 
 Vezin, Desdevionaj Miss Atkinson, Emilia. In 1866 Mrs. Herman 
 Vezin appeared at Drury Lane Theatre, in January, as Mrs. Oakley 
 ('The Jealous Wife'); and in February as Mrs. Haller ('The 
 Stranger'). Both impersonations were remarkably successful. The 
 same year she sustained the part of Cordelia in a " revival '' of 
 * King Lear ' at the same theatre, and of Lady Constance in a 
 revival of ' King John.' Saturday, October 20, 1866, first perform- 
 ance at the same theatre of Bayle Bernard's English version of 
 ' Faust,' Mrs. Vezin sustained the part^ of Margaret. The following 
 year (1867), at Drury Lane Theatre, on Monday, January 21, she 
 acted the part of Mary Thornbury in a revival of George Colman's 
 comedy of 'John Bull'; and on August 22, at the Princess's 
 Theatre, for the first time in London, Peg Woffington in a revival 
 of 'Masks and Faces.' According to \h& Athenceum (August 31, 
 1867), Mrs. Vezin had now attained such a position on the boards 
 that her assumption of a new part was a matter of importance, and 
 the merit shown by her in the versatile character referred to [Peg 
 Woffington) demanded notice. " Mrs. Vezin is rather an actress of 
 serious and poetic heroines, yet not of so stern a cast as to make it 
 incongruous in her to attempt the lighter creations of the minor 
 drama. In fact. Peg Woffington in her hands lost none of her 
 vivacity, but revelled in her sportive humours and benevolent im- 
 pulses to the delight of a sympathizing audience. Every scene, 
 indeed, was marked by some special beauty ; but in that with 
 Triplet's children and guests in his garret, she was remarkably 
 impressive. In all she was careful to preserve the moral as well as 
 the comic element, and thus secured the respect of her admirers for 
 the inner goodness of her heart as well as the outward gaiety of her 
 conduct. The personal and professional were judiciously blended 
 and distinguished, showing ' both in their union and partition ' 
 that as an artist Mrs. Herman Vezin has claims on critical 
 estimation." 
 
 On Saturday, October 3, 1868, at the Lyceum Theatre, Mrs, 
 Vezin sustained the part of Lady Montreville, first performance of 
 Lord Lytton's drama ' The Rightful Heir,' an amended version of 
 the author's play ' The Sea Captain,' in which Miss Helen Faucit 
 
VEZIN, JANE ELIZABETH. 365 
 
 originally sustained the leading female role at its first production 
 by Macready at Covent Garden Theatre. In 1871, March 4, first 
 performance of Albery's play of ' Two Thorns ' at St. James's 
 Theatre, Mrs. Herman Vezin sustained the part of Mrs. Minion j 
 and the same year, September 9, at the Queen's Theatre in ' Hinko,' 
 by W. G. Wills, the character oi Markitta. Since 1871 Mrs. Vezin 
 has appeared in various Shakespearian revivals at Drury Lane 
 (September 1876 as Queen Elizabeth in Gibber's version of Shake- 
 speare's ' Richard 111.'), and at other theatres, with her usual suc- 
 cess. On Saturday, September 28, 1878, at Drury Lane, she acted 
 Paulina in a revival of the ' Winter's Tale,' in which she " stood 
 out among the rest by her perfect elocution and good acting" 
 {Times, September 30, 1878.) Discussing the merits of this re- 
 vival the .y/aw^ar^^ (September 30, 1878) said : — " But if it cannot be 
 denied that some of the parts were badly filled, it must be cordially 
 admitted that one in particular was wholly admirable. To say that 
 any important Shakespearian character could not possibly have 
 been better acted must seem an extremely bold assertion ; but it is 
 more than difficult to see wherein an improvement could have been 
 made in the Paulina of Mrs. Herman Vezin. . In broad conception 
 and in detail her performance was alike of the highest excellence. 
 Every line is made to convey its fullest meaning, and her beautifully 
 distinct enunciation renders it unmistakable. In the midst of her 
 violent tirade against the King, and even in her threat to the 
 Lords, 
 
 ' Let him that makes but trifles of his eyes 
 First hand me : ' 
 
 this Paulina never loses her dignity ; and the womanly tenderness 
 with which she strives to soften her words when an anguish of 
 remorse has overwhelmed Leontes is most true and touching. No 
 warmer praise could be given than to say, as may justly be said, that 
 perfect justice was done to the noble speech which Shakespeare 
 puts here into Paulina's mouth : — 
 
 ' I am sorry for 't ; 
 All faults I make when I shall come to know them 
 I do repent. Alas 1 I have show'd too much 
 The rashness of a woman,' &c. 
 
 In the grand scene which ends the play, the exhibition of Hermione's 
 statue to the Court, and its descent from the pedestal into the arms 
 of the repentant husband, Mrs. Vezin's tenderness, and subtle exhibi- 
 tion of repressed joy, excitement, and triumph, aided greatly to 
 produce the due effect." 
 
 Among other parts in which Mrs. Herman Vezin has from time to 
 time appeared on the London stage, the following are entitled to 
 mention, viz. Constance (' Love Chase ') ; Viola (' Twelfth Night ") ; 
 Lady Vavasour (' Extremes ') ; Charlotte (' The Hypocrite *) ; 
 Marianna (' The Wife ') ; Hypolita (' She Would and She Would 
 Not ') ; Juliet (' Romeo and JuUet ') ; Lydia Languish (' Rivals ') ; 
 Miss Hardcastle (' She Stoops to Conquer ') ; Miranda (' The 
 
366 THE DRAMA TIC LIST. 
 
 Tempest') ; Donna Violante ('The Wonder') ; theZa^in'Comus'; 
 Constance (' King John ') ; Lady Macbeth (' Macbeth ')• 
 
 VOKES, FAWDON, made his professional dibut in London as 
 one of "The Vokes Family," December 26, 1868, at the Lyceum 
 Theatre, in the pantomime of ' Humpty Dumpty.' {See also, 
 Frederick, Jessie, and Victoria Vokes.) 
 
 VOKES, FREDERICK MORTIMER, was born in London, 
 January 22, 1846, and made his first appearance on any stage at the 
 Surrey Theatre, in 1854, as the Boy in a farce entitled ' Seeing 
 Wright.' In 1868, December 26, he made his professional d^butm 
 London, at the Lyceum Theatre, as one of " The Vokes Family," in 
 the pantomime of ' Humpty Dumpty.' The most successful pieces 
 presented on the stage by " The Vokes Family " have been the 
 following, viz. ' The Belles of the Kitchen,' ' Phoebus's Fix,' ' The 
 Wrong Man in the Right Place,' ' Fun in a Fog,' ' Bunch of 
 Berries.' It is worthy of note that the pieces in which " The Vokes 
 Family '' appear are for the most part invented and written by them- 
 selves, and many of the incidents presented are simply illustrations 
 of droll events and adventures that have been met with during their 
 travels. {See also, JESSIE and VICTORIA VoKES.) 
 
 VOKES, JESSIE, born in London, was educated to the stage 
 from childhood. At the age of four she first appeared at the Surrey 
 Theatre, and subsequently played there a round of juvenile charac- 
 ters. From time to time during the first period of her professional 
 career she performed the following parts, viz. Teddy in ' Dred,' with 
 Mr. Creswick in the leading rile; Florence in ' The Dumb Sa- 
 voyard,' with Mr. Flexmore ; Mamillius in 'A Winter's Tale' (at 
 Sadler's Wells), with Mr. S. Phelps ; Tyoe in ' The Pirates of 
 Savannah,' with Mr. Charles Mathews ; Prince Arthur in ' King 
 John,' with Messrs. Phelps and Creswick ; Prince of Wales in 
 ' Richard III.,' with Mr. Barry Sullivan. Herfirst laurels were won 
 as one of the children in ' Masks and Faces,' in which character 
 she and her sister danced a jig with Mr. Benjamin Webster and 
 the late Mrs. R. Honner, during a performance of that play at the 
 Standard Theatre. In 1861 she started her cai'eer with her 
 brothers and sisters as " The Vokes Children " (subsequently changed 
 to " The Vokes Family ") at the Operetta House in Edinburgh. The 
 success of that combination is now so well known, and has been so 
 widely circulated, that it is unnecessary to enumerate in detail its 
 history during a period now extending over ten years. "The 
 Vokes Family " made their dibut in London at the Lyceum Theatre 
 December 26, 1868, in the pantomime of ' Humpty Dumpty ' The 
 travels of the " family " have taken them over half the world The 
 Vokes's have crossed the Atlantic ten times, and the Rocky Moun- 
 tains twice, have sojourned among the Mormons in Salt Lake City 
 for a month, have passed through the great Yosemite Valley and 
 have viewed the Pacific Ocean from the bold headlands shelterine 
 the Bay of San Francisco. They have played in every city of im 
 
VOKES, VICTORIA. 367 
 
 portance in Great Britain, Ireland, the United States, and Canada. 
 Miss Jessie Vokes had the advantage of Mr. Creswick's instruction 
 and friendship in educating her in the business of the stage, and of 
 the late Mr. Flexmore's teaching in the art of dancing. The most 
 successful on the whole of the pieces in which the Vokes Family 
 have appeared has been ' The Belles of the Kitchen.' {See also, 
 Frederick and Victoria Vokes.) 
 
 VOKES, ROSINA (Mrs. CECIL Clay), appeared on the stage 
 as one of the " Vokes Family " ; but retired from it on her marriage. 
 {See Frederick, Jessie, and Victoria Vokes.) 
 
 VOKES, VICTORIA, was born in London, and began her pro- 
 fessional career at the Royal Surrey Theatre, London, when scarcely 
 two years old, in a drama entitled ' The Avalanche.' She subse- 
 quently there shared with her sisters all the children's characters, 
 making her first decided " hit " as the Duke of York in ' Richard 
 III.' She afterwards played the same character with Mr. Barry 
 Sullivan at the St. James's Theatre, and became popular in such 
 characters -as, Albert in ' William Tell ' ; Henri in ' Belphegor ' ; and 
 in such pieces as ' The Four Mowbrays,' ' Little Pickle,' &c. In 
 1 86 1, with her brothers and sisters, she first appeared at the 
 Operetta House, Edinburgh, as one of " The Vokes Children," 
 afterwards changed to " Vokes Family." Victoria Vokes won her 
 earliest laurels as a vocalist ; but she has also displayed some pro- 
 ficiency as a dramatic artiste, as was exhibited by her excellent 
 performance of Amy Robsart at Drury Lane, on Monday, February 
 27, 1 87 1, and her later assumption of Margery in 'The Rough 
 Diamond.' During eight years she has been a special attraction in 
 the Christmas, pantomimes at Drury Lane. {See also FREDERICK 
 and Jessie Vokes.) 
 
 VOLLAIRE, JOHN, was born in Marylebone, December 4, 
 1820, and made his first appearance on the stage in 1832, his ddbut 
 in London taking place at the old Surrey Theatre, October 3, 1854, 
 in a drama entitled ' The Avalanche.' At the outset of his pro- 
 fessional career he was well known as a careful and conscientious 
 actor at the Bristol, Bath, and Nottingham Theatres. At Birming- 
 ham in 1850, on the occasion of Macready's farewell performance 
 at the Theatre Royal in that town, Mr. VoUaire acted the part of 
 Sextus Dentatus to the distinguished tragedian's Virginius. Among 
 the more important characters essayed by Mr. Vollaire during his 
 long connection with the London and provincial stage, the follow- 
 ing may be selected for notice, namely. Sir John Falstaff in the 
 ■ Merry Wives of Windsor ' and ' First Part of Henry IV.,' Old 
 Crumbs in ' The Rent Day,' Squire Broadlands in ' The Country 
 Squire,' Polonius in ' Hamlet,' Adam Greenleaf in Brougham's 
 comedy ' While there's Life there's Hope,' Stephano in ' The 
 Tempest,' Van Gratz in ' The Workmen of Paris,' Mo Davis in 
 Dion Boucicault's drama ' Flying Scud,' Dr. Botcherby in ' The 
 Unequal Match,' Peter Grice in Watts Phillips's drama ' Nobody's 
 Child,' Old Wilding in Foote's comedy of ' The Liar,' &c. 
 
368 THE DRAMATIC LIST. 
 
 WADMAN, MISS. A member of Mr. HoUingshead's Gaiety 
 company, where for some time she has successfully taken parts in 
 light comedy and burlesque. 
 
 WALLIS, ELLEN (Mrs. LANCASTER), made her first appearance 
 on the London stage at the Queen's Theatre, Long Acre, September 
 28, 1872, as Marguerite de Montcalm in Sir Charles Young's 
 drama entitled ' Montcalm.' At the same theatre, on October 19 
 of the same year, she played the part of Mildred Vaughan, first 
 performance of Watts Phillips's drama 'Amos Clark.' In Sep- 
 tember 1873, 3-t Drury Lane Theatre, in Shakespeare's 'Antony and 
 Cleopatra,' arranged by Andrew Halliday, she sustained the part of 
 Cleopatra ; and on January 31 of the year following, in a revival at 
 the same theatre of Halliday's romantic drama of 'Amy Robsart,' 
 Miss Wallis represented the heroine with " a power and pathos 
 which completely controlled the sympathies of the spectators." In 
 September 1874, at Drury Lane Theatre, she enacted the character 
 of Edith Plantagenet, first performance of Andrew Halliday's 
 drama ' Richard Coeur de Lion.' " The dramatic interest of the 
 piece is very properly centred in Edith Plantagenet, who is per- 
 sonated by Miss Wallis in a highly effective manner. With a 
 command of expression in tone and feature, giving the fullest mean- 
 ing to every line, the actress unites a gracefulness of demeanour, 
 which becomes especially prominent in this character. The 
 statuesque attitude at the altar, where her lover overhears her vow 
 never to accept the hand of Saladin ; the presentation of the 
 standard of her own embroidery with the impassioned ejaculation, 
 ' Oh ! that I were a man to wear a sword ' ; and her interview with 
 Sir Kenneth when he appears as the mute Nubian slave, furnished 
 available opportunities to Miss Wallis of confirming the audience in 
 a high opinion of her ability." {Daily Teleg^^aph, September 28, 
 1874.) In February 1875, in a version by Colonel Richards of the 
 drama of ' Norma,' produced in Edinburgh, Miss Wallis played 
 the heroine. On Saturday, September 28, 1878, in a revival at 
 Drury Lane Theatre of Shakespeare's ' Winter's Tale,' she sustained 
 the part of Hermione, the statue scene being specially well played, 
 
 WARD, GENEVIEVE, born in New York ; grand-daughter of 
 Gideon Lee, one of the so-called " Fathers of the City." In the 
 early part of her career, under the name of Madame Guerrabella, 
 she sang successfully in Italian opera at Havanna. Miss Ward 
 naade her first appearance in England as a tragic actress at the 
 Theatre Royal, Manchester, October i, 1873, in the character of 
 Lady Macbeth. " Perfect ease and a most scrupulously exact 
 knowledge of her part must be conceded to the dautante. Miss 
 Ward has a voice of great power ; she has besides a good accent 
 and a fluent utterance ; her features are expressive, and she gesticu- 
 lates with ease and grace." {Matichester Guardian, October 3 
 
vy^-LL\j^<f ^ajr^i\ jCL V ir. V i:^, 369 
 
 1873.) The character of Constance in ' King John' was played by- 
 Miss Ward at the same theatre during her first engagement. She 
 went to Dublin the same year as a "star," appearing at the Theatre 
 Royal in the principal parts of Medea, Lturezia Borgia, Adrienne 
 Lecouvreur, Actress of Padua, Juliana in 'The Honeymoon,' &c. 
 Miss Ward made her first appearance on the London stage at the 
 Adelphi Theatre in 'The Prayer in the Storm,' March 28, 1874. 
 Miss Ward undertook the double parts of Blanche de Valois and 
 Unarita in this drama, which ran for 162 nights, "displaying an 
 amount of power, a command over attitude, and a mastery of elocu- 
 tion which warrant the belief that our stage has received a valuable 
 addition" (Times, March 30, 1874). In October of the sanie year 
 she commenced a series of performances at the Crystal Palace as 
 Julia in ' The Hunchback,' and in the year following played Rebecca 
 at Drury Lane. Afterwards Miss Ward entered upon a provincial 
 tour, beginning April 1875, producing in Dundee, Lewis Wingfield's 
 play ' Despite the World,' and in Dublin, June 7, W. G. Wills's 
 'Sappho,' both written for her. On September 20, 1875, she 
 Commenced another tour through Scotland. In December 1875, 
 Miss Ward played Antigone at the Crystal Palace ; and on Feb- 
 ruary 4, 1876, Lady Macbeth at Drury Lane, for the benefit of the 
 Philadelphia Centennial Fund. In the same year she appeared in 
 a series of matinees at the Gaiety Theatre. She went to Paris in 
 1877, and studied with Regnier, of the Comddie Frangaise, all the 
 French classical rdpertoire and much of the modern, appearing at 
 the Porte-Saint-Martin, February n, 1877, as Lady Macbeth in 
 Paul Lacroix's French translation of the tragedy. " Dans la sc^ne 
 du somnambulisme du quatriSme acte, elle a €\.€ positivement 
 admirable, jamais la remord, ni les terreurs de I'hallucination n'ont 
 €x.€ interprdtds d'une fagon aussi poignante ; la salle toute entifere 
 ^tait suspendue k ses l^vres et frissonnait avec elle." [Revue Britan- 
 nigue, March 1877.) 
 
 On August 29, 1877, Miss Ward appeared as Queen Katharine 
 in Charles Calvert's revival of ' Henry VIII.' at the Theatre Royal, 
 Manchester. There, and in Liverpool, she played this character 
 for fifteen weeks, appearing also at the same places in the characters 
 of Lady Macbeth and Beatrice in ' Much Ado About Nothing.' At 
 the Queen's Theatre, London, March 2, 1878, Miss Ward sustained 
 the part of Emilia (' Othello '). Subsequently she fulfilled a fare- 
 well engagement, previous to her departure for America (in August 
 1878), in Dublin and in Manchester, enacting the character oi Meg 
 Merrilies to Sims Reeves's Henry Bertram at the Theatre Royal 
 of the latter city. Alluding to this performance the Liverpool 
 Daily Post remarked as follows : — " Miss Ward, by a marvellously 
 weird make-up, magnificent declamation, and a death scene of rare 
 and ghastly power, placed her Meg Merrilies in the highest category 
 of dramatic performances." In April 1879 Miss Ward returned 
 from the United States, and in August of the same year " opened " 
 the Lyceum Theatre for a brief season with ' Zillah,' a romantic 
 drama in three acts by J. Palgrave Simpson and Claude Templar, 
 in which she acted the heroine. The play proved unattractive, and 
 
 2 B 
 
370 THE DRAMA TIC LIST. 
 
 was removed from the play-bills after a few nights' performance. 
 ' Lucrezia Borgia,' a four-act drama by William Young, replaced it, 
 Miss Ward acting the title rdle with considerable power. After- 
 wards, in the same month, Miss Ward produced another new 
 drama, ' Forget-Me-Not,' by Messrs. Herman Merivale and F. C. 
 Grove, in which she acted the part of Marquise de Mohrivart. 
 
 WARDELL, CHARLES. See Kelly, Charles. 
 
 WARDELL, MRS. CHARLES. See TERRY, ELLEN. 
 
 WARDEN, J. F., was born in Hull, December 12, 1836, and 
 entered the dramatic profession in August 1854, at the Theatre 
 Royal, Scarborough, then under the management of Mr. Samuel 
 Roxby, his first appearance being in the part of Lemuel in ' The 
 Flowers of the Forest.' After remaining in Roxby's company for 
 about eighteen months, Mr. Warden joined Charles Gill's circuit, 
 playing during the season all the principal juvenile and light 
 comedy characters. He was next engaged for the York circuit, 
 under the management of the late Mr. Addison, playing Evelyn in 
 ' Money,' and other important leading characters. Afterwards at 
 Edinburgh, at the Queen's Theatre and Opera House, during a 
 season often months, he played Romeo, Claude Melnotte, &c., with 
 the several lady " stars" who visited the city. In August 1858 he 
 joined the Theatre Royal, Plymouth, and afterwards accepted an 
 engagement at the Exeter Theatre,; undertaking important parts, 
 such as Hamlet, Othello, Romeo, Richard HI., Macbeth. Mr. 
 Warden entered upon management at Torquay, Easter i860, and 
 joined the Jersey and Guernsey company in the May following. 
 In September i860 he made his first appearance in London at the 
 Surrey Theatre, under the management of Messrs. Shepherd and 
 Creswick ; and in May 1861 accepted an engagement at the Queen's 
 Theatre, Dublin, playing there for over two years the entire range 
 of the leading business, legitimate and melodramatic. He entered 
 as lessee and manager of the old Theatre Royal, Belfast, in Sep- 
 tember 1 864, and built a new theatre on the same site, which was 
 opened in September 187 1. He also built the Londonderry Theatre, 
 which was opened in August 1877. During Mr. Warden's length- 
 ened management in Belfast he has played several " starring " 
 engagements at Dublin, Cork, Londonderry, Sunderland, Liverpool, 
 Halifax (Yorkshire), Bolton, Glasgow, Edinburgh, &c. 
 
 WARDEN, MRS. J. F. {nee BELL4IR, Jenny), wife of the 
 above-named, was born in Norwich, May 15, 1837, and entered 
 the dramatic profession at an early age at the Theatre Royal, 
 Dublin, under the management of John Harris. Afterwards she 
 joined the company of her father, John Bellair, who, in 1857, was 
 the lessee of the York theatrical circuit, and played " principal 
 comedy and singing chambermaids." She first appeared on the 
 London stage at the Surrey Theatre in i860 as Cinderella in the 
 Christmas pantomime of that year. In 1861, havino- returned to 
 
WARNER, CHARLES. 371 
 
 Dublin, she played "principal comedy and burlesque" at the 
 Theatre Royal for three years. Mrs. Warden has been associated 
 with her husband in the management of the Belfast and London- 
 derry Theatres, and is a great favourite with the playgoers of those 
 towns. 
 
 WARNER, CHARLES, was born in Kensington, Middlesex, 
 1846. He was for a short period in the office of an architect, whose 
 profession it was intended he should follow, but having no special 
 inclination towards this end, and " supposing that the pursuit of a 
 theatrical career would not be sanctioned at headquarters, he ran 
 away, and took an engagement in a small provincial town as 
 ' utilitarian.' " After remaining in the provinces for some time 
 studying the rudiments of the dramatic art, he came to London in 
 1864, and made his dttuton the metropolitan stage at the Princess's 
 Theatre as Romeo (' Romeo and Juliet'). Thence he went to Drury 
 Lane, where he was engaged for three years, under Mr. Chatterton's 
 management, and played in various Shakespearian revivals. Sub- 
 sequently Mr. Warner became a member of Mr. Liston's company 
 at the Olympic Theatre, and there, in the part of Charley Burridge 
 in a comedy by H. J. Byron entitled ' Daisy Farm,' won his first 
 success on the London stage. In 1872 he was a member of the 
 late Mr. Bateman's company at the Lyceum Theatre. In July of 
 that year, in an adaptation of ' Medea in Corinth,' by Mr. W. G. 
 Wills, Mr. Warner enacted Orpheus. He remained with the 
 Lyceum company for two years, and afterwards joined the com- 
 pany of the Vaudeville Theatre, under Messrs. James and Thome's 
 management, and attracted favourable notice there by his pains- 
 taking acting in various parts. Of these the following, in the 
 revivals to which each relates, are deserving of mention, viz. Puff 
 ('The Critic') ; Charles Surface ('School for Scandal') ; Harry 
 Dornton (' The Road to Ruin '). Mr. Warner was the " original " 
 Charles Middlewick in ' Our Boys,' first performed at the same 
 theatre Saturday, January 16, 1875. A character in the presenta- 
 tion of which Mr. Warner secured well-merited praise was that of 
 Vladimir in 'The Danischeffs.' {See Wood, Mrs. John.) In 1878 
 he was engaged at the Princess's Theatre, appearing as Henry 
 Shore in Mr. Wills's drama of ' Jane Shore.' In a revival (1879) at 
 the same theatre of Charles Reade's drama ' Never Too Late to 
 Mend' he performed the part of Tom Robinson. On Monday, 
 June 2, 1879, first performance at the Princess's Theatre of Mr. 
 Charles Reade's version of the French play constructed out of 
 M. Zola's novel ' L'Assommoir,' * and entitled ' Drink,' Mr. Warner 
 
 * ' L'Assommoir,' it may be interesting to remark, was a great success 
 on the Parisian stage ; and M. Zola's novel was, if possible, a greater. 
 The production of this English version of the French play, originally per- 
 formed at the Ambigu, was looked forward to with immense curiosity by 
 London playgoers. Possibly this desire to note the success or faiUire of a 
 play whose merits are purely, or perhaps it would be more correct to say 
 .impurely, " sensational" from beginning to end, was heightened by the 
 repeated advertised warnings of the management of the Princess's Theatre 
 
 ^ 2 B 2 
 
372 THE DRAMATIC LIST. 
 
 acted the part of Coupeaii. According to the Daily News (June-3, 
 1S79), the powerful part which had been assigned to Mr. Charles 
 Warner overshadowed all else in the drama. "In this piece Mr. 
 Warner rises to heights of dramatic power which far exceed ex- 
 pectation based upon any other of the characters in which he is 
 famiUar to a London audience. It is doubtless true that he fallow^ 
 with unvarying fidelity the conception of the character created on 
 the stage of the Ambigu. But the impersonation is none the less a 
 striking and overmastering effort of mimetic genius. The entry of 
 Coupeau in the sixth act, when he returns to his beggared home, 
 sent a sensible thrill of horror through the crowded and excited 
 audience. His make-up is wonderful, and his voice, looks, and 
 gestures are even horribly realistic. The unsteady walk, the thin 
 yet bloated face, the wandering eyes, the lean, live fingers that 
 clutch at nothingness and are never quiet, tell without need of 
 spoken words the story of his fall. The scene grows in intensity 
 as it progresses. When the eager and tremulously joyous wife goes 
 out to find work for him, and hopes to get a small advance of 
 money to buy bread, Coupeau is left alone with the supposed bottle 
 of claret v/hich the treacherous Virginie has sent in. Shall he have 
 half a glass just to warm him? The thought of the generous 
 liquor infuses animation into his miserable body, and with trem- 
 bling hands he unwraps the bottle and takes out the cork. ' What 
 a body it has got for claret,' he says, as he sniffs at it. Then a 
 spasm of horrible delight thrills him as he makes the discovery 
 that it is brandy. He recoils from it and crouches at the other 
 end of the room, putting all the space possible between table and 
 -wall between him and the tempter. The doctors say it will kill 
 him, ' but, then, doctors tell such lies.' He will just taste it. With 
 
 that the right to adapt ' L'Assommoir ' had been purchased " for a large sum 
 of money," and that any attempt 10 pirate this subject would be "severely 
 resisted." The Times (June 4, 1879) thus commented on its value as an 
 addition to the English melodramatic repertoire : — " Most of our readers, as 
 we have already said, have, it may safely be presumed, a more or less dis- 
 tinct idea of the nature of M. Zola's tale, of which the play is a sufficiently 
 faithful transcript. We may, therefore, spare ourselves the disagreeable 
 task of entering into details which it may interest some people to read, but 
 can surely give pleasure to no one to discuss. What moral end is to be 
 gained by the spectacle of two passionate women drenching each other with 
 buckets of water, or of a man dying of delirittm tremens, when these 
 spectacles are merely the illusions of the stage, we confess ourselves unable 
 to comprehend ; but from the advertisements that have heralded the piece 
 it is only reasonable to suppose that some such end is contemplated by the 
 gentlemen interested in its production. It has been long the fashion in 
 some quarters to assume that it is an open question how far true art is con- 
 cerned with that which is directly and physically brutal and degrading- 
 hard words, indeed, but not unduly hard, as all who have read M. Zola's 
 novel will allow. But, as a matter of fact, the question is no more an open 
 one than is the question of the authenticity of the Epistles of Phalaris or 
 of the Rowley Poems. Exact and competent judges have long ago pro- 
 nounced this verdict, that such subjects have no place in the legitimate 
 province of art." 
 
WARREN, A. H. 373 
 
 horrible gleaming eyes and convulsive fingers he approaches the 
 table, seizes the bottle, and drinks. At first the spirit revives and 
 strengthens him, and with new vigour he rushes out of the room, 
 carrying the bott^ with him. When he comes back his wife has 
 returned, and finds him a raving maniac with the empty bottle. 
 So he dies on the stage, the audience being spared no detail of 
 delirium tremens. Whether this is legitimate art or desirable 
 effect is a matter for individual opinion. But there can be no 
 question of the power and intensity with which Mr. Warner re- 
 presents the most terrible scene ever presented on the English 
 stage." 
 
 M. Francisque Sarcey, in a private letter to the writer of the 
 interesting notes on " The Theatres " published weekly in the Daily 
 News, remarked that he had seen ' Drink ' at the Princess's 
 Theatre. " The actor who represents Coupeau (Mr. Charles 
 Warner) struck me as having a great command of natural ex- 
 pression in the scenes of domestic life. His performance is, in 
 my. opinion, superior, indeed altogether superior, to that of our 
 Gill-Naza, the original representative of this character on our 
 stage. I have but little to say about the famous delirium tremens 
 scene. It disgusted me in Paris ; in London it inspired me with a 
 sense of horror. I hear that at the great Flemish theatre in Antwerp 
 this scene has obtained as striking a success as in Paris and in 
 London. It would probably have excited in me there only the 
 same feeling of repulsion. Those furious outbursts,' those rollings 
 of haggard eyes, that contorted mouth, those lips wet with un- 
 wholesome saliva, may belong to nature, but they have no affinity 
 with art." {Daily News, July i, 1879.) 
 
 WARREN, A. H., prior to September 16, 1876, had fulfilled 
 various engagements at provincial theatres in studying the rudi- 
 ments of his profession. On that date he first appeared in London, 
 kt the Queens Theatre, in the character of the Duke of Exeter -m 
 Shakespeare's ' Henry V.' Having remained at that theatre for six 
 weeks, he afterwards went to the Amphitheatre, Liverpool, to 
 " create " the part of Walter Temple in Paul Meritt's drama 
 ' Stolen Kisses.' Returning to London, for a brief season he played 
 the characters of Sir Leicester Dedlock and Lambkin (' The Tailor 
 Makes the Man') with Miss Jennie Lee a;nd the Globe company, at 
 the Standard Theatre. On Easter Monday, 1877, he appeared as 
 the Spanish admiral Don Diego de Valdez in ' True to the Core ' 
 (revival), at the Adelphi Theatre. Subsequently Mr. Warren entered 
 upon an engagement at the Aquarium Theatre to play in ' In- 
 constant ' ; and on September 22 of the same year commenced a 
 three months' engagement at the Globe Theatre to play Viscount 
 Trangmar in ' Stolen Kisses.' On January 3, 1878, he personated 
 the part of the Prince of Orange in ' Fatherland,' at the Queen's 
 Theatre ; and on the withdrawal of that play, and the revival of 
 ' 'Twixt Axe and Crown,' acted the character of Sir John Brydges. 
 On March ir, 1878, he started on tour through the provinces to 
 play with the ' Stolen Kisses ' company. 
 
374 THE DRAMA TIC LIST. 
 
 WEBSTER, BENJAMIN, was born at Bath, September 3, 
 1798. As early as the year 1818 he was acting in London, at the 
 Regency Theatre, with Gough and Santer, and Strickland, Osborn, 
 Lewis, Mortimer, and the Beverleys. He made his first London 
 success in ' Measure for Measure.' He was one of the leadmg 
 actors of the Olympic Theatre during its management by Madame 
 Vestris. In 1832 he was acting there in a highly successful farce, 
 entitled 'Kill or Cure' (Charles Dance), with Liston and Mrs. 
 Orger ; and, at the same theatre, in November of that year, in a 
 farce adapted from the French (' L' Homme de Soixante Ans') by 
 himself, " took the part created by the inimitable Potier." The 
 following year Mr. Webster became a member of the company of 
 the Haymarket Theatre, and was in the original cast of Douglas 
 Jerrold's play of ' The Housekeeper ; or, the White Rose,' first per- 
 formed there Wednesday, July 17, 1833. In October of the same 
 year, at the same theatre, he acted with the elder Farren and Mrs. 
 Glover in Buckstone's farce ' Uncle John,' then first produced. In 
 December 1833 he was in the original cast of Douglas Jerrold's 
 comedy ' The Wedding Gown,' then performed for the first time 
 at Drury Lane Theatre. In May 1834, at the same theatre, in 
 a revival of the ' Second Part of King Henry IV.' — Macready 
 as the Kinf;, Blanchard as Justice Silence, Farren as Justice 
 Shallow — Mr. Webster acted the character of Bardolph. In July 
 of the same year, at the Haymarket Theatre, he played with Mr. 
 Buckstone in Douglas Jerrold's three-act comedy ' Beau Nash.' 
 In 18^5 (June), at the same theatre, he appeared with Charles 
 Kemble in a revival of ' Much Ado About Nothing ' — Dogberry ^ 
 Mr. Benjamin Webster ; Verges, Mr. Buckstone. In October 1835 
 Mr. Webster made his first appearance at the old Adelphi Theatre 
 in a piece entitled ' The Yellow Kids,' and " displayed so much 
 original humour as," in the opinion of the Athence2i?n (October 31, 
 1835), " clearly to entitle him to be taken by the Press out of the 
 class of ' useful actors,' and to be placed among the attractives." 
 On Wednesday, January 4, 1837, he sustained the part of the 
 Marquis de Montespan, first performance of the late Lord Lytton's 
 drama the ' Duchess de la Valli^re,' at the Theatre Royal, Covent 
 Garden ; Messrs. Macready and Vandenhoflf and Miss Helen Faucit 
 were of the original cast. 
 
 In June 1837 Mr. Webster entered upon the management of the 
 Haymarket Theatre, and produced, on the opening night of the 
 season, a tragedy entitled ' The Bridal ' (adapted from ' The Maid's 
 Tragedy' of Beaumont and Fletcher), with Mr. Macready and 
 Miss Huddard in the principal parts. In October 1837 Sheridan 
 Knowles's play ' The Love Chase ' was first performed at the 
 Haymarket Theatre ; Mrs. Nesbitt supported the character of 
 Constance; Mr. B. Webster undertook that of Wildrake. This 
 play was one of the most successful of Mr. Sheridan Knowles's 
 works, and soon became a permanent favourite at the theatre. 
 Noticing its first performance, the Athenaum (October 14, 1837) 
 said :— " We must inquire of Mr. Webster what on earth could have 
 induced him to cast himself into Mr. Wildrake ? It is as great 
 
WEBSTER, BENJAMIN. 375 
 
 a piece of insanity as if he had cast himself into the Thames. 
 We should as soon have thought of his playing Lady Macbeth. It 
 IS a part which, to be properly filled, requires such an actor as 
 Mr. Charles Kemble was in his youngest and best day. . . . Mr. 
 Webster is a clever man in his way, but he should not do such 
 out-of-the-way things as this." In October 1838, on the anniversary 
 of the first performance of ' The Love Chase,' another of Mr. 
 Sheridan Knowles's plays was produced at the Haymarket Theatre' 
 namely, 'The Maid of Mariendorpt.' The season 18^9-40 was a 
 very successful one for Mr. Webster's management. He had the 
 good fortune to have a most brilliant company of players at his 
 theatre, who succeeded in attracting to it large audiences. Among 
 the company were Messrs. Macready, Warde, and S. Phelps, 
 Mesdames Glover, Warner, Miss Helen Faucit, and Miss P 
 Horton. Durmg the season Talfourd's play ' Glencoe ; or, the 
 Fate of the Macdonalds,' was produced; and on Tuesday, De- 
 cember 8, 1840, the late Lord Lytton's play of 'Money' Mr 
 Webster sustained the part of Graves in the original cast. Iii 
 1 841-2 Shakespearian and other revivals of the poetic drama were 
 produced at the Haymarket Theatre ; and it was remarked in a 
 contemporary journal (May 1842), that it remained the only place 
 
 in London where the banners of the national drama still waved 
 
 Covent Garden had ended disastrously for Charles Mathews and 
 his wife, Drury Lane for Macready—" the minor rallying points for 
 the scattered troops being merely outposts for the skirmishers." 
 
 On Saturday, June 4, 1842, S. Knowles's play 'The Rose ot 
 Arragon' was produced by Mr. Webster; Mr. and Mrs. Charles 
 Kean playing the leading parts. It had not the seeds of stage 
 existence, and was a failure. The following season Mr. Webster 
 opened his theatre with Mr. and Mrs. Charles Mathews (Madame 
 Vestris), Mr. Farren, Mrs. Glover, Madame Celeste, and Mr. Buck- 
 stone, of his company. In June 1843 he performed for the first 
 time, with Madame Celeste, in a piece called ' Louison,' an adapta- 
 tion from the French ; and subsequently (November 1843), with 
 the same actress, as Victor in ' Victor and Hortense,' a French 
 vaudeville. The same year Mr. Webster offered, for the encourage- 
 ment of dramatic literature, the sum of 500/. for the best modern 
 comedy, illustrative in plot and character of British manners and 
 customs. A committee of dramatic authors (not competitors), 
 dramatic critics, and actors (male and female), awarded the prize on 
 Saturday, May 18, 1844. Among the judges were the veteran actors 
 Charles Young and Charles Kemble, and Messrs. G. P. R. James, 
 P. R. Moran, H. Ottley, J. Clarke Searle, and the Rev. Alexander 
 Dyce. Ninety-eight comedies had been sent in and examined, and 
 the judges were unanimously in favour of a piece entitled ' Quid pro 
 Quo ; or, the Day of Dupes.' The author was Mrs. Gore. The play 
 was produced, with a strong cast, on Tuesday, June 18, 1844, and 
 was received with uproar and ridicule. In his farewell address of 
 the season 1 843-4, Mr. Webster stated, that " for three years no 
 comedy was to be got for love or money " ; and that Mrs. Gore's 
 was the best out of a hundred. None of the judges had ever 
 
376 THE DRAMA TIC LIST. 
 
 supposed it could have been so egregious a failure. In August- of 
 this year Mr. Webster was presented with a costly epergne by the 
 actors and actresses engaged at the Haymarket Theatre, '^ as a 
 mark of their esteem for his private and professional worth. ' In 
 September 1844 he became proprietor of the old Adelphi Theatre, 
 at the same time continuing his lesseeship of the Haymarket. At 
 the latter theatre, Monday, November 18, 1844, 'Old Heads and 
 Young Hearts ' (D. Boucicault) was produced— /,zV//^/o?i Coke, 
 Mr. Charles Mathews ; Bob, his clerk, Mr. Buckstone ; Tom Coke, 
 Mr. B. Webster ; Jesse Rural, Mr. Farren ; Lady Alice Hawthorn, 
 Madame Vestris. In the following year (1845), April 26, at the 
 same theatre, Douglas Jerrold's comedy ' Time Works Wonders ' 
 — " a genuine and legitimate .piece of dramatic writing, thoroughly 
 up to the mark, rich in wit, and overflowing with talent "-—was 
 performed for the first time. The play was a great success. The 
 following were in the original cast : Bessy Tulip, Madame Vestris; 
 Florentine, Miss Fortescue ; Miss Ticcker, Mrs. Glover ; Clarence 
 Norman, Mr. H. HoU ; Olive, Mr. Tilbury ; GoldtJmmb, Mr. 
 Farren ; Felix Goldthumb, Mr. Charles Mathews ; Professor 
 Truffles, Mr. Strickland. On January 6, 1846, Mr. Webster pro- 
 duced a dramatic version, by himself, of ' The Cricket on the 
 Hearth,' and played in it the part of John Peerybingle, " precisely 
 the kind of part for which the manager is most qualified by his 
 talents as an actor. It was genial and touching ; vigorous and 
 true ; highly finished in its details, yet natural in its general im- 
 Jsression. The performer was at home in it; and, in its way, nothing 
 could have been better." 
 
 The same year, at the Haymarket, Mr. Webster played Cynton 
 Foxall, first performance of Sullivan's comedy ' The Beggar on Horse- 
 back ' — a play which proved a satisfactory success ; and the Clown 
 in ' Twelftli Night,' the Misses Cushman (Charlotte and her sister) 
 sustaining in the play the parts of Viola and Olivia. On Saturday, 
 October 17, 1846, 'Queen Mary's Bower' (J. R. Planch^), an adapta- 
 tion of the libretto of M. Halevy's opera ' Les Mousquetaires de la 
 Reine,' was produced, and owed much of its success to the excellent 
 acting of Mr. Webster as the Laird of Killiecrankie. The same 
 year, in a revival at the Haymarket Theatre of Lovell's play ' Look 
 before you Leap,' he performed the part of Jack Spriggs. The 
 following year (1847) Mr. Boucicault's comedy 'A School for 
 Scheming,' and Robert Bell's comedy ' Temper,' were produced. 
 In the first-mentioned Mr. Webster played Job Sykes, M.P.; in 
 the second the part of Mr. Hope Emerson. This same year (1847) 
 'The School for Scandal' was revived, with Mr. Farren, Mr. H. 
 Farren, Mr. A. Wigan, Mrs. Glover, Mrs. Nesbitt, and Miss Helen 
 Faucit m the cast; Mr. Webster himself playing Moses. On 
 Wednesday, October 20, 1S47, Westland Marstou's play 'The 
 Heart and the World' was first performed at the Haymai-ket 
 
 Theatre. Of this play a contemporary journal remarks : " The 
 
 prominent faults of the play are a too great subjectivity in the 
 motives, dialogue, and characters, and an occasional defect of con- 
 tmuity m construction. The action is of so subtle a kind tliat it 
 
WEBSTER, BENJAMIN. 377 
 
 demands performers of nice perception and polished manners ade- 
 quately to carry out the dramatic idea. The French stage might 
 supply an appropriate troupe; but the English is so deficient of real 
 artists that we know of no existing company capable of enacting such 
 a drama with the requisite grace." On November 15, 1847, Mr. 
 Webster produced, at the Haymarket Theatre, ' The Roused Lion ' 
 (from the French ' Le R^veil du Lion '), and played in it the part of 
 Stanislas de Fonblanche. This piece attained an extraordinary success. 
 
 On Tuesday, December 7, 1847, Mr. Webster took part in the 
 performances at the Theatre Royal, Covent Garden, arranged in 
 behalf of the fund for the purchase of Shakespeare's house at 
 Stratford-on-Avon, and acted the character of Petruchio in a 
 selection from ' The Taming of the Shrew ' (parts of Acts i. and iv.). 
 :In ' The Wife's Secret,' performed at the Haymarket Theatre for 
 the first time, Monday, January 17, 1848 (with Mr. and Mrs. Charles 
 Kean in their original characters), Mr. B. Webster performed the 
 part of Jabez Sneed. In April of the same year he sustained the 
 character of Michael Bradshaw in Morton's play of ' Old Honesty,' 
 first performed at the Haymarket on Thursday, the 6th of that 
 month. In his customary annual address, delivered on the loth 
 of July, 1848, at the close of the summer season, Mr. Webster 
 Stated, that since January 1847 he had incurred a deficiency of 
 8000/. in his annual receipts, which he attributed to the encourage- 
 ment of a second Italian Opera House. In 1848-9 Mr. Webster 
 took part in the plays produced under the superintendence of Mr. 
 Charles Kean at Windsor Castle, before H.M. the Queen and the 
 late Prince Consort. On Wednesday, June 20, 1849, Marston's 
 tragedy of ' Strathmore ' was produced at the Haymarket, with Mr. 
 and Mrs. Charles Kean in the principal parts. 
 
 The Haymarket Theatre season 1849-50 opened on October i, 
 with the following among its higher artists, viz. Mr. Macready, 
 Mr. and Mrs. Charles Kean, Mr. Wallack, Mrs. Warner, and Mrs. 
 Nesbitt. On the opening night ' The Love Chase ' (S. Knowles) 
 was performed. On the 30th of the same month ' The Serious 
 Family' (M. Barnett), adapted from the French ' Le Mari k la 
 Campagne,' was produced, and was a triumphant success. Mr. 
 Webster played Mr. Charles I'orreits in the original cast. Thurs- 
 day, May 9, 1850, Douglas Jerrold's comedy 'The Catspaw' was 
 first performed, Mr. Webster as Coolcard. During the next season 
 (Monday, February 3, 1851), Macready made his last appearance 
 at the Haymarket in the part of King Lear, the Queen and 
 Prince Albert being present. In March of the same year Mr. 
 B. Webster played Tartuffe, in a literal version of Mohfere's comedy 
 by Mr. John Oxenford. " The power and finish of this perform- 
 ance were excellent." The same month (March 3, 18; i) an original 
 piece by Douglas Jerrold, entitled ' Retired from Business,' was 
 performed, Mr. Benjamin Webster acting the part of Captain 
 Gunn. This play was a great success. In 1852 a season of 
 English opera was inaugurated at the Haymarket Theatre. The 
 same year, April 24, Mark Lemon's play 'Mind your own Business' 
 was first performed, Mr. Webster playing in it the part of Verdon. 
 
378 THE DRAMA TIC LIST. 
 
 On Saturday, November 20, 1852, first performance at the Hay- 
 market of ' Masks and Faces,' he sustained the part of Triplet. {See 
 Stirling, Mrs.) " That is a charming scene," writes Prof. Morley 
 {Journal of a London Playgoer, p. 58), "where Peg visits the poor 
 poet in his garret, while his aihng wife and starving children are 
 sadly interrupting the flow of its comic muse. Nothing here was 
 lost in Mr. Webster's hands — the angry fretfulness followed by 
 instant remorse, the efforts of self-restraint which are but efforts in 
 vain, the energy that fitfully breaks out and then pitifully breaks 
 down, and the final loss of hope, even of faith in a better provi- 
 dence which is to set right all that misery and wrong — the picture 
 was complete, and set forth with its immemorial Grub Street 
 appendages of no shirt and ragged but ample ruffles." Saturday, 
 February 12, 1853, the late Lord Lytton's comedy 'Not so Bad as 
 we Seem ' (originally written for and played by members of the 
 Guild of Literature) was produced ; Sir Geoffrey Thornside, Mr. 
 B. Webster. The production of ' Not so Bad as we Seem ' was 
 eminently successful, which was attributable to the merits and 
 exertions of his company. " Mr. Webster threw a great deal of 
 intensity into the character of Thornside, but it is a character that 
 defies all attempts to raise it into significance. ... The scenery 
 and dresses are exceedingly beautiful ; and certainly everything that 
 could be done for a comedy has been done in this case by Mr. 
 Webster." {Times, February 14, 1853.) 
 
 On Monday, March 14, 1853, Mr. Benjamin Webster's manage- 
 ment of the Haymarket Theatre was brought to a close with the 
 performance of ' The Roused Lion,' ' A Novel Expedient,' and ' The 
 Pretty Girls of Stilberg.' In a review of the period of his manage- 
 ment, delivered from the stage on the closing night of the season, 
 Mr. Webster told his audience that without the assistance of a 
 single farthing beyond what he had saved by rigid economy out of 
 a very small income, he had maintained the longest lesseeship on 
 record — one of sixteen years. During that period he had secured 
 theatrical seasons varying from ten to twelve months. He had paid 
 30,000/., if not more, to authors ; expended at least 12,000/. in im- 
 proving the theatre, and disbursed more than 60,000/. for rent. His 
 most successful ventures had been ' The Bridal ' and ' Love Chase ' 
 of Sheridan Knowles, ' Money ' of Lord Lytton, ' Used Up,' illus- 
 trated by the vivacity of Mr. Charles Mathews as Sir Charles 
 Coldstream; a revival of ' The Taming of the Shrew,' with the 
 simple appointments of the ancient stage ; and ' The Wife's Secret,' 
 with the Keans. He had relied almost wholly on a succession of 
 I'/'^^'i ^'^^°^^ for attracting the public to his theatre— Mr. Macready, 
 Mr. Charles Kean, Miss Ellen Tree, Mrs. Warner, Mrs. Nesbitt, 
 Mrs. Glover, Miss Helen Faucit, Miss Charlotte Cushman, Mr. and 
 Mrs. Keeley. 
 
 On Easter Monday, 1853, Mr. Benjamin Webster inaugurated 
 his new management of the Adelphi Theatre with ' A Novel Ex 
 pedient,' ' To Parents and Guardians,' ' The Pretty Girls of Stil 
 berg, and ' Pepine, the Dumb Boy.' On June 8 the same vear he 
 produced at the Adelphi Mr. Boucicault's drama ' G^ndvi/ve • or 
 
WEBSTER, BENJAMIN. 379 
 
 the Reign of Terror,' playing in it the part of Lorin. On Monday, 
 March 20, 1854, was performed for the first time Tom Taylor and 
 Charles Reade's play 'Two Loves and a Life,' in which Mr. 
 Webster acted the part of Father Radcliffe, a Jesuit, who, having 
 been disappointed in a love affair in early youth, is now wholly 
 devoted to the interests of the Church and his order. "The 
 sacrifice of an individuality to an idea, which is implied in a 
 thorough devotion to a large principle, was most eloquently illus- 
 trated in the more solemn passages uttered by Father Radcliffe, 
 who was most carefully and impressively personated by Mr. 
 Webster." {Spectator, March 25, 1854.) The same year, on 
 Monday, May 22, he produced 'The Marble Heart,' adapted by 
 Mr. C. Selby from MM. Barrifere and Theboust's drama ' Les 
 Filles de Marbre,' Mr. Webster performing the dual parts of 
 Diogenes and Ferdinand Volage. In 1855, Monday, February ;, 
 'Janet Pride' (D. Boucicault) was first performed at the Adelphi 
 Theatre, Mr. Webster sustaining the part of Richard Pride; and 
 on Wednesday, June 20, 1855, 'Helping Hands,' by Tom Taylor, 
 Mr. Webster acting the part of Lorentz Hartmann. In 1858, 
 Monday, January 18, first performance of Mr. Watts Phillips's 
 drama ' The Poor Strollers,' Mr. Webster played the part of Pierre 
 Leroux. On Wednesday, June 2, 1858, the last performance took 
 place at the old Adelphi Theatre, which was pulled down in the 
 same year, and the present edifice erected in its place. The new 
 Adelphi Theatre was opened at the Christmas season of 1858, for 
 the performance of that class of drama for which the older house 
 had been so long famous. In 1859, Saturday, August 6, Mr. 
 Benjamin Webster played the part of Penn Holder, first perform- 
 ance of a piece adapted from the French by himself, entitled ' One 
 Touch of Nature.' Penn Holder was one of Mr. Webster's best 
 assumptions, and showed more favourably than any other character, 
 except Triplet and Luke Fielding, the eminently artistic gifts he 
 possessed. No living English actor could elicit more completely 
 the pathos of such scenes as those in the play between the daughter, 
 who is counterfeiting love for a father she does not know, and the 
 father who, while speaking, apparently, the words of a written part, 
 is, in reality, claiming his child in anxious and sorrowful earnest. 
 Nor did any actor of his day attain his ends by means more simple, 
 direct, and free from exaggeration. " The scene of the play is laid 
 in the chambers of Mr. Beaumont Fletcher, a dramatic author, the 
 elegance of whose furniture, and whose command over an exceed- 
 ingly smart footman, must have excited the surprise, not to say the 
 envy, of any member of the London Dramatic Authors' Society who 
 happened to be present. This fortunate Mr. Fletcher is so much 
 dissatisfied with the manner in which Miss Constance Belmour, an 
 actress, has represented the'principal French character in a new 
 drama during rehearsal, that he is resolved to give the part to some 
 other artist. However, his copyist, Mr. Holder (Mr. B. Webster), 
 a poverty-stricken creature of the ' Triplet ' aspect, who has flattered 
 his vanity by praising his work, pleads so strongly in Miss Bel- 
 mour's favour, that he abandons his intention, and resolves to give 
 
38o THE DRAMATIC LIST. 
 
 her a rehearsal in his own room. In the meanwhile the excessive 
 interest with which the young artist inspires the old copyist be- 
 comes more and more apparent. He has laid out his scanty earn- 
 ings in the purchase of bouquets, and he is detected by Fletcher m 
 the act of kissing her shawl. At last he confesses that Constance, 
 though herself unacquainted with the fact, is his own daughter. 
 The mother abandoned him, vvith a paramour, after a short term of 
 domestic happiness, and took with her the child, who was but three 
 years old ; but he has since been able to identify his offspring with 
 the rising actress, and has watched over her, unseen, with the 
 tenderest anxiety. 
 
 " Now the scene which is to be rehearsed in Mr. Fletcher's room 
 embodies the recognition of a father by a daughter who has not 
 seen him since childhood, and Miss Belmour's chief fault is the cold- 
 ness which she displays on this important occasion. Mr. Fletcher, 
 who has heard Holder's story, gladly avails himself of the offer &f 
 the copyist to take part in the critical scene, and the rehearsal 
 commences in due form. The father is impassioned in his fond- 
 ness, and though he cannot follow the words set down by the 
 author, he substitutes others so much more natural that he causes 
 an emendation of the text. Miss Belmour, on the other hand, 
 listens with her wonted coldness to the attempts of the father to 
 raise before her images of a rustic childhood, and Fletcher is almost 
 in despair at the want of animation, when Holder suggests a 
 temporary alteration in the words. He was a working tailor when 
 his wife deserted him, and therefore, in repeating the situation, he 
 abandons the description of the rural scene, and depicts instead the 
 interior of a poor work-room in Long Acre. The attention of 
 Constance is fixed ; her awakening memory bears witness to the 
 fidelity of Holdefs descriptions, and the real and feigned recog- 
 nition takes place at the same instant, with wonderful effect. There 
 is this fault about the piece, that in transferring the scene of action 
 from Paris to London, Mr. Webster, who has avowedly adapted it 
 from the French, has not sufficiently removed the tones of its native 
 soil. Mr. Fletcher is manifestly a Parisian despot of the stage, ex- 
 ercising a power far beyond that of the English dramatist ; and the 
 position of Mr. Belgrave, a ridiculous fop and a jealous admirer of 
 Constance, belongs rather to Gallic than to British life. But these 
 defects, conspicuous in the early part of the piece, are forgotten 
 when the grand situation towards which the whole action is directed, 
 occupies the attention of the audience. Never did Mr. Webster 
 play more finely than in this difficult position. While hurried 
 along by a storm of passionate affection. Holder is constantly forced 
 to think of his merely artificial character, and his most violent out- 
 breaks are checked by a prosaic attention to business. This com- 
 plexity is represented with marvellous truth and power by Mr. 
 Webster, who works at the character as if he liked it, and who, by 
 the great applause he received, will doubtless abandon his intention 
 of performing the piece for 'one night only.'" {TtJiies, August 8, 
 1859.) 
 
 In November 1859 Mr. Watts Phillips's drama 'The Dead 
 Heart ' was performed for the first time at the Adelphi, Mr. Webster 
 
WENMAN, THOMAS EDMUND. 381 
 
 acting the part of Robert Landry. Said the Athenceum (Novem- 
 ber 19, 1859) :— " Such a part as this, embracing many phases, and 
 presenting the memorabilia of a life, gives to Mr. Webster that 
 variety of expression of which he ever takes such advantage. As 
 an artistic delineation his Robert Landry stands in the present day 
 alone. There is no London actor who can compete with it in its 
 rough strength and its intense feeling." In 1867, on Thursday 
 December 26, first performance of Messrs. Charles Dickens and 
 Wilkie CoUins's drama of ' No Thoroughfare,' Mr. Webster played 
 the part of Joey Ladle. Subsequent to this date he seldom 
 appeared on the London boards in any but revivals of those plays 
 in which he had already secured reputation. In February 1874 
 Mr. Benjamin Webster finally retired from the stage ; and in the 
 following month a farewell benefit performance — in which all the 
 principal living actors took part— was given to him at Druiy Lane 
 Theatre. The amount said to have been realized was 2000 guineas. 
 
 WENMAN, THOMAS EDMUND (a nam de thidtre ; THO- 
 MAS Edmund NevI'Man), was bom at Manchester, March 21 
 1844, and first appeared on the stage at the Theatre Royal, Burnley^ 
 1862, as Captain Blenheim in the 'Rough Diamond.' He was 
 afterwards engaged (,1863-9) at the Theatre Royal, Manchester, on 
 the North Shields " circuit," and at the Theatres Royal, Nottingham 
 and Glasgow, and had the advantage of playing with several " star " 
 actors, the late Walter Montgomery, Miss Madge Robertson (Mrs. 
 Kendal), Miss M. Reinhardt, Miss H. Faucit, &c. In June 1870 
 he joined the late Mdlle. Beatrice's comedy company, and during 
 his engagement, extending to June 1878, appeared in all the princi- 
 pal towns in the United Kingdom, and at the Haymarket, Olympic, 
 and Globe Theatres in London. Among the more noticeable 
 characters played by Mr. Wenman during his long connection with 
 Mdlle. Beatrice's company, the following are deserving of mention, 
 viz. M. Brigard (' Frou-Frou'), M. Marecal ('Our Friends'), 
 Joseph Ironsides (' Nine Points of the Law '), Matthew Lambert 
 ('Married, not Mated'), Adam Jasper ('John Jasper's Wife'), 
 Duke of Alva (' Patrie'), John Prescott (' Glitter'), Kemy ('The 
 Woman of the People'). In 1878 he joined Mr. Hare's company on 
 tour in the provinces to play Burchell in ' Olivia,' and subsequently, 
 on January 4, 1879, " opened " at the Court Theatre, London, as Sir 
 John Ingram ('A Scrap of Paper'), and Mr. Sullivan ('A Quiet 
 Rubber '), and subsequently Sergeant Sabretache (' The Queen's 
 ShilUng '), which part he is now (November 1879) playing at the St. 
 James's Theatre. 
 
 WESTLAND, HENRY, was born in London, September 14, 
 1838, and entered the dramatic profession at the Theatre Royal, 
 Leamington, Easter Monday, 1861. In the winter of the same 
 year he joined the company of the Theatre Royal, Dublin, and 
 played there during the "starring" engagements of the late Mr. 
 Charles Mathews, Mr. G. V. Brooke, Mr. Charles Kean, and Mr. 
 John Drew, in the various plays in which those actors played 
 the leading rdle. For the season 1862-3 Mr. Westland was 
 
382 THE DRAMATIC LIST. 
 
 re-engaged for the same theatre ; but afterwards joined the Theatre 
 Royal, Brighton, under the late H. Nye Chart's management, for 
 the seasons 1863-4-5. In the autumn of 1865 he played at the 
 Lyceum Theatre, under Mr. Fechter's management ; and in August 
 and September 1866, at the Haymarket, during an engagement of 
 Miss Amy Sedgwick, the following parts, viz. The Baron ('The 
 Stranger'), Glavis ('The Lady of Lyons'), Trueworth (' The Love 
 Chase'). For the winter season 1866-7 he was engaged by Mr. 
 Sefton Parry for the New Holborn Theatre, and at the same 
 theatre, in the following season, played Captain Grindly Goodge 
 in ' Flying Scud.' Mr. Westland remained at the Holborn 
 Theatre during part of Miss Fanny Josephs' management ; and in 
 1869-70 fulfilled an engagement at the Globe Theatre, under Mr. 
 Sefton Parry. Subsequently he was engaged on various tours, viz., 
 in 1870, with Mr. Boucicault ; in 1 871, with Mr. Arthur Garner's 
 so-called " Royalty Company " ; and during the winter season 1 872-3, 
 for "leading business" at the Amphitheatre, Liverpool. In 1874 
 he was engaged by Mr. John HoUingshead for tour with Mr. Lionel 
 Brough and Miss E. Farren ; and in 1875 went to the United 
 States with Mr. J. L. Toole, to play with him during his American 
 engagement. He has been on tour with several other well-known 
 players, and is at present acting with Mr. J. L. Toole at the FoUy 
 Theatre. 
 
 * WIGAN, HORACE, made his first appearance on the London 
 stage at the Olympic Theatre, May i, 1854, in the character of 
 Paddy Murphy, in a piece entitled ' The Happy Man,' and first 
 attracted notice as an actor there in 1858. He was the original 
 Mr. Smoothly Smirk of John Oxenford's play ' The Porter's Knot,' 
 first performed at that theatre Saturday, December 4, 1858. On 
 April II, 1859, at the same theatre, in Tom Taylor's drama 'Nine 
 Points of the Law,' then first performed, he acted the character of 
 Mr. Cunninghame; and in Madison Morton's play 'A Husband 
 to Order,' first performed at the Olympic, Monday, October 17 of 
 the same year, he played the Baro?z de Beauprd. Monday, 
 April 23, i860, at the same theatre, Mr. H. Wigan sustained the 
 part of William Hogarth, in a piece of pathos entitled ' The 
 Christmas Dinner,' from the pen of Mr. Tom Taylor. In February 
 1 86 1 he acted the part of the elder Probity, first performance of 
 H. T. Craven's play ' Peter Probity,' and subsequently, during the 
 serious illness of Mr. Robson, sustained the leading role in the 
 piece. In June 1863, first performance of M-r. Tom Taylor's drama 
 'The Ticket-of-Leave Man,' Mr. H. Wigan acted the part of 
 Hawkshaw. In September 1864 he became sole lessee and 
 manager of the Olympic Theatre, " opening " on November 2 with 
 three new pieces, viz. ' The Girl I Left Behind Me ' (John Oxen- 
 ford) ; ' The Hidden Hand ' (Tom Taylor) ; and ' My Wife's 
 Bonnet' (J. M. Morton), all adapted from the French. After the 
 drama ('The Hidden Hand,' adapted from a French melodrama 
 called ' L'Aieule '), Mr. Wigan expressed his managerial intentions 
 in an address, wherein he said :— " As for the style of entertainment 
 
WIUAN, LEONORA. 383 
 
 in store for you, I think that the word 'mixed' will be the best 
 general description. I shall not exclude any dish from our Olympic 
 ' spread,' provided it be wholesome, pleasant, and well-dressed ; 
 from the whipped cream of burlesque, very good in its proper time 
 and place, to the piice de rdsistance in the shape of drama, with 
 removes of comedy, vaudeville, farce, and comedietta. I shall not 
 even be frightened by the name of sensation, so long as it mean 
 strong interest, exciting incident, and powerfully conceived situation. 
 But I never mean to put the cart of Thespis before the horse, or, in 
 pther words, to consider the scenery, dresses, and decorations of 
 more importance than the actors and the piece. In short, if an 
 English manager may be allowed to adopt a maxim from the 
 Roman dramatist, I would say, ' Manager sum, et boni nil a me 
 alienum puto,' or, translating for the benefit of the ladies, I am a 
 manager, and whatever brings me a bonus I shall make a point of 
 producing." {Journal of a London Playgoer, Prof Henry Morley, 
 p.- 348.) Saturday, March 4, 1865, 'The Settling Day,' by Tom 
 Taylor, was produced, Mr. H. Wigan sustaining the part of 
 Meiklam. The same year, in a revival at the Olympic Theatre 
 of Shakespeare's ' Twelfth Night,' he acted the character of Sir 
 Andrew Agtiecheek. In July of the same year Mr. Wigan pro- 
 duced Tom Taylor's drama of 'The Serf; or, Love Levels AH.' In 
 May 1866 he produced a play by Leicester Buckingham, entitled 
 ' Love's Martyrdom,' and acted in it the part of Trevelyan. In 
 1868, November 7, first performance of Mr. Henry Neville's drama 
 'The Yellow Passport,' Mr. H. Wigan played the character of 
 Jouvert. In 1869 he joined the company of the Gaiety Theatre, 
 and enacted the leading rSle in a play written by. himself in 
 collaboration with Mr. John Oxenford, entitled ' A Life Chase.' 
 Since 1870 Mr. Horace Wigan has appeared at various London 
 Theatres — the Olympic, Vaudeville, and Strand — in parts of more 
 or less importance in the line of comedy. In the early part of 1875 
 Mr. Wigan entered upon the management of the Holborn Theatre 
 (re-naming it the 'Mirror'), and produced on the first night an 
 original comedietta 'Maids of Honour' (C. L. Kenney), 'The 
 Hidden Hand,' and a farcical trifle entitled ' Make Yourself at 
 Home' (A. Maltby). He is the author of several farces, some of 
 which have attained fair success on the stage. A piece of his, 
 adapted from the French of M. Sardou (' Nos Intimes '), entitled 
 'Friends or Foes,' produced at the Olympic Theatre, March 8, 
 1862, was of more than usual merit, very cleverly constructed, and 
 completely successful. 
 
 WIGAN, LEONORA, wife of the late Alfred Sidney Wigan, is 
 descended of an old theatrical family — the Wallacks. She was 
 educated to the stage from early childhood, and was a popular and 
 clever member of the company of the Keeleys when they had the 
 management of the Lyceum Theatre, 1844-7 ; and, with her 
 husband, performed with more than ordinary success at other 
 London theatres previous to his entering upon the management of 
 the Olympic Theatre in 1853. Here Mrs. Wigan actively interested 
 
384 THE DRAMATIC LIST. 
 
 herself in the various and important duties of stage-management ; 
 and it would be no injustice to her husband's memoiy to say that the 
 success which attended his lesseesliip of the Olympic Theatre was 
 largely due to the care, energy, and taste with which she performed 
 those duties. Mrs. Wigan may be said to have inaugurated, under 
 Mr. Alfred Wigan's auspices, that more finished style of acting 
 which of recent years has happily become the guiding principle of 
 the London theatres. 
 
 WILLES, LOUISE, was born in Cleveland, Ohio, U.S. She 
 left America when quite a child, and was educated in England for 
 the musical profession ; but forsook it for the stage, and made her 
 dibut at the Prince of Wales's Theatre, Liverpool, February lo, 
 1868. Having studied the various grades of theatrical work until 
 September 1870, Miss Willes then accepted an engagement at the 
 New Theatre Royal, Bristol, as "leading lady." Since that time 
 she has played that business in all the principal towns of the 
 United Kingdom. Her greatest provincial successes have been in the 
 parts of Edith Dombej, Rosalind, and Lady Clancarty. Miss Willes 
 made her first appearance in London at the Olympic Theatre, July 
 '3i 1875, in the part of Caniille, in a play entitled ' One Hundred 
 Years Ago.' Subsequently she fulfilled engagements at the Criterion, 
 Globe, Adelphi, and Drury Lane Theatres, in the following principal 
 parts : Lady Dedlock, Mary Leigh (' Hunted Down '), Mrs. Royal 
 in ' The Golden Plough,' Fenella in ' England,' Amy Robsart, and 
 Lady Clancarty. During the latter part of 1878 and earlier months 
 of the following year she acted with considerable success in 
 Calcutta. 
 
 WILTON, MARIE. See BANCROFT, Marie Effie. 
 
 WOOD, MRS. JOHN, daughter of Mrs. Henry Vining, for 
 some years a well-known actress in domestic drama at the Surrey 
 Theatre. She made her first appearance on any stage at the South- 
 ampton Theatre, and was an actress of considerable repute in the 
 United States (whither she had gone after a slight experience in the 
 English provinces), prior to her dibiit in London, which took place 
 at the Princess's Theatre, Monday, November 12, 1866. The 
 character in which Mrs. John Wood appeared on the occasion was 
 that of Miss Miggs in a dramatic version by Watts Phillips of 
 'Barnaby Rudge.' In 1869, in October, Mrs. John Wood entered 
 upon the management of the St. James's Theatre, and "opened" 
 with ' She Stoops to Conquer,' and an operetta entitled ' Treasure 
 Trove.' Subsequently she appeared at the St. James's Theatre 
 with great success as Pocahontas in a burlesque entitled ' La Belle 
 Sauvage.' On Monday, June 20, 1870, at the St. James's Theatre, 
 she played Phoebe in a revival of ' Paul Pry,' and in the following 
 month of the same year fulfilled an engagement at the Standard 
 Theatre, appearing in her original character in the burlesque before 
 mentioned. On Saturday, October 15, 1870, at the St. James's 
 Theatre, she played the part of Georgette in ' Fernande,' an adapta- 
 
WOOD, MRS. JOHN. 385 
 
 tion by Mr. Sutherland Edwards of M. Sardou's play of that title. 
 Criticising this performance, the Daily News (October 17, 1870) 
 said : — " Few actresses have risen as rapidly in the public favour as 
 Mrs. John Wood ; only twelve months since, when this theatre was 
 first opened under her management, her name was practically un- 
 known to Enghsh audiences. In the United States she had long 
 enjoyed a high reputation in the field of burlesque ; but her appear- 
 ances here had been confined to the performances of a character 
 in an adaptation to the stage of Mr. Dickens's ' Barnaby Rudge,' 
 produced a few years ago at the Princess's Theatre, and in this she 
 could hardly be said to have been successful. Discouraged appa- 
 rently by her reception, Mrs. Wood shortly afterwards returned to 
 America. Even favourites of the public are quickly forgotten ; but 
 an actress who had made so Httle impression could hardly be 
 remembered by any but those whose duty it is to chronicle dramatic 
 events. It cannot, therefore, be said that she came among us last 
 year under any very favourable circumstances. Yet a very few 
 weeks sufficed to show that the London theatre had gained the 
 services of a lady of decidedly 'original powers. People of delicate 
 constitution whispered that her style was ' coarse ' ; aristocratic 
 loungers in the stalls fancied that they detected an objectionable 
 flavour of Republican freedom in her tone and manner ; but the 
 indisputable cleverness of the lady, her strong sense of humour, 
 her versatility, quaint drollery, and, above all, her .never-flagging 
 vivacity, soon reduced her objectors to an unpopular minority. 
 Added to this, Mrs. Wood has exhibited a talent scarcely less rare 
 as a theatrical manager. She has not only amused the public, but 
 has studied the comfort and conveniences of her visitors, until thfe 
 St. James's, so long regarded as hopelessly out of favour with play- 
 goers, has become one of the most successful of London houses. . . . 
 " The theme of ' Fernande' is the old one of a woman raised from 
 a position of shame, who finds the secret of her past career still 
 haunting .her, and marring her enjoyment of a purer life. In the 
 original, Fernande is the young mistress of a low gambling-house 
 keeper, who, after an attempt to commit suicide in disgust at the 
 degraded condition to which early neglect has reduced her, is 
 rescued by Clotilde, a wealthy lady of generous sentiments. Clotilde 
 herself, however, is not a person of immaculate propriety. She is, 
 in fact, the mistress of a young marquis, who, by an unfortunate 
 coincidence, has seen and fallen in love with her protegie, in igno- 
 rance of her antecedents. Having reason to suspect her lover's 
 infidehty, Clotilde feigns to have lost her affection for him, by 
 which he is induced to confess to her the facts with heartless cool- 
 ness. Thenceforth, Clotilde's feeling toward Fernande is changed ; 
 and she resolves on a revenge which bears some resemblance to 
 that of the rejected suitors of the Lady of Lyons. She encourages 
 the match with Fernande ; waylays a letter in which the latter had 
 made full disclosures of her past life to her lover ; and when the 
 union is complete and the honeymoon over, appears on the scene 
 with the astounding proofs that the Marquis has married a woman 
 of antecedents of the vilest kind. Both in the English version and 
 
 2 c 
 
386 THE DRAMA TIC LIST. 
 
 in the original the Marquis finally takes the penitent wife to his 
 arms, on the discovery that she had not after all attempted to 
 deceive him ; but it will be easily conceived that the plot we have 
 sketched has undergone, in preparation for our stage, considerable 
 changes. It is, in fact, the old story of taking away an objection- 
 able foundation, while the edifice it supported is expected to stand. 
 In brief, not only is Clotilde at the St. James's a respectable lady 
 to whom the fickle Marquis has been paying his addresses, but 
 Fernande is, from the first, a model of purity ; her only association 
 with the low gaming-house being the fact that her mother's second 
 husband is its proprietor. Decency is thus strictly observed, but 
 the point of the plot is obviously gone ; the only fault of poor 
 Fernande having been that she had happened to have a very cruel 
 and wicked stepfather. . . . 
 
 " The success of the play was in no small degree due to the 
 acting. Mrs. John Wood's part, though merely incidental, is 
 amusing. Her suspicion of her husband, and habit of discovering 
 love letters deposited in his hands as the legal adviser of a lady 
 suing for a divorce, and of regarding them as damnatory proofs of 
 marital infidelity, were depicted with a sprightliness which gave a 
 decidedly new touch to the typical jealous wife of the stage." 
 
 In January 1871, at the same theatre, in a revival of 'Jenny Lind 
 at Last,' Mrs. John Wood played Jenny Leather lungs j and, in 
 April following, Anne Bracegirdle, in an English version of M. 
 Fournier's play ' Tiridate ; ou Comddie et Tragddie,' entitled ' An 
 Actress by Daylight.' After a visit to the United States, Mrs. 
 John Wood reappeared on the London stage in November 1873, at 
 the Queen's Theatre, as Philippa Chester in Charles Reade's drama 
 ' The Wandering Heir.' On Saturday, March 21, 1874, on the 
 occasion of the opening of the Criterion Theatre, she played the 
 leading r6le in Byron's comedy ' An American Lady ' ; and on 
 December 19 of the same year, at the Gaiety Theatre, Mrs. Page in 
 a revival of ' The Merry Wives of Windsor.' Mrs. John Wood was 
 for a period of eight years manageress of St. James's Theatre. 
 Among pieces produced there during the latter part of her manage- 
 ment, ' The Danischeffs,' first performed on Saturday, January 6, 
 1877, and in which she played Princess Lydia, is entitled to special 
 mention. In 1878, on Monday, December 2, at the Haymarket 
 Theatre, first performance of Mr. James Albery's version of ' Les 
 Fourchambault ' of M. Augier, entitled 'The Crisis,' Mrs. John 
 Wood sustained the part of Mrs. Denham, " a character well and 
 humorously conceived, and expressed with great vivacity and truth 
 by the actress " {Ti?nes, December 4, 1878). 
 
 WOOLGAR, SARAH JANE. See MELLON, Mrs. ALFRED. 
 
 *WYNDHAM, CHARLES {s. nomde thMtre), first ecppezxed. on 
 the stage, in New York, at Mrs. John Wood's Olympic Theatre, in 
 1 86 1, as "walking gentleman." Afterwards he did duty in the 
 Southern States as a surgeon during the Civil War. On May 21, 
 1866, he made his d^hit on the London stage at the Royalty 
 
YOUNG, SOPHIE. 387 
 
 Theatre as Sir Arthur Lascelles in ' All that Glitters is not Gold.' 
 Subsequently (April 1867) he appeared at the St. James's Theatre, 
 during Miss Herbert's management, as Hugh Stoneleigh in a play 
 entitled ' Idalia.' Returning to New York in 1869, on September 15 
 of that year he made his ddbut at Wallack's Theatre as Charles 
 Surface in ' The School for Scandal.' Mr. Wyndham has appeared 
 at various theatres in London since that date in pieces which have 
 attained more or less success. During his management of the 
 Criterion Theatre he produced, on Saturday, March 31, 1877, 'The 
 Pink Dominos ' (adapted by J. Albery from ' Les Dominos Roses ' of 
 MM. Hennequin and Delacour), in which he played the part of 
 Charles Greythorne. The EngHsh version attained much popu- 
 larity. In January 1879, ^t the same theatre, Mr. Wyndham pro- 
 duced 'Truth' (Bronson Howard), in which he played the leading 
 r6le, and on August 9, ' Betsy,' a comedy adapted from the French 
 by F. C. Burnand. 
 
 YOUNG, MRS. CHARLES. See VeziN, Jane ELIZABETH. 
 
 YOUNG, SOPHIE, made her first appearance as a child at 
 the Haymarket Theatre in the character of Prince Edward in 
 'Richard III.,' Edwin Booth, the< American tragedian, and Mrs. 
 Herman Vezin sustaining the principal parts. She afterwards was 
 a pupil of Mr. John Ryder, and about twelve years ago had control 
 of Astley's Theatre for a season. Miss Young appeared at the 
 Queen's Theatre in the first performance of Burnand's ' Turn of the 
 Tide,' May 29, 1869, in the character of Lady Clara, and afterwards 
 joined Mdlle. Beatrice's company, playing leading business in the 
 provinces for about two years. In August 1873 Miss Young pro- 
 duced at the Theatre Royal, Edinburgh, an English version by 
 Mr. Wills of ' Patrie,' by Sardou, under the title of ' Betrayed,' in 
 which she appeared as Dolores. Owing to severe illness, however, 
 Miss Young was obliged to retire for a time, and did not reappear 
 on the stage until December 1877, when in the revival of 'The 
 Turn of Tide ' at the Olympic Theatre she sustained her original 
 part QtiLady Clara. She afterwards (1878) appeared in the leading 
 part in Charles Reade's ' Jealousy,' produced at the Olympic. In 
 June 1878 she replaced Mrs. Bancroft in the rdle of Countess Zicka 
 in ' Diplomacy,' at the Prince of Wales's Theatre, returning again in 
 May 1879 to the Olympic to play Maud Penreath in Mr. Frank 
 Harvey's comedy ' Married, not Mated.' 
 
 2 C 2 
 
APPENDIX, 
 
 CONTAINING 
 
 BIOGRAPHICAL NOTICES OF THE PRINCIPAL ACTORS 
 AND ACTRESSES 
 
 WHO HAVE DIED SINCE THE ISSUE OF THE FIRST EDITION 
 
 OF 
 
 ' THE DRAMA TIC LIST: 
 
 BEATRICE, MDLLE. (a nom de tMdtrej Marie Beatrice 
 Binda), born at Lucca, in Italy, August 5, 1839 ; died in London 
 December 22, 1878. Her father. Chevalier Binda, was for many 
 years the British Consul at Florence and Leghorn, and afterwards in 
 the service of the Imperial Court of Napoleon III. Political offences 
 at an early period of his life caused him to visit England, where he 
 remained for seventeen years, passing much of his time between 
 Chatsworth, the seat of the Duke of Devonshire, and Holland 
 House. Here he made the acquaintance and formed a friendship 
 -with most of the political, literary, and aristocratic celebrities of 
 the day. He was a man of polished wit and great literary- attain- 
 ments (the Binda library being famous both in France and Italy), 
 and could claim a personal friendship with Lord Byron and 
 Madame Guiccioli. The family on Mdlle. Beatrice's mother's 
 side was even of higher distinction, Madame Binda being the 
 grand-daughter of the famous Marquise de Lage de Volude, the 
 sincere friend of the Princess de Lamballe, and the principal maid 
 of honour to Marie Antoinette. Her party figured notably in the 
 Rfevolution of '93. While attached to the Imperial Court of France 
 Chevalier Binda was seized with paralysis. His income being 
 considerably reduced, Mdlle. Beatrice determined to adopt the 
 stage as a profession for the purpose of assisting her family. She 
 entered herself as a scholar of the Conservatoire, obtained a first 
 prize within the year, and made her first appearance at the Th^itre 
 de rOd^on as the heroine in the French version of Kotzebue's 
 ' Stranger.' From the Oddon she passed on to the Vaudeville, 
 where she became the second and under-study of Mdlle. Fargeuil. 
 She appeared, by special command of the Empress, at Versailles 
 as The Countess in ' The Marriage of Figaro ' ; and was selected 
 by Alexandre Dumas y?/j for* the heroine in his play ' L'Ami des 
 Femmes,' but was prevented from accepting it by the death of her 
 father. Four years were thus passed in study, rehearsals, acting, 
 
BEATRICE, MDLLE. 389 
 
 and sharing alternate nights of watching with her sister at her • 
 father's bedside. Many of her father's old friends now came to her 
 assistance, and amongst them none were kinder than the present 
 Empress of the French. Mdlle. Beatrice was induced to try her 
 fortunes on the English stage. She was brought to this country 
 under the escort of Lady Holland and the late Mr. Henry Greville, 
 and was for some time a guest at Holland House.* Mdlle. Binda 
 made her d^but on the London stage in the name of Lucchesini 
 at the Haymarket Theatre on Monday, October 3, 1864, in the 
 principal role in Mrs. F. A. Kemble's (Mrs. F. Butler) stage 
 adaptation of ' Mademoiselle de Belle Isle.' In November 1864 
 she appeared at the same theatre in 'The Stranger.' Noticing 
 this performance, the Athenaum (November 5, 1864) said : — "The 
 new actress at this theatre has put her claims to the test of a 
 second character, and has better satisfied the public than in the 
 first. Mdlle. Beatrice as Mrs. Haller is fitted with a part that 
 might have been invented for such an actress. Beautiful, elegant, 
 and Italian, highly polished in her style of art, with manners ex- 
 tremely refined, we have almost the ideal of Kotzebue's heroine. 
 Her last act has never been surpassed ; it is wrought to a climax 
 in an apparently natural manner which conceals the skill by which 
 the effect is secured. Mdlle. Beatrice prefers a happy catastrophe, 
 and throws herself into the arms of ' The Stranger,' who is thus 
 compelled to pardon the erring wife. It is not always that the 
 prejudices of an English audience permit such a consummation 
 of the action ; on this occasion, however, they did, and Mdlle. 
 Beatrice's triumph was not questioned." 
 
 In the same month and year Mdlle. Beatrice appeared at the 
 same theatre as Hilda in a play called ' Sunny Vale Farm,' adapted 
 by Mr. J. V. Bridgman from the German of Dr. Mosenthal (' Der 
 Sonnenwendhof '). In 1865, Monday, April 17, in a revival of 
 ' Belphegor ' at the Lyceum Theatre (Mr. Fechter in the title rdle), 
 she sustained the character of Madeleine, 
 
 After that year Mdlle. Beatrice appeared oftener at provincial 
 theatres than on the London stage. In 1867 she played with very 
 great success in the provinces in Mrs. Fanny Kemble's (Mrs. F. 
 Butler) English version of Schiller's ' Mary Stuart.' Two years 
 later, in February 1869, she reappeared on the London boards for 
 a brief season as Marie Antoinette in the drama of that title by 
 Mr. Palgrave Simpson ; but Mdlle. Beatrice entered into no per- 
 manent engagements in the metropolis following the five years of 
 her first connection with its stage. She occupied herself principally 
 in travelling in the provinces with a company of her own, which 
 she had organized in the year 1870, appearing from time to time 
 in London with that company in the summer season. The plays 
 which she produced consisted chiefly of translations from the 
 French. " She invested the characters she portrayed with a grace, 
 a refinement, and a charm peculiarly her own, and in her own 
 particular line she had no rival. Her company, too, was always 
 * For the foregoing facts 1 am indebted to the Era, December 29, 
 1878, p. 13.— Ed. 
 
39° THE DRAMA TIC LIST. 
 
 noted for its excellence, many of its present members being in it 
 from its organization." (The Era, December 29, 1878, p. 13.) 
 Among her later appearances on the metropolitan stage the fol- 
 lowing are to be noted : In May 1872 she presented at the 
 Olympic Theatre ' Our Friends,' a version of M. Sardou's ' Nos 
 Intimes,' and acted in it the part of Madame Caussade. On 
 Saturday, August 22, 1874, she opened the Haymarket Theatre 
 for a brief period with her " Comedy-Drama Company," and pro- 
 duced ' The Sphinx,' from ' Le Sphinx ' of M. Octave Feuillet ; 
 'Frou-Frou'; and 'Our Friends.' In August 1875, at the Globe 
 Theatre with her company, she presented an adaptation of M. 
 Dumas fiW ' Monsieur Alphonse,' under the title of ' Love and 
 Honour ; or, Monsieur Alphonse,' by Mr. Campbell Clarke, in 
 which she sustained the part of Madame Guichard. In July 
 1876, at the Haymarket Theatre, she produced a revival of some 
 of the plays above mentioned ; and in August 1878 appeared at 
 the Olympic Theatre for four weeks in the leading role in a 
 melodrama entitled ' The Woman of the People,' which had been 
 performed by her company with great success in the provinces. 
 The Era of the date already quoted, in an obituary notice of 
 Mdlle. Beatrice, remarked of her as follows : — " Mdlle. Beatrice 
 did not count her admirers amongst her audience alone. Her 
 great kindness of heart, her high sense of justice, her charm of 
 manner, made her a special favourite with everyone with whom 
 she came in contact. And her loss will be deeply felt by many. 
 Italian on the father's side, and French on the mother's, she 
 inherited the qualities of both countries — though her sympathies 
 lay all with France. She was highly educated, a first-rate linguist, 
 n true politician, and could converse freely on almost any subject, 
 whilst her wonderful business capacity surprised all those with 
 whom she had dealings." A solemn requiem mass for the repose 
 of the soul of the deceased actress was celebrated at the Pro- 
 Cathedral, Kensington, on Tuesday, January 31, 1879. The remains 
 were afterwards conveyed to Paris for interment in the family vault 
 at Pfere Lachaise. 
 
 CLARKE, JOHN, born cir. 1830; died 20th of February, 1879. 
 In early life Mr. John Clarke showed a strong predilection for the 
 stage, and eventually he gave up a photographic establishment in 
 Farringdon Street, which he had opened with some prospect of 
 success, and went as " general utility " to several country theatres 
 in succession. He made his first appear'ance on the London stage 
 at the Strand Theatre, January 1852, as Master Toby in Wilkins's 
 play 'Civilization.' At Drury Lane Theatre, October 7, 1852, he 
 played the part of Fathom in ' The Hunchback ' ; and the same 
 year accepted an engagement at the StrEuid Theatre (then known 
 as "Punch's Playhouse"), with which he subsequently became 
 connected as a leading actor in burlesque and the domestic drama 
 its leading specialities. Among the more successful pieces in 
 which Mr. Clarke sustained a leading rdle during the first period 
 of his long connection with the London stage the following may 
 
CLARKE, JOHN. 391 
 
 be mentioned, viz. ' Electra' {Lycus), a burlesque by Francis Tal- 
 fourd, first performed at the Haymarket Theatre in April 1859; 
 ' The Very Latest Edition of the Lady of Lyons ' {Beauseant), first 
 performed at the Strand Theatre in 1859 ; a burlesque entitled 
 'The Maid and the Magpie,' first performed at the same theatre ; 
 a play entitled 'Appearances,' from the pen of Mr. Palgrave 
 Simpson, produced at the same theatre in May i860; 'The Old 
 Story' {Mr. Waverly Brown), by Mr. H. J. Byron, performed 
 at the same theatre in April i86i ; ' Aladdin ; or, the Wonderful 
 Scamp,' produced the same month ; ' Orange Blossoms ' {Septimus 
 Symmetry), by Mr. J. P. Wooler, performed at the same theatre in 
 February 1862. To mention in detail the numerous characters in 
 which Mr. Clarke appeared during his engagement at the Strand 
 Theatre would necessitate the compilation of a list of the various 
 stage pieces produced there from 1858 to 1862. It may be sufficient 
 to remark that in the most successful of these Mr. Clarke's acting 
 was a principal attraction, conducing largely to their popularity 
 and success. During an engagement at the St. James's Theatre 
 in 1864, on Wednesday, May 11, first performance of Mr. Bouci- 
 cault's play entitled ' The Fox Chase,' Mr. Clarke played the part 
 of Twinmg, alias the Fox. On Saturday, April 15, 1865, on the 
 occasion of the opening of the Prince of Wales's Theatre under the 
 management of Mr. H. J. Byron and Miss Marie Wilton, in an 
 extravaganza by the former entitled ' La ! Sonnambula ! or the 
 Supper, the Sleeper, and the Merry Swiss Boy,' Mr. Clarke played 
 the part of Amina. On September 25 of the same year (1865) he 
 played Lucia de Lammermoor in Mr. H. J. Byron's burlesque of 
 that title, then first performed at the same theatre. On Saturday, 
 November 11, 1865, Mr. Clarke sustained the part of John Chodd, 
 first performance of T. W. Robertson's comedy ' Society.' On 
 Saturday, September 15, 1866, at the Prince of Wales's Theatre, 
 he undertook the character of Hugh Chalcot, first performance 
 of T. W. Robertson's comedy entitled ' Ours,' " a character afford- 
 ing no scope for the exuberant humour which is usually expected 
 from this clever comedian, but sustained by him with an amount 
 of artistic skill which is thoroughly appreciated by his audience " 
 {Daily Telegraph, September 19, 1866). 
 
 On Monday, March 2, 1868, at the Olympic Theatre, he sustained 
 the part of Sarah Gamp in a dramatic version of ' Martin Chuzzle- 
 wit'; and on Saturday, November 28 of the same year, on the 
 occasion of the opening of the Globe Theatre, he played the part of 
 Matthew Pincher, first performance of Byron's comedy ' Cyril's 
 Success.' " The chief humour of the play," said the Daily News 
 (November 30, 1868), "is sustained by Mr. John Clarke, whom it 
 is a pleasure to meet for once out of that region of oily hypocrisy 
 and smirking roguery in which he at one time threatened to de- 
 generate into a mere mannerist. His hard but distinct voice, and 
 slow manner, told well in the part of Matthew Pincher, the cynical 
 critic. The scene in the last act, in which he is reconciled with his 
 wife, coming together after twenty-three years' separation, just as 
 they had parted on a, question of ' incompatibility of ideas on the 
 
392 THE DRAMA TIC LIST. 
 
 subject of cookery,' was one of the drollest in the play — the humour 
 being heightened by the incomparable acting of Mrs. Stephens." 
 On Saturday, October 23, 1869, first performance at the Globe 
 Theatre of Byron's comedy ' Not Such a Fool as He Looks,' Mr. 
 Clarke played the part of Mould. On Monday, June 10, 1872, at 
 the Princess's Theatre, in a revival by Mr. Charles Fechter of 
 ' Hamlet,' Mr. Clarke personated the First Gravedigger. On 
 Saturday, March 21, 1874, on the occasion of the first opening 
 of the Criterion Theatre, he played Shrew, first performance of 
 Byron's comedy 'An American Lady.' In 1875, first performance 
 at the Adelphi Theatre of Andrew Halliday's dramatic version of 
 ' Nicholas Nickleby,' he played the part of the schoolmaster, 
 Squeers. Mr. John Clarke during his career appeared at all the 
 principal theatres in London, and was very successful in the 
 provinces. 
 
 Mr. Clarke's last regular engagement in London was at the 
 Court Theatre, under Mr. Hare's management, in the early part of 
 1878. He there played John Butterby in Tom Taylor's comedy 
 ' Victims,' and Bunter in a revival of ' New Men and Old Acres.' 
 His last appearances on the London stage were as follows : — On 
 May 8, 1878, at the Gaiety, as John Chodd, Jun., in 'Society,' 
 for his own benefit; on May 18, 1878, at the St. James's, as 
 Solomon Isaacs in ' London Assurance,' for Mr. S. Hayes's benefit ; 
 on May 25, 1878, at the Globe, in the same character, for Mr. E. 
 Righton's benefit ; and at the Globe, on Saturday morning, June 8, 
 1878, when he played Smiler in 'A Regular Fix,' for Mr. J. L. 
 Toole's benefit. Mr. Clarke was married to Teresa Furtado, a 
 graceful and talented actress, whose death preceded her husband's 
 some two years.* John Clarke lies buried at Highgate Cemetery, 
 in the grave which enclosed the remains of his wife. His memory 
 will be long preserved by all who were frequenters of the Strand 
 Theatre during the brightest period of its prosperity. As a 
 grotesque singer and dancer he had rare advantages (says the 
 Era, February 23, 1879), a-nd his embodiments were always 
 characterized by singular care bestowed on what is technically 
 termed "the making-up." Mr. Clarke suffered from a lameness 
 which somewhat interfered with his professional work, added to 
 which he was possessed of a singularly harsh and unpleasing voice. 
 But he was a clever actor, and a man of a singularly kind and 
 generous disposition. 
 
 FALCONER, EDMUND, born in Dublin about the year 1813, 
 and died in London in 1879. Before appearing on the London 
 stage he was known as a provincial author of repute, and as the 
 author of a volume of poems which at the time of their publication 
 attracted some attention. On Saturday, December 6, 1856, he 
 produced at the Lyceum Theatre his first play of importance, 
 entitled ' The Cagot ; or. Heart for Heart,' in which Mr. Charles 
 Dillon enacted the principal character, Raoul. The Athenceum, 
 
 * Teresa Furtado died August 9, 1877, aged 32. 
 
FALCONER, EDMUND. 393 
 
 (December 13, 1856) reported that the play was enthusiastically 
 received. " The dialogue is remarkable for noble sentiments ; a 
 religious vein is also observable ; and the style is frequently poetic, 
 though the verse is not always correct." On Monday, May 4, 1857, 
 Mr. Falconer appeared at Sadler's Wells Theatre, in a piece 
 written by himself, entitled ' The Lady of St. Tropez.' Both ;play 
 and player were successful. The same year, in the following month 
 (Monday, June i), he produced a piece entitled 'A Husband for 
 an Hour,' at the Haymarket Theatre. In 1858 he undertook the 
 management of the Lyceum Theatre for a brief period ; and on 
 Thursday, August 26, produced there his play of ' Extremes ; or, 
 Men of the Day.' It had an extraordinary success. This was 
 owing in great measure to the earnest endeavour of the author to 
 portray the manners of the time, and his constant introduction of 
 topics currently discussed in society, though not commonly on the 
 stage. " A numerous audience attended on the occasion, and, though 
 the comedy lasted nearly four hours, it seemed 
 
 ' As if increase of appetite had grown by what it fed on,' 
 
 for gratification at the first act increased to deUght at the second, 
 and had mounted up to positive rapture by the conclusion of the 
 third. The title of his (Mr. Falconer's) fortunate work is ' Ex- 
 tremes ; or. Men of the Day,' and we rejoice to say that it is in- 
 accurate as far as the second part is concerned. If 'men of the 
 day ' behaved to each other in the manner exhibited by this portrait 
 of modern life, a dinner party would become an absolute impossi- 
 bility, for the half-hour preceding the announcement of the meal 
 would be so filled up with bluff repartees and insulting rejoinders, 
 that the master of the house would feel it his bounden duty to ring 
 the bell and order the carriages of all his guests, long before the 
 soup-tureen was placed on the table. It really did one's heart good 
 to hear the wicked gentlemen of fashion insult the man of unpre- 
 tending virtue, and then to hear the man of unpretending virtue 
 pay back the wicked gentlemen of fashion in their own coin. Re- 
 freshing, too, was it to learn that the practice of duelling had 
 become obsolete, for if the ancient code of honour had been in 
 force the whole of the male dramatis persona would have under- 
 gone the fate of the renowned Kilkenny cats long before the fall of 
 the curtain. The motive of the plot is furnished by the will of an 
 eccentric old gentleman, who, having risen from the lowest position 
 in society to a condition of affluence, has left the bulk of his fortune 
 to his nephew, Frank Hawthorne (Mr. Falconer), and his wife's 
 niece, Lucy Vavasour (Mrs. Charles Young), on condition that they 
 shall marry each other. Six months are allowed for them to make 
 up their minds. If the lady refuses, the gentleman is to have the 
 whole of the money, and vice versA. By this arrangement a mutual 
 suspicion is engendered between the legatees. The gentleman, 
 whose parents were of lowly condition, is regarded by the lady's 
 friends as a mere clodhopper, who may be maltreated as pleasure 
 or profit may dictate ; while he, on the other hand, is dreadfully 
 afraid that love may be feigned to prevent the loss of a handsome 
 
394 THE DRAMATIC LIST. 
 
 fortune. Both are the noblest creatures in the world, but neither 
 understands the other. Hence, when the six months have ex- 
 pired, and Miss Vavasour has signified her assent to the proposed 
 marriage, Mr. Hawthorne formally declares his refusal. At last, 
 however, the disinterestedness of the lady is clearly demonstrated 
 by her own offer to marry Hawthorne, when the fortune is clearly 
 
 in her own hands We should not be at all astonished if this 
 
 piece, with all its crudities and improbabilities, had a long 'run,' 
 and if so, the success will be almost entirely due to the writing. 
 The dialogue is far too abundant, but the repartees are fresh and 
 vigorous, and even the sermonizing Mr. Hawthorne, amid much 
 twaddle, makes several remarks that evince reflection on some of 
 the social questions of the day. The characters, too, though drawn 
 from stage tradition, are sharply defined, and are exactly of a kind 
 to be perfestly intelligible to a large audience." {Times, August 
 27, 1858.) In 1859, on Monday, January 3, at the Lycedm, in 
 ' Marion de L'Orme,' translated from the French by Mr. Falconer, 
 he played the part of Cardinal Richelieu; and the same year, on 
 Thursday, March 31, he produced at the Lyceum his play of 
 ' Francesca,' in which he played the part of Gradinigo j and 
 on Wednesday, November 2, at the Princess's Theatre, ' The 
 Master ; or, the Outlaws of the Adriatic,' of which he was likewise 
 the author. In i860 he produced two plays : Wednesday, May 9, 
 at the Haymarket, a drama in three acts, entitled 'The Family 
 Secret ' ; and on Saturday, June 23, at the same theatre, a play in 
 three acts, entitled ' Does He Love Me ? ' 
 
 On Monday, September 10, i860, on the occasion of the first 
 performance at the Adelphi Theatre of Dion Boucicault's ' Colleen 
 Bawn,' Mr. Falconer played the part of Danny Man with mar- 
 vellous truth and accuracy. The same year Mr. Falconer pro- 
 duced a translation of Victor Hugo's effective play ' Ruy Bias,' 
 which was first performed at the Princess's Theatre on Saturday, 
 October 27, with much success, Mr. Charles Fechter sustaining 
 the principal character. In 1 861 Mr. Falconer once more entered 
 upon the management of the Lyceum Theatre, and produced there 
 on the opening night (Monday, August 19) a play written by him- 
 self, entitled ' Woman ; or. Love against the World.' On Saturday, 
 November 9 of the same year, at the same theatre, he produced 
 ' Peep o' Day ; or, Savourneen Deelish,' founded upon one of the 
 ' Tales of the O'Hara Family.' Of this play Mr. Falconer was 
 the author, and he performed in it the part of Barney C Toole. 
 The success of the new piece, which was very great, depended far 
 more upon two or three grand effects than on the general interest. 
 " The dialogue, though written with more than average care, is 
 often ponderous, and of a kind which even experienced actors 
 can with difficulty render effective. Indeed, though the cast is 
 decidedly strong, only two characters really become conspicuous, 
 namely, the peasant Barney, capitally played by Mr. Falconer him- 
 self, and the unfortunate Kathleen, sustained by Mrs. Bowers, the 
 American lady, who, starting well in ' legitimate ' plays, now dis- 
 tinguishes herself as an excellent melodramatic actress. The great 
 
FECHTER, CHARLES ALBERT. 395 
 
 f sensation scene,' representing the ' Old Quarry in the Foil Dhuiv, 
 or Dark Valley,' together with the business done therein, more 
 than answered expectation, and is likely to attract all London. . . . 
 The customary forms of applause were gone through with far more 
 than wonted enthusiasm, and a ' long run ' may be predicted for 
 'Peep 0' Day,' if the paternal sentiments of Mr. Falconer do not 
 prevent him from shortening his own dialogue." (Times, November 
 II, 1861.) In 1864 Mr. Falconer entered upon the management of 
 Drury Lane Theatre, conjointly with Mr. F. B. Chatterton, and in 
 January produced there a drama of which he was author entitled 
 ' Night and Morn,' as to which Mr. Morley enters the following 
 note in his Journal of a London Playgoer, pp. 328-30 ; — " Here I 
 stop for to-day, but to spare three lines and a half to say that Mr. 
 Falconer's new play ' Night and Morn,' at Drury Lane, is certainly 
 
 the best he has yet written Mr. Falconer I never liked so 
 
 well as in his ' Night and Morn,' which has had a good run at 
 Drury Lane." 
 
 , The same year, at the same theatre, he produced ' The O'FIa- 
 hertys,' a farce, in which he acted the principal character. The 
 following year (1865), Wednesday, May 3, at Drury Lane, was per- 
 formed for the first time his drama of ' Love's Ordeal,' in which he 
 played the part of Maximilian Robespierre. On Saturday, Novem- 
 ber 25 of the same year, he produced at Drury Lane an adapta- 
 tion of Mr. Lever's ' Charles O'Malley,' under the title ' Galway Go 
 Bragh ; or. Love, Fun, and Fighting,' and acted in the play the 
 part q{ Mickey Free. In 1866 Mr. Falconer opened Her Majesty's 
 Theatre for a brief dramatic season, and on Saturday, November 
 19, produced there a new drama written by himself, entitled 
 ' Oonagh ; or, the Lovers of Lisnamona,' in which he played Far- 
 dorougha O'Donovan. The play was a failure, and the theatre was 
 closed on December i following. Mr. Falconer afterwards went to 
 New York, where he produced the same play, with others of his 
 authorship. In 1868 he had returned to England, and in Decem- 
 ber, at the Haymarket, produced a new comedy, entitled ' A Wife 
 Well Won,' in which Mr. Sothern played the leading rSle. After 
 that date Mr. Falconer only produced two plays of importance, 
 viz. ' Innisfallen ; or, the Men in the Gap,' first performed at the 
 Lyceum Theatre, Saturday, July 17, 1870 ; and ' Eileen Oge ; or, 
 Dark's the Hour Before Dawn,' performed for the first time at the 
 Princess's Theatre, June 29, 1871. Mr. Falconer's later career was 
 not altogether so successful as his earlier. He, however, appeared 
 at intervals on the London stage after the withdrawal of the last- 
 mentioned drama, but not in any original part of importance. 
 
 FECHTER, CHARLES ALBERT, born in London in 1822 ; 
 died at Richland Centre, near Quakertown, Pa., in the United States 
 of America, August 5, 1879. M'"' Fechter was of mixed parentage 
 —his father being a German, and his mother an Englishwoman. At 
 a very early age his parents removed to France, and there he was 
 brought up and educated. He made his d^bul on the stage at the 
 Salle Mohfere in Paris in ' Le Mari de la Veuve,' and afterwards 
 
396 THE DRAMATIC LIST. 
 
 joined a travelling company on a tour through Italy. Previously to 
 his appearing on the English stage he had been for some time the 
 leading actor of the Porte St. Martin Theatre, Paris. He made his 
 professional dibtct as an English actor in London — having already 
 appeared some years before in French Plays at the St. James's 
 Theatre— on Saturday, October 27, i860, at the Princess's Theatre, 
 in the principal rdle in Falconer's version of Victor Hugo's drama 
 'Ruy Bias.' "As to the manlier in which Mr. Fechter would 
 speak English, the mind of the audience was soon at ease,'' wrote 
 the Times (October 29, i860). " His accent and his gesticulations 
 are entirely of France, but his articulation is perfectly clear, and 
 there is that music in his voice which would sound equally well 
 through the medium of any language. Ruy's narrative of his 
 sufferings and his love, and the small delicate touches by wliich he 
 indicated his uneasiness under a master's control, carried him well 
 through the first act, and though the great scenes of the piece were 
 yet to come, it was easy to foresee that the manner of their execution 
 would be in every way satisfactory. The second act (comprising 
 two acts of the French piece) was an immense advance on the first. 
 Nothing could be finer of its kind than Riifs declaration of love to 
 the Queen, so exquisitely was the fire of passion tempered by the 
 feeling of respectful devotion, and with such eloquence of words 
 and actions were the words poured forth. There are not many 
 actors who succeed even in ordinary love scenes, and few indeed 
 could effect an exhibition of the idolatrous form of passion which 
 inspired so many poets of the chivalric ages, and which is typified 
 in Ruy Bias, though he nominally belongs to an unromantic period. 
 But it was in the last act that the triumph of the actor reached its 
 culminating point — the act in which the valet appears as the 
 defender of the Queen against the machinations of his villainous 
 master. The concentration of passionate rage with which he 
 accosted his oppressor, the obvious feeling that he was throwing 
 from his soul a burden that had long crushed it to the dust, elicited 
 that continued succession of plaudits which is only heard when an 
 audience is excited in the highest degree. From the moment when 
 Ruy snatches the sword from his master's side (an action which of 
 itself produced an electrical effect) to the fall of the curtain, when 
 the valet dies happy in the conviction that he is loved not under 
 false colours, but with the livery actually present to the mind of his 
 royal mistress, Mr. Fechter had the audience completely in his 
 grasp, and could do with them as he pleased. The shouts which 
 invited him to the front of the curtain were the certain indications 
 of an unequivocal and brilliant success." 
 
 The following year (i86i), in January, at the Princess's Theatre, 
 he appeared as the twin brothers Louis and Fabian dei Franchi 
 in ' The Corsican Brothers,' of which (at the Theatre Historique 
 in Paris) he was the original representative ; and on Monday, 
 February 11, Mr. Fechter played the character of Don Ccesar de 
 Bazan at the same theatre in the drama of the same name. 
 " When this piece, adapted from the French, was first brought out 
 in 1844 at the Haymarket, under the title of ' A Match for a King,' 
 
FECHTER, CHARLES ALBERT. 397 
 
 with Mr. Charles Mathews as the hero, it at once achieved great 
 popularity, and versions were forthwith produced at nearly all the 
 London theatres. Every actor of importance within whose range 
 of parts such a character was comprised seemed to consider it a 
 duty to himself and his admirers to add Don Caesar to his riper- 
 toirej and moreover everyone was successful in it, because, 
 although requiring very great talent to embody it to perfection^ a 
 moderate amount of stage knowledge and practice was enough to 
 secure an effective, if not a satisfactory personation. Next to M. 
 Frdd^ric Lemaitre himself, the creator of the part, who frequently 
 played it in London, at the St. James's, the most effective represen- 
 tation was that of Mr. Wallack, at the Princess's Theatre. Mr. 
 Fechter's reading differs greatly from both those of Mr. Wallack 
 and M. Lemaitre. To characterize the three briefly, M. Lemaitre's 
 may be called the humorous, Mr. Wallack's the melodramatic, and 
 Mr. Fechter's the chivalric version. The situation in which Don 
 Caesar encounters the King was treated by Mr. Fechter in a 
 manner quite different to that of either of his predecessors above- 
 named. When the King has announced himself to be Don Csesar 
 de Bazan, and the latter in reply declares himself to be ' Philip, 
 King of Spain,' M. Lemaitre did so in a careless tone, as if not 
 deeply impressed with the humour of the situation, and Mr. 
 Wallack threw himself into a chair, and assuming a regal attitude 
 and tone, declared himself to be the King ; but Mr. Fechter seems 
 to view his assumption of the King's name as almost a logical 
 result from the King's assumption of his, and subsequently, with 
 mock gravity, puts on a regal deportment for a short time only. 
 This was, perhaps, the most natural of the three modes of treat- 
 ment, if less effective than Mr. Wallack's, and less consistent with 
 the ruined Don Csesar of M. Lemaitre. In the concluding scene 
 Mr. Fechter rose to the highest point of stage demeanour and of 
 theatrical expression. His earnestness, his manly and graceful 
 deportment, the spirit with which he reproved the King without 
 abating the respect due to the monarch, bringing him down to his 
 own level without detracting from his dignity, could scarcely be 
 surpassed. Not a point throughout the character was missed, yet 
 no effect was unduly thrust forward into notice ; every gesture and 
 look and tone was allowed to bear its own force with the audience, 
 and its significance was left to their appreciation, the whole 
 evidently the result of great artistic perception, and of powers com- 
 pletely under control, the great art, after all, of concealing art pre- 
 dominating." (Standard, February 18, 1861.) 
 
 In March 1861 Mr. Fechter appeared for the first time in 
 England as Hamlet. His interpretation of the character excited 
 great attention, and the performance was in every sense a remark- 
 able success. " Mr. Fechter does not act ; he is Hamlet;'' wrote 
 the Athenaum (March 23, 1861). "The soliloquy was finely 
 delivered without declamation, but with the most passionate feel- 
 ing. In the scene with the Ghost there was none of the conven- 
 tional routine. . . . What we principally remarked in the first act 
 was the intense and unmistakable sorrow that is displayed, which 
 
398 THE DRAMA TIC LIST. 
 
 exceeded every demonstration of the kind that we had ever wit- 
 nessed in the character. It showed itself in every tone of the voice 
 as well as in the general gesture, and created a deep sympathy in 
 the audience. . . . We never heard the soliloquy on death better 
 spoken — and of the soUloquies in general we may remark that they 
 were in the finest taste, and extorted the admiration of the most 
 judicious. The plaudits were frequent and prolonged." 
 
 The Times (March 22, 1861) was no less laudatory in its re- 
 marks : — " Mr. Fechter's performance of Hamlet should unques- 
 tionably be seen by everyone who takes an interest in the higher 
 departments of histrionic art. At all events it is a theatrical curiosity. 
 A Parisian artist, unrivalled in his own line, which is not that of 
 French classical tragedy, essays the most arduous of Shakespearian 
 characters. With the conventions of our stage, with the ' points ' 
 which, to us, seem almost as needful to the play as the words of the 
 text, he has had nothing to do. He goes straight from the book to 
 the boards, and, though possibly he has received a few hints as to the 
 general conduct of the business, there is every reason to believe 
 that all his details are entirely the result of his own thought. His 
 very entrance makes a completely novel impression. After the 
 fashion of the German stage, he indicates Hamlefs Scandinavian 
 nationality by a profusion of flaxen hair, and carries to perfection 
 an assumption of that dreamy, unpractical look which, is scarcely to 
 be associated with a dark complexion. There is no doubt that to 
 him the meditative element in Hamlefs nature has seemed most 
 essential. The manner in which he throws out his answers, like 
 one unwillingly awakened from a continued abstraction, into which 
 he presently relapses, is admirably truthful, and the pretence of 
 madness little changes this manner, beyond the addition of a light 
 tone of irony. Through the predominance given to the meditative 
 element the soliloquies acquire a very remarkable character. He 
 has elaborated these at a vast expense of thought, and his delivery 
 is marked by the subtlest variations. But the novelty of his 
 rendering consists in the peculiarity that the stronger passions 
 intrench as little as possible upon his solitude, and that he is chiefly 
 occupied with a play of the intellect. The birth of his thoughts is 
 more visible than the influence of his emotions. The gentleman- 
 like side of Hamlet stands " also high in the considerations of 
 Mr. Fechter. Throughout the whole tragedy he is the very per- 
 fection of courtesy, and this quality is especially shown in his scenes 
 with the players. . . . Indeed, all the ' genteel comedy ' which 
 belongs to Hamlet is admirably sustained ; and though we can 
 never forget that the part is played by a Frenchman, the French- 
 man seems perfectly at home in his new atmosphere, and, indeed, 
 has been qualified for it by the polished comedy of his own stage. 
 In those scenes, on the other hand, in which passion cannot be 
 resolved into meditation, but must speak out loud and strong, the 
 fact that Hamlet is played by a foreigner is less advantageously 
 apparent. It is not that he lacks passion, or is deficient in purpose, 
 but that physical force, which we find in the words of Shakespeare, 
 when wielded by a native seems to be beyond the reach of an alien ; 
 and while we admire his general conception it is impossible not 
 
FECHTER. CHARLES ALBERT. 
 
 399 
 
 to- feel that passages to which we have been habituated to attach 
 great importance slip away comparatively unobserved. The merits 
 and deficiencies of Mr. Fechter cannot be better illustrated than 
 by the fact that the ' play scene ' and the ' closet scene ' are those 
 with which he produces the least effect, whereas in the second act 
 he makes a most powerful impression. We have already said that 
 such a performance is worth seeing as a curiosity. It is also 
 estimable from a higher point of view. The pains which Mr. 
 Fechter has taken to master the diction of Shakespeare and fully 
 to understand every line set down for him are laudable in the 
 highest degree, and the slips which he makes are so rare that they 
 may simply be regarded as monuments of creditable toil. The 
 finish of his performance is not the less real because it has the 
 nature of French polish, and because many of his gestures are 
 unlike those to which we have been accustomed on our own stage. 
 Probably ' Shakespeare ' never had been, or will be, played so well 
 by a foreign artist as Mr. Fechter has played ' Hamlet,' and it 
 would be wholly incorrect to measure him by an English standard." 
 
 On Wednesday, October 23, 1861, at the same theatre, he 
 appeared in the character of Othello, for the first time in England. 
 Mr. Fechftr's conception of Othello is severely criticised by Mr. 
 G. H. Lewes in ' Actors and the Art of Acting ' (a collection of 
 magazine articles), and also by Prof. Henry Morley in his yournal 
 of a London Playgoer. 
 
 The Saturday Review (November 2, 1861) thus discussed the 
 performance : — " M. Fechter is a most logical actor. With all his 
 determination to be original and unfettered, he does not deviate 
 from the prescribed path without warrant from the text, or, at any 
 rate, without full conviction that there is nothing in the text that 
 can be opposed to his innovations. But is not his logic a little at 
 fault in his broad theory respecting tradition 'i While he denies 
 the authority of every actor of Othello down to this year of grace, 
 1 86 1, he lays down a rule for the future Othellos far more stringent 
 than any which is based upon ancient precedent. The old path 
 was, at all events, but vaguely defined, whereas we have now a 
 routine from which it is impossible to stray one inch without 
 violating a pointed law. . . . Perhaps we should say that something 
 like an application of imperial logic is to be found in this seeming 
 inconsistency. The Frenchman has overthrown all the traditions 
 of the Bourbons — ergo he is free. The artist who ignores the pre- 
 cedent of Kembles and Keans is free likewise. As for the Napoleons 
 and Fechters, they are, of course, symbols of perfect liberty. . . . 
 That M. Fechter's Othello will prove more attractive to public 
 curiosity than his Hamlet is likely enough. The bait offered is 
 much more tempting on the present than on the former occasion, 
 the whole business of the play being completely remodelled, and 
 the novelty of some of the readings being striking enough to pro- 
 voke general discussion. . . . With regard to his own personation, 
 we should say that, in M. Fechter's view, Othello is more affec- 
 tionate than impassioned, and more logical than either. Far from 
 being naturally suspicious, he does not grow uneasy till he has 
 ample ground for annoyance, and, consistently with this belief, that 
 
400 THE DRAMATIC LIST. 
 
 he would not turn mad-jealous for a trifle, the character of the 
 courtesan Bianca, commonly omitted, is restored. Such an Othello 
 as M. Fechter conceives would require the evidence of Desdemonas 
 guilt, conveyed by the overheard words of Bianca, before he could 
 be nerved to crime. . . . The growth of distress is portrayed with 
 all the minuteness of which M. Fechter is so great a master; 
 though we think he is most to be admired in his passages of tender- 
 ness, which are charmingly rendered, and not without a tinge of 
 old French gallantry. In some of his innovations, we should say 
 M. Fechter is impelled less by the force of conviction than by the 
 love of novelty for its own sake. ... As for the alteration of the 
 catastrophe, which consists in making Othello drag lago to the 
 bedside of Desdemona, that he may do homage to her corpse, and 
 leads the ignorant to suspect that the villain, not-the Moor, will die 
 like the turbaned Turk at Aleppo, it cannot in any way be justified. 
 There is not one word in the text to indicate that Othello, in his 
 last despair, was actuated by the strange wish of making the virtual 
 murderer kneel before the victim, and surely if the poet had con- 
 ceived such a wish he would have allowed it to have some influence 
 on the dialogue. . . . However, apart from all questions of detail, 
 this much is certain, that a performance like that of Othello at the 
 Princess's is of infinite use to theatrical art. An intelligent inno- 
 vator like M. Fechter gives people something to talk about. The 
 volume of Shakespeare is taken down from the library shelf, and 
 whenever the majority agree or disagree with the new interpreter, 
 the work of the great poet becomes a subject of serious considera- 
 tion." 
 
 In 1863 Mr. Fechter entered upon the management of the 
 Lyceum Theatre, and on Saturday, January 10, " opened " with 
 ' The Duke's Motto ' (altered from ' Le Bossu ' of Paul F^val, by 
 John Brougham), and played the part of Henri de Lagardere. 
 The piece was eminently successful. Said the Daily Telegraph 
 (January 12, 1863): "The acting of this drama is very forcible 
 throughout. Mr. Fechter finds in its hero a character that not 
 merely brings out all his known ability, but which has the advan- 
 tage of placing him also in a new and striking light. For the gay 
 and graceful bearing of the young captain of cavalry, who so well 
 reflects the adventurous and daring spirit of his time, of course we 
 were prepared ; but his assumption of the Hunchback, with his bent 
 shape, his crippled gait, and his furtive and sardonic glances, was a 
 contrast that came upon us with as much enjoyment as surprise. 
 Still more striking was the dash of humour that he threw into the 
 impersonation of the deformed, and which gave him at times a gro- 
 tesque jollity that was almost diabolical. That character will be 
 numbered among Mr. Fechter's best successes. We need not dwell 
 on his acting of the Captain, whose leading features so well con- 
 trasts, in the buoyant spirit displayed throughout his adventures, 
 and the generous ardour with which he responds to the love con- 
 fession of Blanche. Mr. Fechter was received with great enthu- 
 siasm on his first entrance, and was loudly called for at the close of 
 every act as well as at the termination of the drama." 
 
FECHTER, CHARLES ALBERT. 401 
 
 On Saturday, October 31, 1863, at the same theatre, he per- 
 formed the character oi Angela, first performance of Bel Demonio ' 
 (John Brougham). In 1864, on Saturday, May 21, he "revived" 
 ' Hamlet ' at the Lyceum with great success ; and the same year, on 
 Saturday, October 22, first performance of ' The King's Butterfly,' 
 he played Fan/an. On January 21, 1865, still at the Lyceum, 
 Mr. Fechter produced a version of M. Frfederic Lemaitre's 'L'Au- 
 berge des Adrets,' under the title of 'The Roadside Inn,' and acted 
 in it the part of Robert Macaire. The same year, Monday, April 
 17, he played Belphegor, in Mr. Charles Webb's translation of the 
 French drama originally adopted by Mr. Charles Dillon. {See 
 Dillon, Charles.) Mr. Fechter's son acted with him in the 
 play. Mr. Fechter's representation of the character was pro- 
 nounced to be " a masterly piece of acting, replete with a variety of 
 phases, and manifesting much profound feeling." 
 
 During 1865 Mr. Fechter produced two plays by Mr. Palgrave 
 Simpson, viz. on Monday, November 6, ' The Watch Cry,' adapted 
 from the French drama ' Lazare le Peltre ' ; and on December 22 a 
 new version of an old subject, under the title of 'The Master of 
 Ravenswood.' In both Mr. Fechter sustained the leading rdle: in 
 the first the part of Leone Salviati; in the second that of Edgar of 
 Ravenstvood. During i866 Mr. Fechter again " revived " ' Hamlet ' 
 at the Lyceum with success ; and in May of the same year he " re- 
 vived" 'The Corsican Brothers.' His impersonation was marked 
 by superior refinement and the direct action of an intelligence that 
 Tiad conceived for itself the characters that it supported, independent 
 of imita,tion ; an affirmation not to be made of any other repre- 
 sentative of the parts. The Daily News (May 22, 1866), discussing 
 the merits of Mr. Fechter's acting as the twin brothers, said : " One 
 of the greatest 'sensations' of 1851, a year fruitful in novelties and 
 excitement, was the production of a romantic drama at the Princess's 
 Theatre, entitled ' The Corsican Brothers.' This drama, adapted 
 from the French of Alexandre Dumas by Mr. Boucicault, was most 
 effectively put upon the stage, and Mr. Charles Kean's double 
 assumption of Louis and Fabian dei Franchi, and Mr. Alfred 
 Wigan's Chateau Renaud, were, unquestionably, the great the- 
 atrical successes of that season. The drama was often performed at 
 the same theatre during Mr. Kean's long lesseeship, and when Mr. 
 .Fechter was engaged by Mr. Harris at the same house in 1862 it 
 formed one of the few French melodramas that relieved his Shake- 
 spearian impersonations. Mr. Fechter was naturally anxious to 
 appear before an English audience in the two characters — Fabian 
 and Louis— which he had originally represented at the Thditre 
 Historique in Paris, when the drama was first produced about 
 1846, and he had a pardonable preference for an English version 
 which followed the original more closely than Mr. Boucicault's. 
 When Mr. Vining took the Princess's he revived 'The Corsican 
 Brothers' in 1864, and played the two brothers himself in the old 
 Princess's version, his Chateau Renaud ^eing Mr. Walter Lacy. 
 Last night Mr. Fechter revived the play at the Lyceum, still 
 keeping to the French version, excluding the famous sliding-trap, 
 
 2 D 
 
402 THE DRAMATIC LIST. 
 
 and making very little use of that popular ghost melody which we 
 iaelieve was composed for the drama by Mr. Stoepel. . . . The 
 strength of Mr. Fechter's performance of the two Corsicans is 
 .shown most in the third and fourth acts ; the third act in which he 
 is the gay and superstitious young hunter, and the fourth act in 
 which he seeks revenge for his brother's death with concentrated 
 earnestness." 
 
 In January 1867 ' Rouge et Noir,' by Henry Leslie, was per- 
 formed for the first time at the Lyceum, Mr. Fechter sustaining in 
 the play the character of Maurice D'Arbel. In the following Sep- 
 tember, on Monday the i6th, he performed Claude Melnotte in ' The 
 Lady of Lyons,' at the same theatre. In November he withdrew 
 from the management of the Lyceum Theatre ; and the next month 
 (Thursday, December 26, 1867) appeared at the Adelphi, first per- 
 formance of Messrs. Charles Dickens and Wilkie CoUins's play 
 No Thoroughfare,' in the part of Obenreizer. " In the fourth act 
 the excitement of the play culminates. The first scene is laid in 
 the room in the Swiss inn, where Obenreizer tries to drug his 
 victim and secure his papers ; the second, perhaps the finest bit of 
 realistic scenery which the skilled hand of Mr. Grieve has ever 
 placed upon the stage, is the mountain pass where Obenreizer taunts 
 Vendale with his approaching doom, until the latter, to foil his 
 would-be robber, springs over the precipice. This scene was 
 acted with the greatest spirit by Mr. Fechter and Mr. Neville; 
 and the manner in which the leap was taken by the last-named 
 gentleman was highly artistic and effective. . . . The weight of 
 the piece lies mainly on the shoulders of Mr. Fechter, who, for the 
 first time since his sojourn in England, has been fitted with a part 
 in which his foreign accent is in his favour. He played throughout 
 with the greatest earnestness and skill, and while the softer passages 
 of his love-making were as graceful and tender as ever, he gave due 
 emphasis to the darker side of the character." (Daily Telegraph, 
 December 27, 1867.) It may be mentioned that a French version 
 of this play, entitled ' L'Abirae,' was produced in 1868 in Paris; in 
 this Mr. Fechter sustained the same character. Saturday, October 
 17, 1868, at the Adelphi, he played Edmond Dailies, in a dramatic 
 version of ' Monte Christo,' then first performed. In 1869 (March), 
 at the Adelphi, he appeared as the Count de Layrac, in a piece 
 written by himself in collaboration with Mr. Wilkie Collins, en- 
 titled ' Black and White.' On Monday, November 29 of the same 
 year, he commenced a series of twelve farewell performances at the 
 Princess's Theatre, previous to his departure for the United States, 
 which took place shortly afterwards. He remained in America 
 until 1872, in which year, on Saturday, March 2, he reappeared on 
 the London stage at the Adelphi, in ' Ruy Bias ' ; and subsequently, 
 Monday, June 2, at the Princess's, as Hamlet. From 1872 until 
 his death in August 1879 Mr. Fechter resided in America. 
 
 KEMBLE, ADELAIDE (Mrs. SartORIS), born dr. 1816-17 ; 
 died August 4, 1879. Daughter of the late Mr. Charles Kemble, 
 and niece of Mrs. Siddons. She was educated principally with 
 
KEMBLE, ADELAIDE. 403 
 
 a view of entering the musical profession as a public singer, and 
 without any preconceived intention of appearing on the stage. 
 She sang at the York Musical Festival in 1834, having previously 
 made a ddbut at a concert in London. Neither of these earliest 
 pubUc appearances seem to have been altogether successful. Sub- 
 sequently Miss Adelaide Kemble went to the Continent to pursue 
 her education under competent instructors in France, Germany, 
 and Italy, and first appeared on the operatic stage at the Fenice, 
 Venice, with satisfactory success. She also sang in opera at 
 various Italian cities, notably Trieste, Padua, and Milan (at La 
 Scala), and in 1841 returned to London with a considerable re- 
 putation. The Athenmum (July 3, 1841) thus wrote of her pros- 
 pects at this period of her career : — " If we mistake not she (Miss 
 Kemble) will one day occupy a place never before occupied by 
 English cantatrice. Her voice is a soprano of sufficient extent, 
 reaching to, and resting upon, the C sharp above the line with the 
 firmness and certainty of Grisi in her best days. Neither power 
 nor flexibility are wanting, and the capacity of passionate ex- 
 pression which we found in it three years ago has since then 
 been thoroughly developed. In short, it is a voice for a large stage, 
 and the highest order of parts." 
 
 Miss Kemble made her first appearance on the English stage 
 November 2, 1841, at the Theatre Royal, Covent Garden, under 
 the management of Madame Vestris and Mr. Charles Mathews, 
 in the title rdle in Planchd's revised English version of Bellini's 
 opera ' Norma.' " The audience that was collected last night to 
 witness the dibut of Miss Adelaide Kemble was one of those 
 crowded assemblages that are seldom collected but on the most 
 special occasions. . . . Her reception was magnificent ; the inert 
 black mass in the pit burst into a waving sea of hands and hand- 
 kerchiefs, one welcoming sound was uttered by hundreds of voices, 
 and her entrance was rather that of the chief person in a triumph 
 than of a yet untried vocalist about to undergo the ordeal of pubUc 
 opinion. . . . Miss Kemble seemed for a moment overcome by 
 the excess of applause, and rested on the altar before the sacred 
 oak. ... In ' Casta Diva ' she at once took her position as a 
 prima donna, which she sustained all the evening, and which 
 places her beyond comparison with any singers on the English 
 stage that have been heard for many years. The cultivation of 
 her voice, the command she has acquired over it, the power of 
 subduing it, are ItaHan ; in her very tones there is a sound of 
 Italy. . . . There are times when her high notes are of the most 
 exquisite quality. . . . She takes her position as an artiste trained 
 in the highest school, and in that school she stands alone. Her 
 acting is to be praised with far more qualification than her singing. 
 It is in fact Uttle more than a clever imitation of Grisi." {Times, 
 November 3, 1841.) A contemporary journal, the Morning 
 Chronicle (November 3, 1841), wrote of her as follows :— " Highly 
 as we estimate Miss Kemble's qualities as a singer, we estimate 
 her powers as an actress still higher. She is a Kemble worthy of 
 the name. . . . Miss Kemble's impersonation of Norma- is the 
 
404 THE DRAMA TIC LIS T. 
 
 finest we have ever seen. With the force and grandeur of Grisi 
 it combines a delicacy and tenderness which Grisi cannot reach. 
 In depicting ' the fury of a woman scorned ' Grisi cannot be 
 surpassed; but in the scene where the wretched Norma hangs 
 over the bed of her sleeping infants, Miss Kemble's tenderness was 
 something of which Grisi did not even give an idea." 
 
 So great, indeed, was the triumph of Adelaide Kemble that the 
 opera of 'Norma' had the unprecedented run of nearly forty 
 nights.* It was repeated three times a week from the first week 
 of November 1841 to the second week of February 1842. On 
 January 15, 1842 ('Norma' being still retained on the bills of 
 Covent Garden Theatre), Adelaide Kemble appeared in a tragic 
 opera of Mercadante, entitled ' Elena Uberti.' The work itself was 
 unsuccessful. At the same theatre, on March 15, 1842, she sus- 
 tained the part of Susanna in ' The Marriage of Figaro,' then for 
 the first time completely rendered in English, in a manner that set 
 at rest all cavil as to the soundness of her musical attainments. 
 The performance from first to last was a great success . April 2, 
 1842, she appeared, also at the same theatre, as Amina in ' La 
 Sonnambula.' During the same season (1842) Adelaide Kemble 
 appeared in two other operas, viz. ' Semiramide ' and ' II Matri- 
 monio Segreto,' and finally retired from the stage December 1842. 
 The season had not been a financial success ; but Miss Adelaide 
 Kemble lent her aid towards making it so by offering to be " the last 
 paid, or to play for nothing," rather than deprive the company of 
 the only chance of keeping together till Christmas. The burst of 
 feeling with which, it is said, the green-room resounded when this 
 generous action was communicated to the performers, must have 
 been worth all the plaudits that greeted Miss Kemble before the 
 curtain — intensely gratifying and emphatic as these had invariably 
 been. She married, early in 1843, Mr. Edward John Sartoris, 
 some time M.P. for Caermarthenshire. Within the limited period 
 during which Miss Adelaide Kemble appeared at the Theatre 
 Royal, Covent Garden (latterly under her father, Charles Kemble's 
 management), she successfully performed the characters ai Norjna, 
 Elena Uberti, Susanna, Amina, Semiramide, and Carolina, in the 
 operas already mentioned. Before her appearance, with the one 
 exception of ' Artaxerxes,' no recitative opera had ever succeeded 
 
 * " Miss Kemble's performance of the heroine was admitted on all hands 
 to be worthy of ranking with the greatest of the many triumphs achieved 
 by her gifted family in other branches of the dramatic profession." — 
 Recollections, &'c., of J. R. Planche, vol. ii., p. 53. 
 
 "In the theatre which had been the scene of the Kemble-and-Siddons 
 triumphs \hz furore she created was unbounded. The aristocracy and 
 fashion of the metropolis filled the private boxes nightly, and the public 
 vied with each other for seats in the general boxes and body of the house. 
 It is a pleasure to say she fully merited the enthusiasm she excited. . . . 
 She was a thorough artist, with a fine voice under admirable control, and 
 with perfect purity of intonation. Add to this, that she possessed con- 
 siderable dramatic power as well as sang with great abandon and natural 
 passion."— /Jr-ama^w Reminiscences of G. Vandenhoff (London Ed.), p. 51. 
 
MATHEWS, CHARLES JAMES. 405 
 
 on the English stage. Adelaide Kemble was the first to accustom 
 English playgoers, not merely to admit and enjoy the expression of 
 passion in music, but to require of the artist impassioned acting as 
 well as musical feeling. Judged even by the exceptional standard 
 of Pasta, Malibran, Schroeder, and Grisi, Adelaide Kemble was 
 able to maintain her own high place on the operatic stage, whether 
 as a singer or an actress ; but measured against her English pre- 
 decessors she stood alone and supreme, as the one union of high 
 dramatic and musical power that the annals of the Enghsh stage of 
 her day can record. Mrs. Sartoris, who had continued the practice 
 of her marvellous gift in private until the time of her death, achieved 
 a very decided success in literature by her story of " A Week in 
 a French Country House," which appeared anonymously in the 
 ' Cornhill Magazine,' and was published separately in 1867. The 
 style of this little novel was singularly bright and accomplished, the 
 humour original, and the characters sharply drawn. The fact that 
 certain persons very well known in the world of art were under- 
 stood to have sat unconsciously to Mrs. Sartoris for their portraits 
 gave a further popularity to an exceedingly clever and genial book. 
 She published ' Medusa and other Tales ' in 1868. 
 
 MATHEWS, CHARLES JAMES, born at Liverpool, Decern- 
 ber 26, 1803 ; died in Manchester, June 24, 1878. Only son of the 
 well-known comedian, Charles Mathews. He was for a short 
 period of his boyhood on the foundation of Merchant Taylors' 
 School, but subsequently became a pupil of Dr. Richardson, of 
 Clapham Road, who seems to have enjoyed somewhat of a specialty 
 in educating the sons of distinguished actors. On quitting school 
 in 1819 he entered the office of Mr. Pugin, the eminent architec- 
 tural draughtsman, to whom Charles James Mathews was articled 
 for four years. He pursued his professional studies for a short 
 time with considerable perseverance in England and Italy, and in 
 1832 was elected to the office of District Surveyor of Bow and 
 Bethnal Green (London). Charles Mathews had from time to time 
 performed with success as an amateur at fashionable assemblies, 
 and had written various dramatic pieces previous to his adopting 
 the stage as a profession. In May 1832 he produced 'The Wolf 
 and the Lamb,' a farce ; in July- of the same year ' The Court 
 Jester,' a clever trifle adapted from the French ; in the following 
 year, July 1833, 'My Wife's Mother,' and shortly afterwards 
 ' Pyramus and Thisbe,' described in a contemporary journal as ," a 
 Jight and slight, but bright and tight little trifle— good for a thirty 
 minutes' laugh to as many as may choose to draw upon it to that 
 amount." Each of the foregoing pieces was first performed at the 
 Haymarket Theatre. In 1834-5 Mr. Mathews turned his attention 
 to painting for a while, and was successful in procuring admission 
 fot an example of his skill in this direction at the annual exhibition 
 at Somerset House. In September 1835 he entered for a brief 
 period upon the joint management with Mr. Yates of the Adelphi 
 Theatre, which was opened on the 28th of that month, with the 
 following bill : — " ' Mandrin,' a grand Romantic, Melodramatic, 
 
4o6 THE DRAMA TIC LIST. 
 
 Burletta Spectacle ; ' The Christening,' a favourite one-act farce ; 
 and a domestic burletta, ' The London Carrier.' " The first and 
 third were novelties, with Buckstone, Mr. and Mrs. Keeley, and Mr. 
 O. Smith in the cast. This theatrical venture was unsuccessful, 
 and Mr. Mathews retired for a time from managerial responsi- 
 bility. On the 7th December, 1835, he made his dibut on the stage 
 proper at the Olympic Theatre, London. " The principal theatrical 
 feature of the week has been the first appearance of Mr. Charles 
 Mathews on the stage. To say that he is the son of the late ex- 
 cellent comedian, and inimitable imitator of man and manners, is 
 merely to say what everybody knows ; but it is necessary that we 
 should allude to the circumstance in order that we may express the 
 pleasure it gave us to witness the cordiality with which he was 
 cheered on. His first essay was most appropriately preceded by 
 an introductory address by Mr. Liston, the friend and fellow- 
 labourer of his father. Mr. Charles Mathews acted in two pieces, 
 one written by himself, and called ' The Humpbacked Lover,' the 
 other by Mr. Leman Rede, called ' The Old and New Stager.' . . . 
 This theatre may be proud of having introduced to the stage one 
 who brings the education and manners and habits of a gentleman 
 to back an evident fondness for his profession." (^Atheni^uTn, De- 
 cember 12, 1835.) 
 
 In 1836 Charles Mathews had joined Madame Vestris in the 
 management of the Olympic, and the two were playing nightly to 
 crowded houses. We find the former giving a Neapolitan Remi- 
 niscence by dancing the Tarantella, " with an elegance, a force 
 and correctness sufficient to bring the ballet company from the 
 Academie Royale over in a body to see and to envy him." In 
 October 1836 Charles Mathews produced ' He would be an Actor,' 
 a piece which he had adapted from the French. In 1837 the earliest 
 of the late John Oxenford's dramatic successes, ' The Rape of the 
 Lock,' was first performed at the Olympic, with Charles Mathews 
 in a leading part. The same year, ' The Truth,' written by himself, 
 was performed ; and in the following January (1838), 'The Black 
 Domino,' of which he was also author (very successful). In July 
 
 1838 Charles Mathews married Madame Vestris, and shortly after- 
 wards sailed for the United States. In May 1839 the Vestris- 
 Mathews management of the Olympic terminated. In September 
 
 1839 the two, conjointly, entered upon the lesseeship and manage- 
 ment of the Theatre Royal, Covent Garden, and on Monday, 
 September 30, produced for the opening, ' Love's Labour Lost.' 
 Madame Vestris played Rosalindj Mr. Keeley, Custard; Mrs. 
 Nesbitt, The Princess of France, &c. The same week Charles 
 Mathews played the part of Charles Surface in ' The School for 
 Scandal.' In November 1839 the first performance of Sheridan 
 Knowles's play of ' Love ' took place, respecting which the author 
 wrote, " Mr. and Mrs. Charles Mathews have granted me the 
 highest terms I ever yet received for a play." In February 1840 
 the management produced Leigh Hunt's first dramatic venture, 
 under the title of ' A Legend of Florence,' the success of which 
 was unequivocal. April and May 1840 Charles Mathews took a 
 
MATHEWS, CHARLES JAMES. 407 
 
 personal part in the various Shakespearian revivals at Covent 
 Garden Theatre, playing Master Slender, &c. In September 1840 
 the management produced there another of Sheridan Knowles's 
 plays, entitled ' John of Procida ; or, the Bridals of Messina,' and 
 the following season (Tuesday, February 9, 1841), Douglas Jerrold's 
 ' ^yhite Milliner,' in which Charles Mathews was the original Lord 
 Ortolan. Thursday, March 4, 1841, ' London Assurance ' {see 
 BOUCICAULT, Dion) was played for the first time— Charles 
 Mathews as Dazzle, the elder Farren as Sir Harcourt Courtly, Mrs. 
 Nesbitt as Lady Gay Spanker, Madame Vestris as Grace Hark- 
 away. Notwithstanding the adverse criticisms of the Press, the 
 piece was a great success, being kept on the bills till May 1841. On 
 September 28, 1841, Mark Lemon's 'What Will the World Say ?' was 
 first performed, and early in the following month Sheridan Knowles's 
 comedy ' Old Maids,' but neither was successful. In February 1842 
 Boucicault's comedy ' The Irish Heiress ' was first performed, and 
 on the 25th of that month Douglas Jerrold's comedy ' Bubbles of 
 the Day ' was produced, but in the following April the Vestris and 
 Mathews management of the Covent Garden Theatre terminated, 
 having proved a financial failure. The new dramas placed on the 
 stage had been few, and with the exception of ' London Assurance,' 
 not particularly striking. They, however, had been represented 
 with a degree of taste, splendour, and finish in the mise en scene_ 
 that gave to the Vestris-Mathews management of old Covent Garden 
 Theatre an importance second to none in the annals of the British 
 stage. 
 
 As an illustration of the strength which was deemed necessary at a 
 leading London theatre thirty-seven years ago, the following list of 
 the company of the Theatre Royal, Covent Garden under the above 
 management (184 1-2) may be found of interest: — 
 
 Acting and Stage Manager. 
 George Bartley. 
 
 Light Comedy and Eccentrics. 
 
 Charles Mathews. F. Vining. 
 
 Walter Lacy. 
 
 Leading Business. 
 Geo. Vandenhoff. 
 John Cooper. 
 
 Old Men. 
 Farren. F. Matthews. 
 C. W. Granby. 
 
 Low Comedy. 
 . Harley. D. Meadows. 
 
 Wm. 
 
 J. P. 
 
 IrisA Characters. 
 John Brougham. 
 
 Heavy Business. 
 
 C. DiDDEAR. J. Bland. 
 
 Walking Gentlemen. 
 
 C. Selby. a. Wigan. H. Bland. 
 
 Pantomime and General Business. 
 
 Payne. Honner. T. Ridgway. 
 
 MoRELLL J. Ridgway. 
 
 Ladies. 
 
 Mrs. Nesbitt. Mrs. Selby. 
 
 Madame Vestris. Mrs. H. Bland. 
 
 Mrs. Glover. Miss Lea. 
 
 Mrs. W. Lacy. Mrs. W. West. 
 
 Mrs. Brougham. Mrs. J. C.Jones. 
 
 Miss Cooper. 
 
 Columbines. 
 
 Miss Fairbrother. 
 
 The Misses Kendal. 
 
 In addition to the foregoing, there was a company, which in- 
 cluded Miss Adelaide Kemble, engaged for English Opera. 
 
4o8 THE DRAMATIC LIST. 
 
 In October 1842 Charles Mathews joined Mr. Macready's com- 
 pany at Drury Lane Theatre, and first appeared on the boards 
 there October 7 of that year, in a lively, bustling piece, ' The Follies 
 of a Night ' (Planchd), and as Fag in ' The Rivals.' Afterwards, 
 at the same theatre, he played Goldfinch in Holcroft's ' Road to 
 Ruin,' and Roderigo in Shakespeare's 'Othello.' Monday, No- 
 vember 14, 1842, he made his first appearance at the Haymarket 
 Theatre as Charles Surface in 'The School for Scandal.' The 
 same year Mr. Mathews played Witwould in Congreve's ' Way of 
 the World,' and at Christmas appeared in a fairy extravaganza 
 called ' Riquet with the Tuft.' The season 1843-4 he performed 
 Puff(^ The Critic '), concerning which the Athenceum, April 1843, 
 made note that " ' The Critic ' promises to be a standing dish at 
 the Haymarket feast of fun, the condiments with which Mr. Puff 
 seasons, d, discretion, the sauce piquante of Sheridan's wit being very 
 much to the taste of the audience." In February 1844 ' Used Up ' 
 was first performed at the Haymarket — Sir Charles Coldstream, 
 Mr. Charles Mathews. November 18, 4844, he was the original 
 Littleton Coke, first performance at the same theatre of Boucicault's 
 comedy 'Old Heads and Young Hearts.' March 1845, at the 
 Haymarket, he enacted the part of Chorus in a burlesque, suggested 
 by the then revival of ' Antigone,' called ' The Golden Fleece,' a 
 parody of the ' Medea of Euripides.' Saturday, April 26, 1845, he 
 was the original Felix Goldihumb, first performance of Douglas 
 Jerrold's comedy ' Time Works Wonders,' at the Haymarket. 
 
 Monday, October 18, 1847, Charles Mathews entered upon the 
 lesseeship and management of the Lyceum Theatre in conjunction 
 with Madame Vestris ; Messrs. Buckstone, Leigh Murray, and 
 Roxby being of the company. The season commenced with two 
 translated pieces, ' The Pride of the Market ' (' Le Bouquetifere ') 
 and ' Light Dragoons ' (' Les Mousquetaires '). Tuesday, December 
 7, 1847, Charles Mathews took part in the Shakespearian perform- 
 ances at Covent Garden Theatre arranged for providing funds for 
 the purchase of Shakespeare's house at Stratford-on-Avon. He 
 played Slender (' Merry Wives of Windsor,' act iii., sc. 3 and 4 ; 
 and act iv.-, sc. 2). The Vestris-Mathews management of the 
 Lyceum Theatre continued until 1855, a period of nearly eight 
 years. It may be affirmed that Madame Vestris was the first in 
 England to pay due attention to the mise en scene and other 
 accessories of a play. Mr. Charles Mathews fully acted up to the 
 wisdom of his wife in this respect. So successful did the Mathews' 
 management of the Lyceum Theatre proceed on this plan, that it 
 was seldom found necessary there to change the programme for 
 weeks together, and sometimes not for the entire season. The 
 pieces selected for representation were generally of the drawing-room 
 kind, and interspersed with the vaudeville productions of the French 
 stage. However slight in texture or in subject were the examples 
 of the former, they were always remarkable for a careful and 
 pointed literary manipulation. The acting was, of its kind, always 
 first-rate ; the performers being selected with the utmost judgment, 
 
MATHEWS, CHARLES JAMES. 409 
 
 and attached to the theatre from year to year. Mr. Mathews's 
 tenure of the joint management of the Lyceum was, however, not 
 without its difficulties and financial troubles (1853 and 1854) ; and 
 in March 1855 he announced his secession from the theatre, and 
 "from all management at once and for ever." As a pecuniary 
 speculation it had not been profitable. Almost immediately fol- 
 lowing his retirement from the Lyceum he entered upon the more 
 successful and profitable career of a theatrical " star " in the line of 
 light comedy, a career which he pursued with indomitable energy 
 till within a few days of his death. That career began with his 
 appearance, in the spring of 1855, at the City of London Theatre. 
 Wednesday, October 10, 1855, he appeared at Drury Lane as 
 Mopus, in a three-act play ' Married for Money,' a modification of 
 Poole's comedy ' The Wealthy Widow.' In the following month, 
 at the same theatre, he sustained two parts, which have since been 
 closely identified with his name — Picff and Sir Fretful Plagiary 
 in ' The Critic,' " distinguishing each with such peculiar charac- 
 teristics, that the identity of the performer is traced with difficulty " 
 {AthencBum, November 10, 1855). 
 
 At the close of the week ending August 9, 1856, Madame Vestris 
 (Mrs. Charles Mathews) died, aged 59. In 1857 Charles Mathews 
 once more left England for America, where he married his second 
 wife, Mrs. Davenport, a lady of considerable ability and experience 
 as an actress. Monday, October 11, 1858, Mr. and Mrs. Charles 
 Mathews made their first appearance after their marriage at the 
 Haymarket, in a revival of ' London Assurance' — Charles Mathews 
 as Dazzle; Mrs. Charles Mathews as Lady Gay Spanker. For 
 the three following seasons they remained attached to the Hay- 
 market company, playing in the various comedies and stage revivals 
 produced under the direction of Mr. J. B. Biickstone. In 1862 
 Charles Mathews quitted the stage for a time, and commenced a 
 series of ' At Home ' entertainments at the Bijou Theatre (Her 
 -Majesty's) in the Haymarket. In October of that year these termi- 
 nated, and he afterwards transferred them to the provinces. In 
 1863 Charles Mathews appeared at the Theatre des-Varidt^s, Paris, 
 in the principal characters of a French version, executed by him- 
 self, of ' Cool as a Cucumber,' entitled ' L'Anglais Timide.' This 
 was so far a success that he was induced to repeat his visit two 
 years later, when a French version of ' Used Up,' under the title of 
 ' L'Homme Blasd,' was played by him for fifty nights at the Vaude- 
 ville. In the interval between 1865 and 1870 he fulfilled various 
 " starring " engagements ; and in the latter year started on a tour 
 round the world with Mrs. Mathews, which was completed in 1873. 
 From 1872 to 1875 he remained in England, performing at intervals 
 in London and the provinces. In September 1875 he produced a 
 new two-act comedy at the Gaiety Theatre, London, entitled ' My 
 Awful Dad,' in which, as Adonis Evergreen, he secured his usual 
 success. In November 1875 Charles Mathews again set forth on 
 a foreign tour, this time for India. He appeared with great /f/«^ 
 at Calcutta, during the visit of the Prince of Wales to that city, it 
 
4IO THE DRAMATIC LIST: 
 
 being reported that on the occasion of a " special performance " by 
 Charles Mathews ("by desire of His Royal Highness"), the house 
 realized the unprecedented sum of 2000/. 
 
 A list, furnished by himself, shows that Mr. Charles Mathews 
 wrote, or adapted from the French for the stage, forty-three pieces 
 — one piece in eight acts, one in five acts, six in three acts, thirteen 
 in two acts, and twenty-two in one act. He, besides, " created " 
 the chief parts in one play of nine acts, one of eight acts, in ten of 
 five acts, twenty-six of three acts, in forty-five of two acts, and in 
 seventy-eight of one act ; in all, one hundred and sixty-one parts. 
 His most successful dramatic productions were ' Black Domino,' 
 ' The Milliner to the King,' ' Bachelor of Arts,' ' Court Jester,' ' My 
 Wife's Mother,' ' Serve Him Right,' ' Little Toddlekins,' ' Patter 
 versus Clatter,' and ' My Awful Dad.' His most successful imper- 
 sonations were Puff and Sir Fretful Plagiary, Charles Surface, 
 Mr. Affable Hawk, Sir Charles Coldstream, Dazzle, Tiviggleton, 
 Adonis Evergreen, and his parts in ' Cool as a Cucumber,' ' Wood- 
 cock's Little Game,' ' Patter versus Clatter,' and ' If I'd a Thousand 
 a Year.' His clever version of Foote's comedy 'The Liar' (pro- 
 duced at the Olympic in 1867) had a very successful run, and 
 furnished proof of his practical skill as a dramatist. In polite 
 comedy Mr. Charles Mathews was one of the most popular and 
 successful actors of the century. 
 
 PARRY, JOHN, born in London, 1810; died at East Moulsey, 
 Surrey, February 20, 1879. Only son of John Parry, for many 
 years honorary treasurer of the Royal Society of Musicians, editor 
 of the " Welsh Melodies," and composer of numerous songs, ballads, 
 and dramatic pieces. The Era (February 23, 1879) gives the fol- 
 lowing particulars of his early career : — " As a vocalist he made his 
 debut May 7, 1830, at the Hanover Square Rooms, on the occasion 
 of Mr. F. Cramer's concert, when he sang Handel's ' Arm, arm, ye 
 brave,' with great success. His voice was then a baritone of fine 
 and rich, though not powerful, quality. Having received lessons 
 from Sir George Smart in sacred and classical music, Mr. John 
 Parry was in great request at the Ancient and Philharmonic Con- 
 certs, and also at musical festivals in town and country. For him 
 the Chevalier Neukomm composed ' Napoleon's Midnight Review,' 
 and several other songs, but his forte was simple ballads. In 1833 
 Mr. John Parry visited Italy, and received instructions from the 
 great Lablache at Naples, where he resided some time. Here he 
 became a great favourite with De Beriot, Madame Malibran, and 
 a number of distinguished personages, who attended a special 
 concert which he gave at Posilippo, in a beautiful theatre belonging 
 to the celebrated Barbaja, who granted him the use of it. The 
 first part of the concert consisted of vocal jnorceaux, sung by 
 Lablache and most of the principal singers belonging to the San 
 Carlos ; and the second part comprised a burlesque on ' Othello,' 
 Lablache sustaining the part of Brabantio, Calvarola — the Listen 
 of Naples — the Moor, and John Parry, Desdemona, dressed d- la 
 Madame Vestris, and introducing in one of the most pathetic scenes 
 
PARRY, JOHN. 411 
 
 the then popular song of ' Cherry Ripe,' an effect which gave rise 
 to uproarious merriment. This burlesque burletta was repeated at 
 the San Carlos for the benefit of Sanvarola, and went off with 
 renewed success. At this time, to comply with Malibran's frolic- 
 some request, John Parry gave at an evening party an imitation of 
 Lablache, Rubino, and lastly, of Malibran herself, in a mock Itahan 
 trio, and this created such an excitement that he was asked to 
 repeat it in the presence of the King and Queen, who were, like the 
 rest, immensely delighted by this notable display of musical mimicry. 
 One evening, when a large party had assembled at a nobleman's 
 mansion, where a concert was to take place, a fellow stood in front 
 of the house grinding away at a hurdy-gurdy. This annoyed the 
 company very much, and Malibran said, ' We'll have a hurdy-gurdy 
 of our own.' Accordingly, she requested John Parry, Lablache, 
 and others to sustain notes forming a kind of drone on the common 
 chord, at the same time to pinch their noses, while she herself gave 
 a capital imitation of the sonorous tones of that mellifluous instru- 
 ment. The itinerant outside, believing that he had no chance of 
 competing with his more powerful rival within the mansion, shifted 
 his position, and the more harmonious portion of the concert was 
 resumed. In July 1836, Mr. John Parry gave his first benefit 
 concert at the Hanover Square Rooms, when he engaged Malibran, 
 whose terms were twenty guineas, to sing for him. This she did, 
 and at her own request gave in addition Mazzinghi's lively duet, 
 ' When a little farm we keep,' which had been often sung by her 
 and John Parry at Naples. The two sang it on this occasion, and 
 it was, of course, repeatedly encored. When John Parry called 
 upon her next morning with the twenty-pound note in payment for 
 her services, Malibran took it, and then seizing him by the hand 
 and returning it, exclaimed in her own energetic way, ' Take that 
 as my mite for you to commence life with. I have passed many 
 happy hours and merry moments with you in Naples. Prosperity 
 attend you. God bless you, John Parry.' After visiting Rome, 
 Florence, Milan, and Paris, John Parry returned to England in 
 1834, after an absence of fourteen months, during which time he 
 had -made himself a perfect master of the Italian language. In 
 1835 his marriage took place with an accomplished lady, the 
 daughter of an eminent physician. Persuaded to try the stage, he 
 offered his services to his father's old friend, John Braham, who 
 had then just built and opened the St. James's Theatre." He made 
 his dibut on the London stage September 29, 1836, at that theatre. 
 In December of the same year he appeared there in a piece by 
 Poole, entitled ' Delicate Attentions,' and in an operatic burletta, 
 'The Village Coquettes,' announced in a contemporary journal as 
 "the second production of the gentleman who writes under the 
 name of ' Boz.' " The music of the piece was by John Hullah, and 
 the parts in it were sustained by Messrs. Harley (as Martin Stokes), 
 Braham (as Squire Norton), Bennett (as George Edmunds), and 
 Mr. John Parry ; Mesdames Smith, Rainsforth (as Lucy Benson), 
 and others. Four songs in ' The Village Coquettes ' subsequently 
 became popular : — ' The child and the old man sat alone '; ' Love 
 
412 THE DRAMATIC LIST. 
 
 is not a feeling to pass away ' ; 'Autumn Leaves'; and 'There's a 
 charm in Spring.' The book of the words was pubUshed by Mr. 
 Bentley, and dedicated to J. Pritt Harley in the following terms : — 
 " My dramatic bantlings are no sooner born than you father them. 
 You have made my ' Strange Gentleman ' * exclusively your own ; 
 you have adopted Martin Stokes with equal readiness." "Boz" 
 proceeds to excuse himself for appearing before the public as the 
 composer of an operatic burletta, in the following words : — " ' Either 
 the Honourable Gentleman is in the right or he is not' is a phrase 
 in very common use within the walls of Parliament. This drama 
 may have a plot or it may not ; and the songs may be poetry or 
 they may not ; and the whole aifair from beginning to end may be 
 great nonsense or it may not ; just as the honourable gentlexnan 
 or lady who reads it may happen to think. So, retaining his own 
 private and particular opinion upon the subject (an opinion which 
 he formed upwards of a year ago, when he wrote the piece), the 
 author leaves every gentleman or lady to form his or hers, as he 
 or she may think proper, without saying one word to influence 
 or conciliate them. All he wishes to say is this — that he hopes 
 Mr. Braham, and all the performers who assisted in the representa- 
 tion of this opera, will accept his warmest thanks for the interest 
 they evinced in it from its very first rehearsal, and for their zealous 
 efforts in his behalf — efforts which have crowned it with a degree 
 of success far exceeding his most sanguine anticipations, and of 
 which no form of words could speak his acknowledgment. It is 
 needless to add that the libretto of an opera must be to a certain 
 extent a mere vehicle for the music ; and that it is scarcely fair or 
 reasonable to judge it by those strict rules of criticism which would 
 be justly applicable to a five-act tragedy or a finished comedy." 
 
 Subsequent to his engagement at St. James's Theatre, Mr. John 
 Parry was for a brief season at the Olympic. In 1842 he had for- 
 saken the stage for the concert-room, and was singing in pieces 
 written expressly for him by the late Albert Smith, having as 
 supporters Madame Anna Thillon and Herr Staudigl, well-known 
 artists of their day. In 1850 Mr. Parry originated an entertain- 
 ment in London under the designation, " Mr. John Parry's Notes," 
 thus spoken of in a contemporary journal : — " There is mirth in the 
 words, wit in the music, and a versatility of power and accomplish- 
 ment put forth in the execution of both, which will raise Mr. Parry's 
 reputation even with those with whom it has already stood the 
 highest. He talks, he sings in half-a-score of different voices and 
 styles ; he plays the pianoforte more boldly and brilliantly than 
 
 ever He changes his dress with the rapidity of sorcery ; and, 
 
 we repeat, entertains his company better than anyone single-handed 
 since Mathews." Mr. Parry continued his entertainment in London 
 with very great success until 1853, when he advertised his intention 
 of bidding farewell to public exhibition, being compelled to retire 
 
 * The first dramatic production of the late Mr. Charles Dickens, per- 
 formed at St. James's Theatre, September 29, 1836, Mr Pritt Harley in 
 the title rdle. John Parry and Madame Sala (the distinguished vocalist, 
 and mother of Mr. George Augustus Sala) appeared in the pieces. 
 
PARRY, JOHN. 413 
 
 owing to ill-health. Following upon this announcement these 
 comments appeared in the Athenauvi of August 13, 1853 : — "By 
 his departure music and merriment sustain no ordinary loss ; since 
 (as the Athenceu7n has again and again pointed out) there was 
 something besides, and far beyond the ordinary buffoon, in Mr. John 
 Parry's performances — a spirit of quaint humour told in, and aided 
 by, music, nothing short of artistic, the lilce of which we have never 
 met save perhaps in the comicalities of that eccentric genius, M. 
 Vevier. It should be recorded that John Parry's drolleries have 
 been as deUghtful to the most scientific and most fastidious of 
 musicians as to the general audiences that flocked to listen to the 
 ' Accomplished Young Lady ' and Fair Rosamond, or to assist at 
 the wondrous amateur singing and pianoforte playing so shrewdly 
 and mirthfully reproduced in his later entertainments. Mr. John 
 Parry's whimsies were started, if we mistake not, under the aid and 
 by the abetting of Madame Malibran at Naples ; but we have seen 
 Mendelssohn sit to listen by the hour with the eager face of an 
 enjoying child, and we have heard Chopin laugh till he was almost 
 ' ready to die ' (so frail in his case was the machine) at the travesties, 
 parodies, imitations, and ampMgoiiris* of the racy humorist. If, 
 indeed, Mr. John Parry must cease his performances, we trust that, 
 in some form or other, we may still profit by a genius which is as 
 delicate as it is genial." Mr. Parry's retirement was only temporary. 
 He returned to London after a period of rest, and in conjunction 
 with Mr. and Mrs. German Reed gave his admirable performances 
 for many years at the Gallery of Illustration, Regent Street. In a 
 leading article published in the Daily News, July 20, 1878, Mr. 
 John Parry's power of entertaining is thus alluded to : " The comic 
 singer of our modern music halls is at his best lamentably and 
 offensively bad. The talent, however, of Mr. John Parry was of a 
 different order to that which belongs to the so-called ' Comics,' 
 distinguished in their advertisements by such epithets as ' Great ' 
 and ' Jolly.' Nor had Mr. John Parry anything of the ' Lion comic' 
 about him. His humour was of the quiet, suggestive, subtle kind. 
 He could invent, and himself impersonate, characters which became 
 accepted as types. ' Impersonate ' is, perhaps, not the word ; for 
 Mr. Parry contented himself with indicating peculiarities, and never 
 for any length of time sustained a part. Those who have not had 
 the advantage or disadvantage of seeing him (for he was in his 
 prime many years ago) will get a better notion of his genius by 
 remembering that he was the originator of the style which has 
 found able followers in Mr. Corney Grain, Mr. Arthur Cecil, and 
 Mr. George Grossmith. The comic song, as treated by Mr. John 
 Parry, ceased to be musical buffoonery, and became a comedy 
 scene with musical illustrations. It seems, moreover, to be an 
 understood thing that the ' entertainer ' of the school founded by 
 
 * " A term popular in Paris at the beginning of the century. An 
 amphigouri is not a ' medley,' as we understand the term, so much as a 
 macaronic compound of music and words — of the sublime and the ridicu- 
 lous—of the antique classical modes and the nonsense ofthe minute." 
 —Athenaum, August 13, 1853, p. 971. 
 
414 THE DRAMATIC LIST. 
 
 John Parry shall invent his own entertainment, which is usually a 
 mixture of prose and verse ; that he shall compose his own music, 
 play his own accompaniments, and, as a matter of course, sing his 
 own songs, Now that Mr. Arthur Cecil has abandoned the enter- 
 tainment, specially so called, for the drama, and that Mr. George 
 Grossmith has, in some measure, followed his example, the only 
 artist who can be looked upon as a worthy continuer of the John 
 Parry tradition is Mr. Corney Grain. Excellent as this gentleman's 
 performances are, those of Mr. John Parry were still more admi- 
 rable, if only from the fact that Mr. John Parry invented, not 
 merely his own entertainments, but the whole style of which each 
 of these entertainments was an example." 
 
 PAUL, MRS. HOWARD {nie Isabella Featherstone), 
 born at Dartford, Kent, 1833 ; died in London, June 6, 1879. She 
 was well known in London as an actress and singer of great 
 promise some five-and-twenty years ago. It was remarked of her 
 ■{Athenaum, April 25, 1868) that she sacrificed for second-rate 
 objects an amount of natural vocal endowment rarely combined (at 
 least in this country) with such genius for the stage as she possessed, 
 which might have made her the Malibran of England, and as such 
 an artist of European renown. One of Miss Featherstone's most 
 important parts was Captain Macheath in ' The Beggar's Opera,' 
 which she played at the Strand Theatre in 1853. She also appeared 
 at the Haymarket Theatre in this character with great success, 
 Monday, October 24, 1854. The same year Mr. and Mrs. Howard 
 Paul first appeared together in a dialogue play which attained a 
 considerable degree of success in the provinces. It was entitled 
 ' Locked Out,' and was from the pen of Mr. Howard Paul. Later, 
 in 1858, husband and wife appeared in an "entertainment" en- 
 titled ' Patchwork,' described in a contemporary journal as " a 
 clatter of fun, frolic, song, and impersonation carried on by per- 
 formers of unfailing dash." For some years Mr. and Mrs. Howard 
 Paul conducted this entertainment in London and elsewhere with 
 well-merited support from the public. Mrs. Howard Paul returned 
 to the stage in 1869, and in February of that year appeared at 
 Drury Lane, doubling the parts of Lady Macbeth and Hecate, with 
 Mr. Phelps and Mr. Charles Dillon acting on alternate nights the 
 leading role. She afterwards performed in other plays on the 
 London and provincial stage, her last appearance being at the 
 Opdra Comique as Lady Sangasure in ' The Sorcerer,' comic opera 
 by Arthur Sullivan, produced November 17, 1877. 
 
 PHELPS, SAMUEL, born at Devonport, in 1804; died in 
 London, November 6, 1878. He was apprenticed to a printer in 
 early life ; but rehnquished the printing trade for the dramatic 
 profession, which he entered in 1828, making his first appearance at 
 York. Mr, Phelps made his professional dibut on the London stage 
 at the H3,ym.arket Theatre, under Mr. Benjamin Webster's manage- 
 ment, August 28, 1837, as Shylock in 'The Merchant of Venice.' 
 " His representation of the character was correct and judicious, but 
 
PHELPS, SAMUEL. 415 
 
 not remarkable or striking. . . . Kean threw something of sub- 
 limity into the character of Shylock ; we felt as if an incarnate fiend 
 stood before us. Such an effect as this Mr. Phelps had no power 
 to produce. ... He performed the trial scene very ably and gave 
 great effect to several passages. . . . Upon the whole, Mr. Phelps' 
 performance of this part is entitled to considerable praise, and 
 shows him to be a valuable acquisition to the London stage. He 
 was extremely well received." {Morning Chronicle, August 29, 
 1837.) From 1837 to 1839 Mr. Samuel Phelps was one of the 
 leading actors at Covent Garden Theatre, under Mr. Macready's 
 management, appearing in most of the original pieces first pro- 
 duced there under that distinguished tragedian's auspices. (See 
 Faucit, Helen.) In August 1839, at the Haymarket, Mr. Phelps 
 played lago (' Othello '), with Mr. Macready, Mr. Power, Mr. 
 Benjamin Webster, Mrs. Warner, and Miss Helen Faucit in the 
 cast. During 1840 and 1841 Mr. Phelps was engaged at the Hay- 
 market, and occasionally at Drury Lane Theatre (sometimes with 
 Mr. Charles Kean), playing in the poetic drama such parts as 
 Darnley in 'Mary Stuart' (January 1840); Gabor in 'Werner' 
 (October 1840); Macduff, &c. In January 1842 he took part in 
 the performances inaugurating Mr. Macready's management of 
 Drury Lane, playing Antonio ('Merchant of Venice') ; Lord Nor- 
 land in Mrs. Inchbald's comedy ' Every One Has His Faults'; and, 
 subsequently, the same month, Stukeley in ' The Gamester.' Later 
 in the year (July), he appeared at the Haymarket Theatre in the 
 character of Sir Giles Overreach, the elder Farren playing Marall; 
 and at Drury Lane as Faulkland (' The Rivals ') ; Old Dornton 
 (' The Road to Ruin ') ; and lago, — " the best we have seen since Mr. 
 Young," remarked the Athenaum (October 22, 1842) ; "his rugged 
 looks and plainness of speech became the assumed blunt honesty of 
 the knave extremely well, and his chuckling levity, though at times too 
 obvious, was in keeping with the character ; still it was not perfectly 
 satisfactory, wanting the higher attributes of the ideal character." 
 
 The same year (December 10), at the same theatre, he sustained 
 the part of the Earl of Lynterne, first performance of Westland 
 Marston's ' Patrician's Daughter.' This was one of the most careful 
 impersonations in that unsuccessful but clever play. During 1843 
 Mr. Phelps played the following original parts, viz. Lord Tresham 
 in Browning's, poetic melodrama ' A Blot on the Scutcheon ' ; Lord 
 Byerdale in Sheridan Knowles's play ' The Secretary ' ; Dunstan 
 in Smith's tragedy of ' Athelwold'; and (at Covent Garden Theatre) 
 Gaston de Foix, in Boucicault's drama ' Woman.' 
 
 In 1844, the " New Theatres Regulation Act" * having come into 
 operation, placing all theatres upon an equal footing of security and 
 respectability, leaving no difference, except in the object and conduct 
 of the managements, Mr. Samuel Phelps, in conjunction with Mrs. 
 Warner, entered upon the lesseeship of Sadler's Wells Theatre, 
 
 * Mr. Phelps was the first London manager to take advantage of this 
 Act, by which all theatres were enabled to do what the so-called patent 
 theatres had been privileged to attempt, namely, the performance of the 
 five-act poetic drama. 
 
4i6 THE DRAMATIC LIST. 
 
 then dilapidated and almost forgotten. He re-established the house, 
 and, in time, promoted it to a position second to no other theatre 
 in London. It became the home of the Shakespearian drama. It 
 was opened under its new regime, Monday, May 27, 1844, with the 
 representation of ' Macbeth.' " Mr. Phelps we have never before 
 seen in Macbeth, and it was certainly the ablest performance in 
 which he has yet exhibited. Since Edmund Kean's we have seen 
 nothing better for vigour and vivid effect. It is essentially distinct 
 from, and stands in contrast with Mr. Macready's, which, however 
 fine and classical in its conception, is but too obviously open to 
 the Scotch sneer of presenting ' a very respectable gentleman in 
 considerable difficulties,' so studied is it in all its parts and subdued 
 into commonplace by too much artifice. . . . The straightforward 
 and right earnest energy of Mr. Phelps' acting, on the contrary, made 
 all present contemplate the business as one of seriousness and reality, 
 while the occasional pathos of his declamation thrilled the heart 
 within many a rude bosom with delight. The spectators were 
 visibly agitated and incapable of resisting the impulse." (Athenaujn, 
 June I, 1844.) The experiment was a success. Sadler's Wells 
 Theatre was now crowded night after night, not merely by the 
 denizens of suburban Clerkenwell and of the neighbouring Isling- 
 ton, but by visitors from the remote and more aristocratic quarters 
 of western London. Mr. Phelps's principal characters, before he 
 entered upon theatrical management, had been Macbeth, Shylock, 
 Othello, The Stranger, Mr. Oakley, Werner, Sir Peter Teazle, 
 and last, not least, Virginius. The Werner and Virginius Mac- 
 ready had hitherto completely appropriated to himself; but Mr. 
 Phelps showed that these characters had now found a second 
 competent representative, albeit not attached to the theatres royal. 
 The foregoing characters, and many more to be enumerated, Mr. 
 Phelps introduced for the first time to an audience at Sadler's 
 Wells Theatre. On Monday, July 29, 1844, he appeared there, for 
 the first time, as Hamlet; and in the following October he pro- 
 duced ' King John,' with a degree of spectacular effect not exceeded 
 by Mr. Macready's doings at Drury Lane. 
 
 Mr. Phelps soon established a reputation which placed him in 
 the front rank of his profession. " He is not only a modest and in- 
 teUigent man," remarked a contemporary journal, " but a skilful and 
 able performer — an actor of intense passion. In the more pathetic 
 passages of a part, comic as well as tragic, he gives a tone of 
 reality to the action that commonly transports the audience into 
 the precise spirit of the scene." In 1845 (March) he performed 
 Richard III. for the first time ; and, on the l6th of June of the same 
 year, Richelieu (of this play Mr. Phelps was the original yoseph : 
 see Faucit, Helen). In regard to the way in which it was put on 
 the stage, the whole of the costumes, scenery, and accessories were 
 appropriate, and the performers carefully studied and well-drilled 
 throughout. On the 27th August, 1845, he produced 'The Fatal 
 Dowry ' of Massinger ; and, in November, ' King Lear.' It was 
 said of Mr. Phelps's performance of Lear that it might be easily 
 excelled in royal dignity and in physical vigour ; but as a pathetic 
 
PHELPS, SAMUEL. 417 
 
 piece of acting it was unrivalled. " Mr. Phelps never forgets the 
 father— never seeks to surprise, but contents himself with exciting 
 pity for the wrongs that the outraged parent suffers, and the 
 natural relations that are insulted in his person. It is much to the 
 actor's credit that he sacrificed his professional ambition to the 
 proprieties of the scene. Having restored the curse to its original 
 place in the drama, Mr. Phelps was judiciously careful not to give 
 it undue effect by being too vehement. He chastened and toned it 
 down to the proper emphasis required by its rightful position. Was 
 it on that account less effective with the audience ? Not a whit." 
 {AthencEum, November 8, 1845.) The same year he placed 'The 
 Winter's Tale' on the stage at Sadler's Wells. Saturday, July 25, 
 1846, having vastly improved the theatre in the recess externally and 
 internally, he opened the season with 'Henry IV.,' himself playing the 
 part of Falstaff. " Mr. Phelps, whose particular /<?r/^ is the pathetic, 
 and who can represent some man of solid worth stricken down by 
 adverse circumstances, as well as anyone on the stage, selects the 
 character of Sir John Falstaff. Seek not for an unctuous reading 
 of the part in Mr. Phelps, for his very physique denies it ; but do 
 not fail to recognize the hearty enjoyment of the humour in the 
 manager's delineation. He does not look very fat or talk very fatly, 
 but there is much fun of a peculiar order about, and as he is 
 usually alive to the pathetic natural, so does he enter into the fun 
 natural likewise. His lecture to the prince, in the character of the 
 king (is not this lecture often omitted in the acting version ?), was 
 amusingly pompous, and his soliloquy on honour, with the modu- 
 lations of the word ' No,' capitally delivered. It was not the least 
 entertaining part of the exhibition to watch how the audience took 
 the part of Falstaff. They welcomed him not with the frigid 
 acknowledgment of those who are merely curious to see how a new 
 actor interprets a character, but they hailed the character itself. 
 It was the comic part of the evening, and the pleasantries, the 
 rhodomontades and dilemmas of ' plump Jack ' created the sort of 
 laughter which, in Westminster, pertains to a new broad farce." 
 {Times, July 29, 1846.) 
 
 In the following year (1847), Wednesday, January 13, Mr. Phelps 
 produced, at Sadler's Wells, Beaumont and Fletcher's play of ' A 
 King and No King,' with that diligent care and those appropriate 
 appointments of scene and costume which made famous the little 
 theatre under his management. The interest excited by the an- 
 nouncement of the play was immense. The house was crowded. 
 The best judges of the drama were present. The performance was 
 a complete success. The "revival" was heralded as the most 
 important step which had yet been taken in the serious task of 
 restoring the poetic drama to the English stage. Mr. Phelps acted 
 the character of Arbaces, Mr. Marston that of Tigranes, Mr. 
 Bennet Bessus, Miss Laura Addison Panthea, and Miss Cooper 
 Spaconia. On Wednesday, June 2, 1847, Mr. Phelps closed the 
 season with Lovell's ' Provost of Bruges.' The following, his fourth 
 season, he " opened " with ' Cymbeline,' playing Posthumus. Tues- 
 day, December 7, 1847, Mr. Phelps took part in the performances 
 
 2 E 
 
4i8 THE DRAMATIC LIST. 
 
 at Covent Garden Theatre in behalf of a fund for the purchase of 
 Shakespeare's house at Stratford-on-Avon. He played Prospero, 
 in a selection from 'The Tempest' (act i, sc. 2). January 1848, 
 at Sadler's Wells, he "revived" 'Twelfth Night,' sustaining the 
 character of Malvolio, which the Athenaum (January 29, 1848) 
 mentioned as a part by which Mr. Phelps will be remembered. 
 " The making-up is so complete that the actor's person cannot be 
 identified until he speaks. The execution of the part is equally 
 complete; elaborately finished — thoroughly carried out to the 
 minutest particular." During the season 1849-50 he placed on the 
 stage 'The Honest Man's Fortune,' remodelled from Beaumont 
 and Fletcher by Mr. Home (author of ' Gregory VII.'), Mr. Phelps 
 playing Lord Montague, 'the honest man'; and, on Monday, 
 October 22, 1849, 'Ajntony and Cleopatra,' on a scale of expense 
 and effect exceeding all the former efforts of the management. 
 Mr. Phelps acted Marc Antony, Miss Glyn Cleopatra. {See 
 Glyn, Isabel.) In 1851, on the occasion of Mr. Macready's fare- 
 well of the stage at Drury Lane Theatre, Mr. Phelps played 
 Macduff to the great actor's Macbeth. Saturday, December 6, 
 1851, at Sadler's Wells, Mr. Phelps played, with remarkable success, 
 the part of Sir Pertinax Macsycophant in ' The Man of the World.' 
 In 1852 he revived 'AU's Well That Ends Well,' and gave the 
 character of Parolles, one of his most important and interesting 
 impersonations. In 1853, Saturday, October 8, he produced the 
 ' Midsummer Night's Dream,' and played Bottom. " Every reader 
 of Shakespeare is disposed to regard the ' Midsummer Night's 
 Dream' as the most essentially unactable of all his plays. It is a 
 dramatic poem of the utmost grace and delicacy ; its characters are 
 creatures of the poet's fancy, that no flesh and iDlood can properly 
 present — fairies that 'creep into acorn cups,' or mortals that are 
 but dim abstractions, persons of a dream. ... In some measure 
 we have found reason to modify our opinion on these matters since 
 we have seen the ' Midsummer Night's Dream ' as produced by 
 Mr. Phelps. . . . Mr. Phelps has never for a minute lost sight of 
 the main idea which governs the whole play, and this is the great 
 secret of his success in the presentation of it. He knew that he 
 was to present merely shadows ; that spectators, as Puck reminds 
 them in the epilogue, are to think they have slumbered on their 
 seats, and that what appeared before them have been visions. 
 Everything has been subdued as far as possible at Sadler's Wells 
 to this ruling idea. The sceneiy is very beautiful, but wholly free 
 from the meretricious glitter now in favour. . . . Nor should we 
 fail to remark upon the very perfect taste shown in the establish- 
 ment of a harmony between the scenery and the poem. . . 
 
 " It remains for us only to speak of the success of Mr. Phelps as 
 Bottom, which he presented from the first with remarkable subtlety 
 and spirit, as a man seen in a dream. In his first scene, before we 
 know what his conception is, or in what spirit he means the whole 
 play to be received, we are puzzled by it. We miss the humour 
 and we get a strange, elaborate, and uncouth dream-figure a clown 
 restless with vanity, marked by a score of little movements and 
 
PHELPS, SAMUEL. 419 
 
 speaking ponderously with the uncouth gesticulation of an unreal 
 thing, a grotesque nightmare character. But that, we find, is 
 precisely what the actor had intended to present, and we soon 
 perceive that he was right. Throughout the fairy scenes there is a 
 mist thrown over Bottom by the actor's art. The violent gesticula- 
 tions become stillness, and the hands are fixed on the breast. 
 They are busy with the unperceived business of managing the 
 movements of the ass's head, but it is not for that reason they are 
 so perfectly still. The change of manner is a part of the concep- 
 tion. The dream-figure is dreaming, there is dream within dream ; 
 Bottom is quiet, his humour becomes more unctuous, but Bottom is 
 translated. He accepts all that happens quietly as dreamers do ; 
 and the ass's head we also accept quietly, for we too are in the 
 middle of our dream, and it does not create surprise. Not a touch 
 of comedy was missed in this capital piece of acting, yet Bottom 
 was completely incorporated with the ' Midsummer Night's Dream,' 
 made an essential part of it, as unsubstantial, as airy and refined, 
 as all the rest. Quite masterly was the delivery by Mr. Phelps of 
 the speech of Bottom on awakening. He was still a man subdued, 
 but subdued by the sudden plunge into a state of unfathomable 
 wonder. His dream chngs about him, he cannot sever the real 
 from the unreal, and still we are made to feel that his reality itself 
 is but a fiction. The pre-occupation continues to be manifest 
 during his next scene with the players, and his parting, ' No more 
 words ; away ; go away,' was in the tone of a man who had lived 
 with spirits and was not yet perfectly returned into the flesh. Nor 
 did the refinement of this conception, if we except the first scene, 
 abate a jot of the laughter that the character of Bottom was 
 intended to excite. The mock play at the end was intensely 
 ludicrous in the presentment, yet nowhere farcical. It was the 
 dream. Bottom, as Pyramus was more perfectly a dream-figure 
 than ever. The contrast between the shadowy actor and his part, 
 between Bottom and Pyramus, was marked intensely ; and the 
 result was as quaint a phantom as could easily be figured by real 
 flesh. We have said a good deal of this revival, for it is very 
 doubtful whether the ' Midsummer Night's Dream ' has ever yet, 
 since it was first written, been put upon the stage with so nice an 
 interpretation of its meaning. It has pleased us beyond measure 
 to think that an entertainment so refined can draw such a throng 
 of playgoers as we saw last Saturday sitting before it, silent and 
 reverent, at Sadler's Wells." {Examiner, October 15, 1853.)'* 
 
 In 1854, Saturday, October 14, Mr. Phelps produced ' Pericles, 
 Prince of Tyre,' the most laborious and the most ambitious of the 
 " revivals '' for which his management had now become famous. 
 The following year he dealt with ' The Comedy of Errors,' which 
 was received with remarkable favour; and, in 1856, 'The Merry 
 Wives of Windsor' was performed, concerning which, and his 
 representation of Sir John. Falstaff, the following criticism 
 
 * Compare Journal of a London Playgoer, pp. 69-72, Professor Henry 
 Morley. 
 
 2 E 2 
 
420 THE DRAMATIC LIST. 
 
 appeared : — " We have been sometimes tempted to think that if 
 Mr. Phelps had early taken to comedy, and particularly to what 
 are technically termed character-parts, he would have accomplished 
 a more profitable reputation than that he now enjoys as a tragedian. 
 Mr. Phelps's successes in such characters as Mr. Justice Shallow, 
 Bottom, the weaver, Sir John Falstaff, and Sir Pertinax Mac- 
 sycophant, are all manifestly the result of consummate art, bearing 
 the marks of elaborate study as they do. They may be thought 
 deficient in the points of spontaneity and mellowness, and are 
 subject to the green-room charge of ' hardness ' ; but the thorough- 
 going earnestness with which the delineation is made complete, 
 even to the minutest details, must be accepted as a compensation." 
 {Athenqum, October ii, 1856.) The same year, on Saturday, 
 Noveniber 15, he placed 'The Taming of the Shrew,' with the 
 Induction, upon the stage, and acted in it the part of Christopher 
 Sly. This play numbered the twenty-ninth of the Shakespearian 
 dramas introduced by Mr. Phelps to the audiences of Sadler's 
 Wells during the twelve years he had now held the theatre. " An 
 excellent type of low, dogged, habitual inebriety is presented by 
 Mr. Phelps in his impersonation of Christopher Sly, the comic 
 hero of the ' Induction ' to ' The Taming of the Shrew.' The 
 play, revived at Sadler's Wells on Saturday, has not been acted 
 in its entirety, save at the Haymarket in 1844, within the memory 
 of many generations — although ' Katherine and Petruchio,' as 
 Garrick's abridgment is called, has always been a favourite after- 
 piece. From the effect of the representation at Sadler's Wells we 
 may gather the inference that our immediate ancestors were not 
 such mere blockheads in theatrical affairs as rigid Elizabethans 
 would have us suppose. The story in which Katherine and Pe- 
 truchio are the principal figures shakes the audience with laughter ; 
 and the ' Induction,' with the tinker of Mr. Phelps, is a choice 
 little bit of low comedy ; but the dull tangled tale of Bianca and 
 her sisters is scarcely worth the trouble of reviving, lacking as it 
 does all the practical fun and ingenuity which belong to ' The 
 Comedy of Errors,' while it is marked by the same puppet-like 
 treatment of the personages that belong to that primitive work." 
 (Spectator, November 22, 1856.) 
 
 In October 1859 Mr. Tom Taylor's play 'The Fool's Revenge' 
 was brought out by Mr. Phelps, who sustained the part of Bertuccio 
 the Jester, which became afterwards one of his favourite and most 
 popular impersonations. Saturday, September 8, i860, he com- 
 menced his first season of sole management of the theatre with 
 the performance of ' As You Like It,' himself playing Jaques. In 
 1 86 1 he appeared for a brief season at the Princess's in King Lear, 
 Hamlet, and other parts ; and, on Saturday, September 21 at his 
 own theatre, performed, for the first time, Louis XI. in a version 
 of Casimir Delavigne's play of that name. " From the first entrance 
 to the fall of the curtain the assumption of character was complete ; 
 perhaps at times a little too much care was apparent ; such a 
 determination to give full force to certain passages resulted in a 
 weakening of the general effect, in a want of concentration, and if 
 the word may be here used, of lubricity — faults which, as they are 
 
ROUSSY, CLARA MARION y ESS IE. 421 
 
 the very opposite of slovenliness, a few evenings' practice will no 
 doubt remove. The dying scene, so horrible in its exhibition of 
 physical suffering in conjunction with the highest degree of moral 
 depravity, was most truthfully portrayed, not only in feebleness of 
 manner, but in an expression of face that was almost terrible in 
 its weakness and suffering, and in that unmistakable look of ex- 
 haustion which it would seem next to impossible to counterfeit, 
 Mr. Phelps's performance of Louis XL cannot fail to be looked 
 upon as one of the most remarkable of his numerous successful 
 personations, and as another proof of his conscientious devotion 
 to his art, at a time when finished acting is certainly not the rule 
 upon the stage." {Standard, September 23, 1861.) 
 
 In 1862 (October) Mr. Phelps commenced a series of farewell 
 performances at Sadler's Wells, by way of taking a formal leave of 
 his Islington patrons. He appeared in the first of the series as the 
 Cardinal in ' Richelieu.' Thursday, November 6, 1862, his farewell 
 benefit took place. The play was ' Julius Cjesar ' ; Mr. Phelps 
 acting Brutus, Mr. Creswick Cassius, Mr. Edmund Phelps Marc 
 Antony. Mr. Samuel Phelps had conducted Sadler's Wells Theatre 
 for a period of eighteen years, during which time he had placed no 
 less than thirty-four of Shakespeare's plays before the public. For 
 some years Sadler's Wells maintained itself exclusively by the 
 performances of the Shakespearian drama, and it would have 
 been in vain to have gone elsewhere for such plays as ' Antony 
 and Cleopatra,' ' Timon of Athens,' ' Pericles,' and ' Love's Labour 
 Lost.' On its humble stage these, with many other of the poet's 
 plays, were conscientiously enacted, and among them all those 
 which were afterwards produced as spectacles by Mr. Charles 
 Kean at the Princess's. Subsequent to the year of his retiring 
 from the management of Sadler's Wells Theatre Mr. Phelps ap- 
 peared in a few new characters of importance. Saturday, October 
 10, 1863, 'Manfred' was revived at Drury Lane, after a slumber 
 of thirty years, and he played in it the title rSle. " His performance 
 of the character was chiefly remarkable for his careful enunciation 
 of the text ; the harmony of the numbers and the distribution of 
 the emphasis evidently claiming the first place in his attention. 
 To variety of action and the transitions from thought to passion 
 and from passion to description with which the dialogue abounds 
 he was less attentive ; indeed nearly ignoring their necessity. The 
 best acting scenes were the second in the first act and the fourth 
 of the second." (^M^«^«7;z, October 17, 1863.) Mr. Phelps's last 
 original part of any note was that of Trapbois in ' King o' Scots,' 
 performed at Drury Lane in October i868. He appeared at London 
 theatres at intervals after that date in some of his favourite and best 
 known characters. 
 
 ROUSBY, CLARA MARION JESSIE, born at Parkhurst, 
 Isle of Wight, 1852 ; died at Wiesbaden, April 19, 1879. Fourth 
 daughter of the late Dr. Dowse, D.I.G.H. Army Medical Depart- 
 ment. Married to Mr. Wybert Rousby, at the Catholic Church, 
 Plymouth, in 1868. She made her first appearance on the London 
 
 . . .1 /-. .__»_ rry, i__ T . A T^ 1 »O.C 
 
422 THE DRAMATIC LIST. 
 
 Fiorddisa in Tom Taylor's drama ' The Fool's Revenge,' founded 
 upon Victor Hugo's ' Le Roi s'Amuse.' Her dttut was noticed in 
 the Daily News (December 22, 1869) as follows : — " Persons who 
 take interest in theatrical events have for some time past looked 
 forward with curiosity to the appearance in London of Mr. and 
 Mrs. Rousby, two performers hitherto of provincial reputation, 
 whose merits, discovered by a sort of accident in an obscure corner 
 of the kingdom by a distinguished dramatist and man of letters, 
 were by him generously proclaimed to the world a few months ago. 
 The play chosen for the occasion of what is, we believe, virtually 
 their first metropolitan appearance, was Mr. Tom Taylor's ' Fool's 
 Revenge.' ... A fresher and more 'genuine interest was awakened 
 by Mrs. Rousby's performance of the part of Fiordelisa. Afine 
 countenance, a lithe and graceful figure, and a voice capable both 
 of soft utterances and of passionate declamation, are not the only, 
 nor even the chief stage qualifications possessed by this lady, who, 
 judging from her appearance on Monday, can hardly be said to 
 have emerged from girlhood. Her style of acting is essentially 
 refined. In proof of this let anyone note carefully her artless con- 
 fession of interest in the young cavalier who plays at night under 
 her balcony ; or her simple appeal to the old duenna to permit her 
 to finger her lute with just ' one touch, to show him I am listening'; 
 and let him compare this, in his memory, with the detestably arti- 
 ficial utterances, the offensive self-consciousness and transparent 
 coquetry of the powdered and rouged young ingenue of the French 
 stage. And yet that the gamut of this young actress's powers has 
 a wider range than all this indicates must have been evident to 
 anyone who heard her cry of terror at the approach of the libertine 
 Duke, or witnessed her flushed and startled look as he came nearer 
 to lay his hand upon her, or the shrinking and repugnance, mingled 
 with something of the fascination with which the mind contemplates 
 inevitable danger, manifest in her attitudes and gestures throughout 
 this powerful scene." 
 
 In January 1870 Mrs. Rousby sustained the part of the Princess 
 Elizabeth in a five-act historical play, in blank verse, by Mr. Tom 
 Taylor, entitled ' 'Twixt Axe and Crown,' first performed at the 
 Queen's Theatre, London. " The chief figure is the Princess 
 Elizabeth, who through the entire course of the action is floating 
 ' 'twixt axe and crown,' her enemies constantly seeking to crush her 
 with a charge of high treason. The foibles proper to ' Queen Bess ' 
 in her later days are as yet undeveloped, and the Princess is shown 
 as a being scarcely short of absolute perfection, who, far from 
 encouraging the conspiracies formed for her sake, remains un- 
 shaken in loyalty to her sister. By the introduction of Courtenay, 
 Earl of Devonshire, a romantic tinge is given to her character. 
 The ' White Rose,' as he is called, is the type oi the preux chevalier. 
 On him the Princess bestows her heart without reserve, and when 
 the death of her sister has raised her to the throne, the first intelli- 
 gence she receives is that of his death in a foreign land. But the 
 feelings of the woman are not allowed to predominate over the 
 dignity of the Queen, and when shouts have announced the acces- 
 
WIG AN, ALFRED SIDNEY. 423 
 
 sion of Elizabeth, she is aroused from her grief, and determines 
 that henceforth her country shall be her only love. This extremely 
 ideal view of the Princess's character is, of course, open to all sorts 
 of objections, but the consistency with which it is carried out cannot 
 be too highly appreciated. Not only indeed is the author con- 
 sistent with himself, but he has found an actress who completely 
 realizes his lofty conception. This is Mrs. Rousby, who, not long 
 ago, made her ddbut in ' The Fool's Revenge,' and who now, as the 
 Princess Elizabeth, gives a delineation of character in which the 
 natural and the ideal are combined with a harmony to which it 
 would be hard to find a parallel. That the features are those 
 which might be supposed to belong to Elizabeth in her early days 
 is a mere accident, but it is an accident that adds to the truthful- 
 ness of the performance. Mrs. Rousby, however, is an artist who 
 has no need to rely on fortuities. Without rant or exaggeration 
 she closely portrays all the varied emotions to which the royal 
 maiden is subjected ; and while by her melodious delivery she 
 gives full value to the verse, she speaks in that thoroughly natural 
 manner which, under like circumstances, is rarely to be found 
 beyond the precincts of the Th^itre Frangais." [Times, January 27, 
 1870.) 
 
 Among other noteworthy plays in which Mrs. Rousby appeared 
 on the London stage the following are entitled to special mention, 
 viz. 'Joan of Arc' (Tom Taylor), first performed at the Queen's 
 Theatre in April 1871, Mrs. Rousby sustaining the leading rolej 
 ' Griselda' (Miss Braddon), produced at the Princess's Theatre in 
 November 1873, Mrs. Rousby in the title role; 'Mary Queen o' 
 Scots ' (W. G. Wills), first performed at the same theatre in Feb- 
 ruaiy 1874, Mrs. Rousby in the title rdlej ' The Gascon; or. Love 
 and Loyalty ' (adapted by W. Muskerry from the French of M. 
 Barrifere), produced at the Olympic Theatre in February 1876, 
 Mrs. Rousby playing the part of Mary Stuart. Mrs. Rousby also 
 performed leading parts (of which the following will suffice as 
 examples) in various revivals of the legitimate drama in London. 
 In February 1871, at the Queen's Theatre, she acted Rosalind 
 ('As You Like It'); in April 1873, at Drury Lane Theatre, she 
 sustained the part of Cordelia ('King Lear') ; in May 1876, in a 
 revival of ' The Wife ' (Sheridan Knowles) at the Olympic Theatre, 
 she played Mariana. Mrs. Rousby appeared with much success 
 at the principal theatres in the provinces in the various plays 
 already enumerated. "Vh^ Daily News (April 28, 1879) remarked 
 of her that she was probably the most beautiful woman upon the 
 stage in her time ; and, perhaps, this should be accounted a mis- 
 fortune, for her triumphs came by degrees to be dependent less on 
 her art, and more and more upon her picturesque presence and 
 fine 6xpressive features. Her last appearances on the stage were 
 associated with her brief and unfortunate management of the 
 Queen's Theatre, Long Acre, in tjie summer of 1878. 
 
 WIGAN, ALFRED SIDNEY, born at Blackheath, Kent, 
 March 24, 1818 ; died November 29, 1878. His education was 
 
424 THE DRAMA TIC LIST. 
 
 classical, and his early training scholastic. For a time he was a 
 tutor in a public school. He began his dramatic career as assistant- 
 secretary to the Dramatic Authors' Society in 1834, and in the year 
 following appeared on the stage at the Lyceum Theatre. It was 
 not, however, till the year 1842 that Mr. A. Wigan excited special 
 notice by his acting. On February 12 of that year, m the first 
 pirformance of Dion Boucicault's play of ' The Irish Heiress,' at 
 the Theatre Royal, Covent Garden, he sustained the part of the 
 French valet in the piece, with much taste, and corresponding 
 success. On September 10 of the same year, at the same theatre, 
 he played the character of Alcibiades Bla^ie — "captain of the 
 ragged regiment of guides and relic vendors on the field " — on the 
 occasion of the first performance of an after-piece of Douglas 
 Jerrold's, entitled 'Gertrude's Cherries; or, Waterloo in 1835.' 
 "This character {Alcibiades Blague) was personated by Mr. A. 
 Wigan with a closeness to the original, both in appearance and 
 manner, evidently the result of observation and study ; the mixture 
 of politesse and effrontery, of sentiment and scoundrelism, and the 
 fine French accent of broken English, are traits that mark the race 
 of chevaliers cPindustrie. Frenchmen have been so grossly cari- 
 catured on the English stage, that a true and finished portrait 
 embodied from life, even to the bronze of the cheek, and the cut of 
 the hair, is the more to be appreciated." (Athenceuni, September 
 17, 1842,) 
 
 Mr. Wigan remained a member of the company of Covent 
 Garden Theatre from 1842 to 1844, mostly engaged in playing 
 English-French characters ; in the season 1843-4 he acted the part 
 of Lawyer Meddle in a revival of ' London Assurance. In the 
 latter year he joined Mr. and Mrs. Keeley's company at the Lyceum 
 Theatre, where he attracted attention by his peculiar aptitude for 
 the delineation of foreign manners in such parts as Pygmalion 
 Bonnefoi in ' A Model of a Wife ' ; Chevalier du Guet in ' Watch 
 and Ward '; Balthazar in ' Taking Possession,' &c. On May 12, 
 1845, 3.t the same theatre, in a burlesque piece by Messrs. Albert 
 Smith and Tom Taylor, entitled ' Cinderella,' Mr. A. Wigan sus- 
 tained the part of the Prince, as to which a contemporary journal 
 remarked that the intellectual attraction of the performance rested 
 with Mr. Wigan, who in the course of it indicated " some powers 
 as an actor of which he is, perhaps, not generally suspected." At 
 the same theatre, during 1845-6-7, Mr. Wigan produced various 
 farces from his own pen—' Luck's AH,' ' A Model of a Wife,' 
 '.^5°° Reward,' &c., in which he also acted. In the latter year 
 he accepted an engagement at the Haymarket Theatre, under 
 Mr. Benjamin Webster's management, "opening" there Saturday, 
 October 4, as Sir Benjamin Backbite in a revival of ' The School 
 for Scandal.' During the time he was at the Haymarket he played 
 the following among other important characters, viz. Osborne, first 
 performance of Westland Marston's drama ' The Heart and the 
 World' (October 20, \?,i,-]), Hector MauUon, first performance of 
 'The Roused Lion' (November 15, 1847), Dudley Smoothin^yiones^ 
 (revival), Goldfinch in ' The Road to Ruin ' (revival), and Tattle in 
 
WIG AN, ALFRED SIDNEY. 425 
 
 'Love for Love' (revival). On Wednesday, July 12, 1848, at the 
 Olympic Theatre, in a musical drama entitled ' Monsieur Jacques,' 
 he played the hero. His presentment of the character " was touch- 
 ing, true, characteristic, minutely finished in its specialities, and in 
 its more general quaUties appealing to those sources of sympathy 
 which make the whole world kin." The same month he produced one 
 of his own farces, ' Law for Ladies,' at the same theatre. The same 
 and following year (1848-9) he acted with Mr. and Mrs. Charles 
 Kean in Shakespearian and other revivals at the Haymarket Theatre, 
 viz. The Clown in 'Twelfth Night,' Bassanio in 'The Merchant 
 of Venice,' Tom Purple in Douglas Jerrold's play of ' The House- 
 keeper,' one of the Witches (in conjunction with Mr. Buckstone 
 and Mr. Tilbury) in ' Macbeth.' In October 1849, at the Princess's 
 Theatre, he acted Dufard in ' The First Night,' adapted from 
 the French piece ' Le Pfere de la Debutante.' In a criticism of 
 this performance the Athenceum (November 3, 1849) said : — " Mr. 
 Wigan's personation has sufficient originality, refinement, and 
 heartiness to challenge any version of this character, past, present, 
 or to come. It is highly finished without finicality, instinct with 
 feeling (as every humorous personation should be) without sickli- 
 ness, conversational without meagreness or frivolity, and excellently 
 droll without grimace. He gives us, in short, a character, not an 
 actor ; and this performance, with all who think as we do of stage 
 personation, will establish the claim of the artist who presents it to 
 a place in the foremost rank of comedians." 
 
 In 1850 Mr. A. Wigan produced at the Olympic Theatre a farce 
 from his pen, entitled ' A Dead Take-in.' The same year he be- 
 came a member of the Princess's Theatre company, under the 
 Kean-Keeley management, and " opened " there on Saturday, Sep- 
 tember 28, as Tom Rawlings in ' Platonic Attachments,' with Mr. 
 and Mrs. Keeley in the cast. On the following Monday he appeared 
 as Osric in ' Hamlet,' with Mr. Charles Kean as the Prince of 
 Denmark. In Febraary 185 1 he acted the part of Orlando in 
 ' As You Like It,' with remarkable success ; and on June 4 of the 
 same year the Due de Richelieu, first performance of Mr. Slous's 
 drama 'The Duke's Wager,' founded on M. Dumas' piece ' Mdlle. 
 De Belle Isle.'- On Monday, February 9, 1852, Mr. Wigan sustained 
 the character of Faulconbridge in Mr. Charles Kean's grand 
 revival of Shakespeare's ' King John.' " Faulconbridge, the bluff, 
 straightforward, 'physical-force' man, not over scrupulous as to 
 peccadilloes, but endowed with a native horror of crime, and faith- 
 ful to the death when he has once given his allegiance, was played 
 in the best spirit by Mr. Alfred Wigan, who readily entered into the 
 humour of the part, and most aptly caught up that tone of sudden 
 defiance which bespeaks the readiness to follow up a word with a 
 blow." {Times, February 10, 1852.) On Tuesday, February 24, 
 1852, 'The Corsican Brothers' (adapted from the French ' Les 
 Frferes Corses ') was performed at the Princess's Theatre — Mr. 
 Charles Kean was Louis dei Franchi, and Mr. A. Wigan sustained 
 the part of De Chateau Renaud. On Saturday, March 6 of the 
 same year, he played Richard Hazard, first performance of Tom 
 
426 THE DRAMA TIC LIST. 
 
 Taylor's comedy ' Our Clerks ' ; and in May, Paul Raimbaut, on 
 the occasion of the first performance of ' A Lucky Friday.' This 
 last-named character was afterwards performed " by command," at 
 Windsor Castle, and was considered one of the most perfect of 
 Mr. A. Wigan's earlier assumptions. In a revival of ' The Merry 
 Wives of Windsor,' at the Adelphi Theatre, on Wednesday, May 
 1 8, 1853, Mr. Wigan undertook the part olDr. Cuius; and in June 
 of the same year, at the same theatre, he acted the character of 
 M. Dixiner, first performance of Mr. Boucicault's play ' Gdndvifeve ; 
 or, the Reign of Terror.' 
 
 In the autumn of 1853, Mr. Wigan, who for many years previously 
 had been quietly and steadily advancing in the public esteem, as a 
 careful and conscientious actor, entered upon the management of 
 the Olympic Theatre. On Monday, October 17, 1853, he "opened" 
 there with an extravaganza by Mr. J. R. Planchd, entitled ' The 
 Camp,' and a play written by Mr. Tom Taylor, in conjunction with 
 Mr. John Lang, entitled ' Plot and Passion,' in which Mr. Wigan acted 
 the leading r^/^. On Monday, May 14, 1855, 'Still Waters Run 
 Deep' was first performed at the same theatre, Mr. Wigan taking 
 the part of John Mildmay, afterwards one of his most excellent 
 impersonations. Said the Times (May 16, 1855) ; "The acting of 
 Mr. Wigan as John Mildmay exactly corresponds with Mr. Tom 
 Taylor's dialogue, in which everything like common-place exaggera- 
 tion is shunned, and the language is made to approximate as much 
 as possible to that of real life. He does not aim at a violent con- 
 trast between the supposed dolt and the man of proved intellect, 
 but he allows the impression of superiority to be gradually conveyed, 
 and make his audience feel that he has a right to the position he 
 acquires at the end. Seldom do we see acting so rigidly truthful." 
 
 In 1857, in the very midst of popularity and prosperity, Mr. A. 
 Wigan announced his intention of taking leave of the public on 
 account of the delicate state of his health. It was stated in the 
 journals of the day that he had realized a fortune of 10,000/. by his 
 management of the Olympic ; but this is an error. His share of 
 the profits was large, but did not amount to this sum. 
 
 Mr. Wigan retired for some time from any active part in theatrical 
 matters; but on Monday, February 23, 1859, reappeared on the 
 London boards at the New Adelphi Theatre. Professor Morley 
 {Journal of a Playgoer) notices the event as follows : — " March 5, 
 1859. — The theatrical event of the past week has been the return to 
 the London stage of Mr. Alfied Wigan, who appeared with Mrs. 
 Wigan for the first time on Monday evening at this theatre [the 
 Adelphi] in one of his best characters, that of John Mildmay in 
 ' Still Waters Run Deep.' Mrs. Wigan, who supported him most 
 admirably in the part of Mrs. Hector Sternhold, was visibly affected 
 by the cordiality of the welcome showered down upon her husband 
 when the curtain rose. There was more in the plaudits of the 
 public than expression of a selfish pleasure at the recovery of one of 
 its best entertainers. It meant a true sympathy well founded upon 
 personal respect and genuine congratulation." He continued to 
 appear at the Adelphi in various pieces—' Paper Wings,' ' It's an 
 
WIG AN, ALFRED SIDNEY. 427 
 
 III Wind that Blows Nobody Good,' &c., until the latter part of the 
 same year, when he undertook the management of the St. James's 
 Theatre for a brief season, producing there, in April, ' A Scrap of 
 Paper,' adapted from the French ' Les Pattes de Mouche.' In 1863 
 (May 16), at the Haymarket Theatre, he sustained the part of Dr. 
 Bertrand, in a play by Lady Dufferin, entitled ' Finesse ; or, Spy 
 and Counterspy.' In 1864, in conjunction with his wife, Mr. A. 
 Wigan gave a series of dramatic readings in London. In 1867, at 
 » the opening of the new Queen's Theatre, Long Acre, on Thursday, 
 October 24, he acted the part of Captain Raynal in Charles Reade's 
 drama entitled 'The Double Marriage.' The following year 
 (1868), on the occasion of the opening of the Gaiety Theatre, 
 Monday, December 21, he played Adolphe Chavillard in a piece 
 entitled ' On the Cards,' an adaptation of MM. D'Ennery and Bresil's 
 five-act drame entitled ' L'Escamoteur,' brought out in i860, and 
 of which a version was presented at the Adelphi soon afterwards, 
 bearing the appellation of ' Magloire, the Prestidigitator.' The 
 prominent merit of the piece, according to the Daily Telegraph 
 (December 24, 1868), was to be found in the opportunity it afforded 
 Mr. Alfred Wigan of delineating one of those delightful old French- 
 men who stir the sympathies sometimes by the depth of their 
 emotion, and sometimes by the grotesque form of its expression. 
 "Those who have cherished pleasant memories oi Achille Talma 
 Dufard, the fond father who forces his daughter on to the stage in 
 spite of obstacles that seemed insurmountable, will give a cordial 
 welcome to Adolphe Chavillard, professor of legerdemain, who, at 
 first simulating parental affection, afterwards feels it as a reahty. 
 The foundation of this drama, as of so many others, is the circum- 
 stance of a wealthy baronet having brought up as his own child the 
 offspring of a poor woman who died soon after giving birth to a 
 girl. The particulars of the story, related on the stage with suffi- 
 cient minuteness of detail, we need here only refer to as being 
 associated with the most kindly motives on the part of the baronet. 
 An unscrupulous cousin, who seeks to repair his damaged fortune 
 by a marriage with the supposed wealthy heiress, possesses himself 
 of the secret by the somewhat clumsy mode of overhearing the 
 baronet reveal this mysterious passage of the family history. The 
 young lady, who for the last eighteen years has passed as Florence 
 Ethelward, Sir Gilbert's daughter, is thus known to have a father 
 named Sir Charles Marjolaine ; and the crafty Guy Chilstone, 
 whose attentions are far from being favourably received, takes 
 advantage of the pecuniary needs of a conjurer, who is engaged at 
 the baronet's mansion for an hour's entertainment, to bribe him to 
 personate the long-lost parent. 
 
 " The temptation of the money is too strong to be resisted ; and 
 Adolphe Chavillard consents, receiving for his assistance a cheque 
 for 50/., altered by Guy Chilstone so as to represent 150/., and 
 hurriedly endorsed by the conjurer with a signature which makes 
 him amenable to a charge of forgery. The sinister cousin thus 
 believes he has the conjurer in his power, and with this advantage 
 proceeds to renew his persecution of Florence, when she has been 
 
428 THE DRAMA TIC LIST. 
 
 taken to a new home ; but in a box, conveyed to her from Sir 
 Gilbert's apartment, she finds a letter from her mother which 
 explains her assumed name, and reveals the identity of Adolphe 
 with her real father. In the last act the cunning Mr. Chilstone 
 discovers that he has overreached himself ; Sir Gilbert, by a private 
 mark upon the cheque, is enabled to trace the falsification of the 
 amount to the baffled rogue ; Adolphe is cleared of all suspicion ; 
 and Florence, now made happy with a lover worthy of her, is left 
 to retain the affection of the old Frenchman, her father, with the , 
 addition, as we are left to suppose, of the large fortune she would 
 have inherited as the supposed daughter of the baronet. The 
 strength of the drama lies in the second act, where a powerful 
 situation occurs. The old conjurer has been proprietor of a 
 traveUing circus in his better days, and has only turned to leger- 
 demain as a means of livelihood when no longer able to pursue 
 his profession as an equestrian. When he finds the intentions of 
 Chilstone are dishonourable, and that he has unconsciously been 
 called upon to aid in the abduction of his own daughter, he 
 contrives to foil the scheme of the villain by bringing into re- 
 quisition some of his early experiences. A dexterous twist of the 
 arm prevents Chilstone from moving, whilst Florence makes her 
 escape at the door, which is then locked on the outside ; and 
 Adolphe, darting through the open window on to a scaffold, in 
 the fashion of a trapezist, drops safely to the ground, whilst the 
 baffled scoundrel is left in the conjurer's lodgings to liberate him- 
 self as he best may. 
 
 " Throughout the drama Mr. Wigan displayed that perfect 
 mastery of his art which always renders his acting so wonder- 
 fully real and so thoroughly enjoyable. The most powerful effects 
 are produced without any visible effort, and whether the tribute to 
 his talent be a laugh or a tear, it is always yielded as spontaneously 
 as it seems to be exacted unconsciously. To see Mr. Wigan in an 
 impersonation of this kind is to be made aware of the resources at 
 the command of a performer who has taken nature for his model, 
 and acquired the skill of faithfully reproducing every shade of 
 expression." 
 
 In October 1869, at the same theatre, Mr. Wigan sustained the 
 part qS. Bertrand Alvimar, first performance of ' A Life Chase,' an 
 adaptation from the French play by M. Belot entitled ' Le Drame 
 de la Rue de la Paix,' which was produced at the Od^on Theatre, 
 Paris, in November 1868. Mr. Alfred Wigan played the part of 
 £erirand wit\i powerful effect. In 1872 Mr. Alfred Wigan finally 
 retired from the stage. A fareweU performance for the benefit of 
 himself and his wife, in which both took part, was given at Drury 
 Lane Theatre on July 6 of that year. 
 
INDEX, 
 
 Addison, Carlotla, i 
 
 Fanny, 2 
 
 Amalia, Miss, 3 
 Anderson, J. R., 3 
 Andrews, A. G., 8 
 Anson, G. W., 8 
 
 J. W, 9 
 
 Appleby, T. B., 10 
 Arden, F., 11 
 
 J., 12 
 
 Ashford, C, 12 
 Ashley, H. J., 13 
 Aubrey, Kate, 13 
 
 Balfour, T., 15 
 Bancroft, Mrs., 15 
 
 S. B., 25 
 
 Bandmann, D. E., 27 
 
 Mrs., 32 
 
 Barnes, J. H., 33 
 Barrett, Mrs. Wilson, 1 70 
 
 Wilson, 34 
 
 Barrington, R., 34 
 Barry, Helen, 34 
 
 S., 35 
 
 Bateman, Isabella, 36 
 
 Kate, 37 
 
 Virginia, 152 
 
 Beaumont, A., 42 
 Belford, W. R., 42 
 Bell, P., 42 
 Bellew, H. K., 43 
 Bentley, W., 43 
 Bemard-Beere, Mrs., 44 
 Beveridge, J., 44 
 Billington, J., 45 
 
 Mrs., 46 
 
 Bishop, Kate, 47 
 Blandford, P., 47 
 Boleyn, R. S., 47 
 Bond, Jessie, 48 
 Boucicault, D., 50 
 
 Boucicault, Mrs., 48 
 Brennan, Maggie, 5o 
 
 Maude, 60 
 
 Bromley, Nellie, 60 
 Brough, Fanny, 61 
 
 Lionel, 5i 
 
 Brougham, J., 63 
 Bruce, Edgar, 65 
 
 Edith, 66 
 
 Buckstone, J. B., 66 
 
 J. C, 72 
 
 Lucy, 72 
 
 Bufton, Eleanor, 73 
 Burnette, Amy, 74 
 BurviUe, Alice, 74 
 Byron, H. J., 75 
 
 Calhaem, S., 79 
 Cameron, Violet, 81 
 Carter-Edwards, J., 81 
 Carton, R. C, 82 
 Cathcart, Maud, 83 
 
 Rowley, 83 
 
 Cavendish, Ada, 83 
 Cecil, A., 85 
 Celeste, Madame, 87 
 Challis, Edith, 93 
 Chambers, Emma, 93 
 Chippendale, W. H., 94 
 
 Mrs., 96 
 
 Clarke, J. S., 96 
 Clayton, J., loi 
 Clements, F., 104 
 Clifford, E., 105 
 Clifton, F., 105 
 Coghlan, C. F., 106 
 
 Rose, 107 
 
 Collette, C, 108 
 Compton, E., 108 
 
 Kate, no 
 
 Conquest, G., 110 
 G., jun., 1 10 
 
430 
 
 INDEX. 
 
 Conway, H. B., no 
 Cooper, F., iii 
 
 H., Ill 
 
 - — T. C, III 
 Coveney, Harriet, 1I3 
 Crauford, J. R., 113 
 Creswick, W., 115 
 
 DiETZ, Linda, iig 
 Dillon, C, 119 
 Dolaro, Selina, 125 
 Drummond, Dolores, 126 
 Dyas, Ada, 126 
 
 Edgar, E. F., 127 
 Egan, Rose, 127 
 Eldred, J., 127 
 Emery, S. A., 128 
 Ernstone, Mis?, 129 
 Everard, Miss, 130 
 Everill, F. A., 130 
 
 Farren, Ellen, 132 
 
 W., 132 
 
 ■ Faucit, Helen, I 33_ 
 Fernandez, J., 142 
 Fisher, D. (the Elder), 143 
 
 (the Younger), 145 
 
 W. H., 146 
 
 Fitzwilliam, Miss K. H., 146 
 Foote, Lydia, 149 
 Forbes-Robertson, J., 150 
 Forrester, H., 151 
 Fowler, Emily, 152 
 Francis, Virginia, 152 
 
 Gainsborough, Monta, 153 
 Garden, E. W., 153 
 Garner, A., 154 
 Garthorne, C. W., 155 
 George, E. J., 156 
 Gibson, J. R., 156 
 Giddens, G., 157 
 Glenney, C, 157 
 Glover, A., 157 
 Glyn, Isabel, 158 
 Goodall, Isabella, l6l 
 Gordon, G. L., i6i 
 Grahame, Miss C, 161 
 
 J. G., 162 
 
 Grossmith, G., 162 
 Groves, C, 163 
 
 Hamilton, H., 164 
 Harcourt, C., 164 
 
 Hare, J., 164 
 Harris, A., 168 
 
 Maria, 169 
 
 Harvey, F., i6g 
 Haynes, T. P., 170 
 Hay well, F., 170 
 Heath, Caroline, 170 
 Henri, Blanche, 173 
 Heraud, Edith, 174 
 Herbert, Louisa, 176 
 
 W., 178 
 
 Hertz, Ida, 179 
 Hibbert, Louise, 179 
 Hill, Caroline, 180 
 Hodson, Henrietta, 180 
 
 Kate, l8l 
 
 Holme, Myra, 181 
 Holt, C, 182 
 Honey, G., 183 
 Howe, H., 185 
 Howson, Emma, 188 
 
 J-, 189 
 
 Hudspeth, Hemietta, 190 
 
 Illington, Marie, 191 
 Ingram, Alice, 191 
 Irish, F. W., 192 
 Irving, Henry, 192 
 Irwin, Kathleen, 208 
 
 James, D., 209 
 Jecks, Clara, 210 
 Jefferson, J., 2H 
 Johnson, S., 214 
 Johnston, J., 215 
 Josephs, Fanny, 216 
 
 Kean, Mrs. C, 217 
 Keeley, Mrs., 225 
 Kelly, C, 229 
 Kemble, Francis, 231 
 
 H., 234 
 
 Kendal, Mrs, W. H., 235 
 
 W. H., 238 
 
 Kenney, Rosa, 240 
 King, T. C, 240 
 
 Lacy, W., 242 
 Larkin, Sophie, 243 
 Laverne, Pattie, 243 
 Lawler, Kate, 245 
 Leathes, E., 245 
 Leclercq, Carlotta, 245 
 
 Rose, 247 
 
 Leighton, Margaret, 249 
 
J^\U£.Ji.. 
 
 431 
 
 Le Thi^re, Roma, 250 
 Litton, Marie, 251 
 Loseby, Constance, 251 
 Lyle, A., 252 
 Lyons, E. D,, 252 
 R. C, 252 
 
 Macintosh, W., 254 
 Macklin, F. H., 254 
 Maclean, J,, 255 
 Maisey, Elise, 255 
 Marius, C, 256 
 Markby, R. B., 256 
 Marriott, Alice, 257 
 Marshall, F., 257 
 Marston, H., 258 
 Massey, Rose, 259 
 Mathews, Mrs. C, 260 
 Mead, T., 260 
 Mellon, Mrs. A., 261 
 Mervin, F., 264 
 Meyrick, Ellen, 264 
 Moodie, Louise, 264 
 Morgan, W., 267 
 Munroe, Kate, 267 
 Murray, Alma, 267 
 
 D., 268 
 
 G., 268 
 
 Mrs. G., 269 
 
 Mrs. Leigh, 269 
 
 Neilson, Lilian, 271 
 Neville, Henry, 275 
 Norton, F., 276 
 
 Pateman, Isabella, 277 
 
 R., 278 
 
 Pattison, Kate, 278 
 Paulton, H., 278 
 Pauncefort, Miss, 279 
 Phillips, Kate, 279 
 Pinero, A. W., 279 
 Pitt, H. M., 280 
 Power, C, 280 
 G., 281 
 
 Rayne, L., 282 
 Redmund, W., 282 
 Reed, Mrs. G., 282 
 Reeve, W., 284 
 Richards, Cicely, 285 
 Righton, E., 285 
 Rignold, G., 286 
 
 Susan, 287 
 
 W., 287 
 
 Robson, E., 288 
 Rorke, Mary, 288 
 Roselle, Amy, 288 
 
 Julia, 289 
 
 Rousby, W., 289 
 Royce, E., 290 
 Russell, H., 291 
 Ryder, J., 291 
 
 Sanger, Rachel, 295 
 Santley, Kate, 295 
 Saunders, Charlotte, 296 
 Saville, Eliza, 297 
 
 Kate, 298 
 
 Scott-Siddons, Mrs., 299 
 Sedgwick, Amy, 301 
 Shore, J. G., 305 
 Sinclair, H.,'3o6 
 Sothern, E. A., 306 
 
 L. E., 311 
 
 Soutar, R,, 312 
 Standing, H., 312 
 Stanhope, Adeline, 312 
 Stanley, Alma, 312 
 Stephens, Mrs., 313 
 
 W. H., 315 
 
 Stewart, Julia, 315 
 Stirling, A., 316 
 
 Mrs. A., 316 
 
 Mrs., 317 
 
 Fanny, 319 
 
 St. John, Florence, 320 
 Sugden, C, 321 
 Sullivan, B., 322 
 Swanborough, Ada, 326 
 Swinboume, T., 327 
 
 Taylor, Frederica, 329 
 
 J. G., 329 
 
 Tearle, O., 330 
 Teesdale, H. R., 330 
 Temple, R., 331 
 Terriss, W., 331 
 Terry, Edward, 332 
 
 Ellen, 333 
 
 Florence, 347 
 
 Kate, 339 
 
 Marion, 346 
 
 Thompson, Lydia, 347 
 Thome, Emily, 348 
 
 Sarah, 348 
 
 T., 349 
 
 Titheradge, G. S., 350 
 Toole, J. L., 350 
 Tyars, F., 355 
 
432 
 
 INDEX. 
 
 Vandenhoff, C, 356 
 Vaughan, Kate, 357 
 Venne, Lottie, 357 
 Vezin, H., 357 
 
 Mrs., 362 
 
 Yokes, F., 366 
 
 F. M., 366 
 
 Jessie, 366 
 
 Rosina, 367 
 
 Victoria, 367 
 
 Vollaire, J., 367 
 
 Wadman, Miss, 368 
 Wallis, Ellen, 368 
 Ward, Genevieve, 368 
 Warden, J. F., 370 
 
 Mrs., 370 
 
 Warner, C, 371 
 Waiten, A. H., 373 
 Webster, B., 374 
 Wenman, T. E., 381 
 Westland, H., 381 
 Wigan, H., 382 
 — — Mrs. A., 383 
 
 Willes, Louise, 384 
 Wood, Mrs. John, 384 
 Wyndham, C, 386 
 
 Young, Sophie, 387 
 
 APPENDIX. 
 
 Beatrice, Mdlle., 388 
 
 Clarke, John, 390 
 
 Falconer, E., 392 
 Fechter, C, 395 
 
 Kemble, Adelaide, 402 
 
 Mathews, C. J., 405 
 
 Parry, John, 410 
 Paul, Mrs. H., 414 
 Phelps, S., 414 
 
 Rousby, Mrs., 421 
 
 Wigan, A. G., 423 
 
 London: printed by William clowes and sons, stamfoed stbeei- 
 
 AND CHABING CROSS. ■'"KU SI REBT