ornia tal y mm # isop in ' An Unecpual Match,' and lastly, Count Orloff'vo. the English version of M. Victorien Sardou's play of ' Dora,' entitled ' Diplo- macy,' performed in London for the first time January 12, 1878. " Some time ago, when writing of the performance of ' Dora ' in Paris, we expressed a doubt whether ade- quate interpreters could be found for 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 Vaude- ville in Paris. . . . Mr. Bancroft's performance in this scene as Coimt Or/of (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 in- dicating rather than expressing a passionate emotion, and in Mr. Ban- croft's rendering of it we can find no fault." — Saturday Rcviezu, Jan. 19, 1S78. BANDMANN, D. E. "In tlie first of the great scenes, the acting of Mr. Bancroft, Mr. Kendal, and Mr. Clayton, respectively impersonating the friend, the hus- band, and the brother, could not well be bettered. The situation is in itself very striking, and presented as it is by these three gentleman, 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 lan- guidly decorous fashion. . . Mr. Ban- croft, too, in a situation of considerable difficulty, requiring great delicacy of handling, bore hims-lf in a most ad- mirable manner." — Times, Jan. 21, 1878. Mr. Bancroft, it may be re- marked, has devoted much time and energy at the Prince of Wales's Theatre to what may be not unfitly termed the art of stage manage- ment. BANDMANN, DANIEL EDWARD. Born at Cassel, Ger- many. Entered the dramatic pro- fession at the age of 18, and made his professional debut at the Court Theatre of New Strelitz. He afterwards performed in various towns of Germany and Prussia, and in Vienna, and acquired con- siderable reputation as an actor in Shakespearian drama. Sub- sequently, going to the United States, Mr. Bandmann acted first in English at Niblo's Garden, New York, January 15, 1863. He made his first appearance on the British stage at the Lyceum Theatre, Monday, February 17, 1868, in a play called k 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 titlerSle, "On Monday night this theatre (the Lyceum) was crowded to an ex- traordinary 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, com- menced his professional career by a tour through Bohemia, Austria, and Hungary, and then crossing to Ame- rica came out at the Stadt-theater, New York, a house in the Bowery exclusively appropriated to German performances. So great was his suc- cess, that he was advised to study the English language. The counsel was followed, and its soundness was proved by a successful performance in Eng- lish 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 American, have been achieved. The hint for this piece was taken by the author, Dr. Brach Vogel, from the remarkable dialogue entitled ' Rameau's Neffe,' which was pub- lished 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-trmslation from ( roethe's German into French, by M. de Saur, published in 1821, first rendered the dialogue accessible to the Erench public, and was for a time regarded as the genuine production of Diderot. However, shortly after- wards the real original, taken from a 22 THE DRAMATIC LIST copy in the possession of the only surviving daughter of Diderot, was published in the collected works of the atheistical philosopher, edited by Briere. ... In the elaborate book on the life and works of Diderot, written by Dr. Karl 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 reper- tory. 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 persona are neither strongly marked, nor are they of a kind that greatly appeals to British sympathies, inasmuch as these generally lie dor- mant 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 re-written the whole, from beginning to end, did we not take into consideration the im- mense trouble that would have been encountered by Herr Bandmann had he been subjected, after performing the piece for hundreds 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 make a display would choose to represent ; for, strange to say, he 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 him- self 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 ghb 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 lea' Is 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 Marquise, when Nar- cisse 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 surpassed. In this situa- tion 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 com- mand 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 pronun- ciation apparently indicating the in- fluence of his visit to America rather than that of his birth in Fatherland." — limes, Feb. 21, 1 868. On Saturday, October 3, 1868, first performance at the Lyceum Theatre of ' The Rightful Heir ' (Lord Lytton), Mr. Bandmann BAND MANN, D. E. 23 sustained the character of Vyvyan. On the 30th of November of the same year at the Lyceum he played Othello. Since that date Mr. B indmann has appeared from time to time in London in various revivals of plays of the legitimate drama. On Monday, February 10, 1873, he made his third appearance as Hamlet in England at the Prin- cess's theatre, having already per- formed the character in Man- chester, and at the Standard Theatre, Bishopsgate. " So far as Mr. Bandmann's pre- sentation of Hamlet has any interest, it is an embodiment of the views of the character prevalent among Ger- man actors. The value of the ex- position is greatly diminished by want of grace and refinement. Mr. Band- mann 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 sentimentality. No touch of the irony, pathetic, and savage in turns of Hamlet is found in the actor's performance. No sign is there, more- over, 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 Air. 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 hirn was as remote as that in the skull of Yorick lie had previously exhibited. Though the inadequacy of the acting detracted 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 con- sequence 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 in- flexion 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 ' business' of his own. This is wholly bad. His addressing to the picture of Claudius the strong words employed by Hamlet in his interview with the Queen has some ground of reason, but his sudden recoil and fall when the Ghost appears, and his de- livery 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 iNight,' — " ' But go not to my uncle's bed, Assume a virtue if you have it not,' &c, 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, how- ever, introduced. . . That the ex- periment 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."- — Athen&um, February 15. '873. " Mr. Bandmann's performance of I fain let at the Princess's does not add anything of value to our conception of the character of the Danish Prince. Mr. Bandmann is an accomplished and capable actor, practised in all the resources of his art in a thorough 24 THE DRAMA TIC LIST. manner, which is characteristic of his nation ; but he does 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 representation is care- ful, and shows conclusively that much thought has been expended upon it ; but the thought seems to have been turned rather towards matters of de- tail than towards the central idea, the result being a number of small inno- vations which, on consideration, ap- pear unmeaning and useless, when not absolutely detrimental to the true effect. This constant striving after novel readings and ' business ' is becoming a characteristic of our revivals of Shakespeare's plays. To speak a pas- sage 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 is 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 reference to the nature and inner feelings of the speaker. In re- storing some scenes usually omitted Mr. Bandmann shows, however, ex- cellent judgment. One of these in which Hamlet 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 affec- tionate disposition of the Prince — a criticism showing, we think, a want of acquaintance with peculiar develop- ments of such a character. The en- trance of Fontinbras 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. Prom 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." — Examiner, February 23, 1873. BANDMANN, MRS. {nee Millicent Palmer.) Was an actress of some repute at the Liverpool Theatre Royal, pre- vious to her first appearance on the London stage, which took place November 7, 1864, at the Strand Theatre. She played on the occasion the part of Pauline in a piece entitled ' Delicate Ground.' Miss Palmer remained a member of the ' Strand ' com- pany 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 the new piece appears to have been 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 pos- sesses also a fund of pathos so genuine in character, so unstudied, yet so effective, that it commands voluntary sympathy from all classes of specta- tors. The situation devised lor her is of the simplest sort, scarcely sufficient BARRY, HELEX. 25 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 j and in a more elaborately constructed drama will rise into an estimation with which few will be able to compete." — Athenaum, Jan. 14, 1S65. In October 1S66 Miss Palmer played the leading female role in Tom Taylor's drama, ' The White Boy,' then first performed at the Olympic Theatre. Since her mar- riage to Mr. Bandmann she has appeared in the several plays pro- duced on the London stage in which he has acted a principal character (see BANDMANN, Daniel Edward), the latest of these being 'Proof; or, a Cele- brated Case,' first performed at the Adelphi Theatre, Saturday, April 20, 1878. BARRETT, MRS. WILSON. See Heath, Caroline. B A R R Y, H E L E N. (MRS. Alexander Rolls.) Born in Kent. Entered the dramatic pro- fession in August 1872, appearing at Covent Garden Theatre as the Princess Fortinbrasse in ' Babil and Bijou.' In 1872-3 at the Court Theatre personated a lead- ing character in Gilbert's play entitled 'The Happy Land.' In 1873 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. Sub- sequently, October 1873, sustained the same character at the Globe Theatre in London. "Miss II. Barry has all the force required by the arduous character of Margaret, and she expresses the ten- derer emotions with good effect, and her even passages are delivered with judgment." — Tunes, October 8,1873. In December of the year follow- ing Miss Barry was engaged by the late Andrew Halliday to per- sonate Edith Dombey in his play of ' Heart's Delight,' adapted from Charles Dickens's ' Dombey and Son.' " Xo better representative of Mrs. Dombey than Miss Helen Barry could now be found upon our London stage. Miss Barry's indignant defiance of Mr. Dombey has force and thought ; her colder, more contemptuous defiance of Carker at the inn of Dijon is some- what less effective, though here, too, the right note is undoubtedly struck." — Academy, January 3, 1874. "Miss Helen Barry's performance often rises to a high level. . The scene in which she allows Carker to kiss her hand while indicating the utmost loathing for the man is a very power- ful piece of acting." — Daily News, December 20, 1873. Was specially engaged by Mr. Boucicault to play Armande in his play of ' Led Astray ' on its production at the Gaiety Theatre, July ;, 1874. Afterwards went on a " starring" tour in the provinces, and returning to London was engaged to play the leading part in ' Round the World in 80 days' at the Princess's Theatre. Subse- quently, June 1875, at the same the- atre sustained the leading role in Mortimer's play entitled ' Hearts- ease.' In 1876 she appeared in London at the Haymarket in the title role in ' L'Etrangere,' and afterwards at the Standard The- atre 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.: THE DRAMATIC LIST. Lady Macbeth (at the Theatre Royal, Edinburgh), Lady Teazle (at the same theatre), Lady Gay Spanker (at Plymouth, Brighton Theatres, &c), and Mrs. Suther- land in Cheltnam's comedy ' A Lesson in Love' (at Aberdeen). Miss Helen Barry is married to Major Alexander Rolls, formerly of the 4th Dragoon Guards, J. P. and D.L. for Monmouthshire. BARRY, SHIEL, Made his first appearance on the metro- politan stage September 7, 1870, at the Princess's Theatre, as the Doctor in Boucicault's drama en- titled ' The Rapparee.' First at- tracted notice in London as an exponent of Irish character, his principal successes being in Bou- cicault's plays ' Arrah-na-Pogue ' and the ' Shaughraun.' In the latter drama Mr. Shiel Barry ap- peared on the occasion of its first performance in London at Drury Lane Theatre, Saturday, Septem- ber 4, 1875, as Harvey Duff, a police spy. In February 1878, at the Folly Theatre, he acted the part of Gaspard, first performance of Messrs. H. B. Farnie's and R. Reece's English adaptation of M. Planquette's opera comique, ' Les Cloches de Corneville.' The piece proved a great success. On Saturday, August 31, it was trans- ferred to the stage of the Globe Theatre, the services of Mr. Shiel Barry being still retained for the principal character. " So exceptionally encouraging was the reception which awaited it in its new abode that it would seem in a fair way to rival in popularity the original version, which has already achieved in Paris a success as remark- able 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 con- tributed 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 at- tention 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 be- longs to the very highest order of eccentric comedy, and the manage- ment have again been so fortunate as to secure that gentleman's services for the part." — Daily Neius, Sept. 3, 1878. BATEMAN, ISABELLA. Born in New York. 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, appeared at Her Majesty's Theatre, in a piece en- titled ' Little Daisy,' in the cha- racter of Diggory Dawdlegrace, her sister, Miss Virginia Bateman, playing the part of Little Daisy. Made her professional debut at the Lyceum Theatre on Monday, Sept. 11, 1871, as the heroine iji ' Fanchette ; or, the Will o' the Wisp.' " We fear that 'Fanchette' is not likely to secure a very long lease of public favour ; the plot is thin and weak ; the actors have but little to do during a tedious course of four acts, and there is nothing in the play to arouse an audience to sympathy with the characters, or to a great de- gree of interest in their fortunes and misfortunes. The piece has probably been introduced to afford Miss Isabel Bateman an opportunity of making her debut on the London stage ; but as Fanchette she is certainly not seen to advantage. Miss Bateman fails to realise in almost every particular the charming heroine of George Sand's BATE MAN, ISABELLA. V novel; and though with practice she may probably improve upon her con- ception of the character, we are dis- posed to believe that it is not in a part requiring so much versatility and power that this new aspirant for dra- matic honours will win a foremost place in the ranks. Her portrait of the wilful granddaughter of the witch Fadet (sic) is somewhat tame and spirit- less, and in those situations requiring a deep display of feeling, she appeared to lack the force and command of emotion necessary for the situation. It is fair to say, however, that Miss j Bateman showed to far greater ad- vantage in the last acts than in the first ; and if a heavy shower of bou- quets at the termination of the piece be any test of public recognition of talent, Miss Bateman has every reason to congratulate herself upon the suc- cess which she has achieved." — Daily Neios, September 12, 187 1. " A character less suited to a young actress whose talents are not of the highest order could not readily be 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 care- fully, youth, brightness, and intelli- gence constitute her gifts. Against these must be opposed a certain hard- ness, such as her sister never con- quered, and an unsympathetic voice. In the performance of Fanchelte, the later scenes, wherein the mischievous nature of the child was overcome, were decidedly the best. The early scenes were decidedly wanting in girl- ishness, ease, and spontaneity." — Athemcum, Sept. 16, 1871. 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 ' Charles the First.' "His (Mr. Irving's) partner in the most prominent scenes is Miss Isabel Bateman, who, albeit heavily weighted with the r&leoi Queen Henrietta Maria, acts with real ability, and carries all the sympathy of the audience with her. Her entry with the cavaliers at the close of the second act is accom- panied with admirable fire of voice and gesture, and in the pathetic scenes her emotion is never out of place. The prettiness of her French-English is one of the charms of this imper- sonation." — Daily News, October 1, 1872. In 1874 (October) revival of ' Hamlet ' at the same theatre, she played, during the unprece- dented run of that tragedy, with Mr. H. Irving in the principal character, the part of Ophelia. In 1876 (February) revival of ' Othello ' at the Lyceum, Miss Isabella Bateman sustained the character of Desdemona; and in June of the same year, on the occasion of a revival of ' The Belle's Stratagem ' the part of Lctitia Hardy. In June 1878 she sustained the part of Thekla, first performance of ' Vanderdecken ' (Messrs. Fitzgerald and \V. G. Wills), founded upon ' Der Flie- gende HoLander.' BATEMAN, KATE JOSE- PHINE. (Mrs. Crowe.) Born in Baltimore, October 7, 1843. Eldest daughter of the late H. L. Bateman, formerly of New York, and subsequently lessee of the Lyceum Theatre, London. 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. Bamum. During that engagement played in ' The Young Couple,' and also in selected scenes from Shake- speare's ' Richard III.' in conjunc- tion with her sister, Miss Ellen Bateman, the characters enacted being Richard III. and Richmond. 28 THE DRAMATIC LIST First appearance on the stage proper in London, Thursday, Oct. 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. "Miss Bateman, who has recently made her appearance at the Adelphi in an English version of Mosentnal's 4 Deborah,' entitled 'Leah,' furnishes a very exceptional instance of a juvenile histrionic talent developed into maturity. In theatrical matters, the proverb which teaches us that the child is father of the man is held to be not only unworthy of confidence, but so diametrically opposed to truth that celebrity in the child is an infallible prognostic of obscurity in the adult. Play Richard III. in your eleventh year, and, according to the laws established by a severe induction, you may make- up your mind that when you have attained the age of thirty you will scarcely be able to stride from the back of the stage to the front without committing some blunder. However, Miss Bateman, who several years ago was known here as one of a clever pair of American juveniles called the ' Bateman children,' affords one proof more that there is no rule without an exception ; for, in the character of Deborah, now named Leah, she sup- ports by her own exertions a drama which, left entirely to its unassisted merits, might weary many and offend a chosen few. Her speech is not altogether free from the Transatlantic accent, and the delivery of her more quiet speeches, clearly as they are articulated, is not without an appear- ance of studied formality. But her power of abandonment to the influence of a strong passion is very great, and having first made an impression on her audience by her picturesque aspect, she rivets their attention when they lea~t expect it by the intensity with which she expresses her emotions. Her poses, evidently the result of a somewhat 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 consomme of the Old Testament. On the con- trary, 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 impassioned, 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 re-appears in enfeebled condi- tion 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." — Saturday Review, Oct. 10, 1863. "The central point round which the interest of this story revolves is obviously Leah, and judged by the impression produced on the audience, the triumph of Miss Bateman was complete. With decided advantages of face and figure, a powerful voice, that only requires to be freed from an occasional Transatlantic tone, a per- fect command of gesture, and great emotional power, the heroine of the night completely swayed the sympa- thies of her audience, and, besides three successive calls during the pro- gress of the play, was led forth by Mr. Webster amidst tumultuous acclamations at the fall of the curtain. Her malediction at the end of the fourth act was given with terrible reality, and the growth of her yearn- ing love changing to bitter hate was shown with real dramatic skill. The impulsive yieldings of her heart in the first scenes, and its blank despair in the latter part of the play, were delineated with equal delicacy aad force ; and the outburst of feeling BATEMAN, KATE. 29 with which she clasps the child of Rudolf to her arms when she finds it bears her name, was electric in its influence on the audience.'" — Daily Telegraph, Oct. 2, 1863. '■It is with some degree of satis- faction that we find Miss Bateman has in riper years cultivated the art in which she was so early initiated, and in which she attained considerable proficiency. She has suffered, how- ever, from too early practice. Her voice, strained in infancy beyond its natural pitch, has acquired and settled into a stai e-monotone, which, al- though it may sufficiently mark the sense of the dialogue, deprives it of music, flexibility, and feeling." — Athenaum, Oct. 10, 1863. The play was a great suc- cess. Miss Bateman's first en- gagement at the Adelphi ter- minated Saturday, June II, 1S64. On Monday, January 30, 1865, at the same theatre, she played the partof Julia in' The Hunchback.' " We regard Miss Bateman's per- formance of Jutia as falling short of that high standard by which it is apparently the lady's laudable ambi- tion 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 requn be warmed by that glow of sympathy which is only felt when a strong belief is impressed in the reality of the emo- tions 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 rendering of passages in a manner which is entirely her own ; but taken m its entirety the performance lacked that individuality which endows with a fresh interest a familiar part. In the mechanism of acting Miss Bateman IS tin >roughly 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 move- ments 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 profes- sion which the actress has yet to pass. For this reason the first act of the play, where Julia is shown as a guile- less girl, happy in her rustic retire- ment, 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 influ- ences of an artificial life much more accurately. The interview with Clif- ford, 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 delivery 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 impassioned appeal is made to Master Walter to release her from the engage - to the Earl of Rochdale, was marked by more power than delicacy of treat- ment ; 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 her Leah, her most san- guine admirers would hardly dare to anticipate. It is a performance that illustrates the talents of a lady who has assiduously cultivated the means at her disposal, but it cannot be de- 3° THE DRAMATIC LIST. scribed 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." — Daily Tele- graph, Feb. i, 1865. In the same year, on Monday, May 8, Miss Bateman appeared as Bianca, in a revival of Mil- man's tragedy of ' Fazio,' likewise 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 cha- racter of Juliet (' Romeo and 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, how- ever, 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 Bate- man 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 liy 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 per- formed other characters 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 per- formance of this nature is beyond the pale of criticism ; it would be useless to praise it and ungracious to con- demn it. The 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 her former represen- tation of this character in America that her Romeo was Wilkes Booth, the assassin of President Lincoln." — Daily News, Dec. 23, 1865. " Miss Bateman's Leah was one of j those performances that everybody was expected to see, and night after night the Adelphi Theatre was filled with enthusiastic audiences, who ex- pressed their opinion of the young artist by vehement plaudits and by still more expressive tears. The power of commanding the sympathies of those who witnessed her was her i especial gift ; she awed the public with her wrath, subdued it with her grief, and a generation by no means addicted to the melting mood was surprised at the sensations forced upon it. The enthusiasm of the capital has been fully reflected in the country. Each of her two Adelphi engagements has been followed by a provincial tour, in the course of which the great theatrical towns of the three kingdoms have proved her vast powers of attraction. At some of these she played parts which she had not acted in London, namely, Lady Macbeth, and Pauline in ' Lady of Lyons.' It is very rarely that an English actor takes a benefit at Her Majesty's Theatre. There are not many who could fill so big a house, and the mere magnitude of the edifice would almost tell sarcastically against the attempts of those who essayed to fill it in vain. But Miss Bateman had not miscalculated her powers when she selected the old Haymarket Opera- house for her farewell benefit. Forsome BA TEMAN, KA TE. 3i time past the seats have been sold at fabulous prices, and on Friday night when the benefit took place, the road Was occupied by a string of carriages which must have reminded many an old habitue of the spectacle presented when some regnant prima donna ap- peared in a new operatic part. Every box was taken, every seat had its tenant, and the house could scarcely present a more brilliant spectacle than it did on Friday night. The play was ' Romeo and Juliet,' in which Miss Bateman acted Juliet for the first time in England. We need not now enter into a detailed description of her forcible delineation of the character, but may content ourselves with the statement that the balcony scene and the chamber scene called forth peals of enthusiasm." — Times, Dec. 25, 1865. " Miss Bateman no sooner entered on the scene as the youthful daughter of the house of Capulet than the loudest acclamations enforced a series of prolonged acknowledgments. From that periud till the close of the per- formance vehement plaudits were re- newed whenever the slightest oppor- tunity was afforded for the display of the exuberant enthusiasm of the audience. Of a personation sustained under such circumstances a severely critical estimate is not required Those acquainted with the previous performances of Miss Iiateman would readily surmise in which portion of the tragedy her talent was most effec- tively exhibited. It was not as the impulsive Italian maiden 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 Shakespeare has presented to the imagination is rarely realised on the stage. The balcony scene showed rather the statuesque effect of certain attitude- than the delicate tenderness of the love-inspired maiden who there nfesses the warmth of her affection. In the soliloquy of the fourth when the contents of the phial are drained amidst the shuddering antici- pation of the horrors of the charnel- house, the actress was much more successful ; and in portraying the ex- citement of frenzy and the desolation of despair Miss Bateman fairly justi- fied the warmth of the applause re- ceived. The last scene was very care- fully acted, and when the curtain fell on the form of Juliet prostrate over the body of her lover, the audience would not be appeased until both were resuscitated, and the Juliet was brought smilingly by Romeo before the curtain to receive the usual com- pliment in a more than ordinary emphatic form.'' — Daily Telegraph, Dec. 23, 1865. On Monday, October 19, 1868, she appeared as Leah, in a re- vival of that play at the Hay- market Theatre. December 7 of the same year, at the same theatre, she sustained the cha- racter of Pietra, in an adaptation of Dr. MosenthaPs tragedy of that name. At the Haymarket Theatre, June 21, 1869, first performance of Tom Taylor's play, ' Mary Warner,' Miss Bateman played the heroine, Mary Warner. "Miss Bateman's impersonation of Mary Warner, though less showy than her Leah, is, perhaps, the most finished performance with which she has 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 in- tense interest. The scene in the prison, when in a subdued tone she almosl 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 DRAMATIC LIST. The indignation felt by Mary at George's supposed contumely is mild in its intensity, and a resignation qualifies 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 of her rival, and with those additional touches that the change in the situation requires." — Tillies, June 24, 1 869. In the autumn of 1869 she ap- peared at Booth's Theatre, New York, as Leah, and in the follow- ing May (1870) reappeared on the London boards at the Olympic Theatre, as Mary Warner. In 1 87 1 she appeared in New York as Beatrice, in ' Much Ado about Nothing,' and again in London (May, i872)attheLyceumTheatre, in her favourite character of Leah. At the Lyceum Theatre, in July 1872, she played the part of Medea, in an adaptation of the ' Medea in Corinth,' by Mr. W. G. Wills. " The chief burden of the piece, however, is borne, and borne excel- lently well, by Miss Bateman. In her Medea, she greatly surpasses all her previous successes. In one or two scenes she is perhaps rather too vio- lent ; but the part is admirably suited to her powers, and her acting of nearly all of it is 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." — Examiner, July 13, 1872. In October 1873, in anew drama by Mr. Dubourg, entitled ' Bitter Fruit,' first performed at the Alex- andra Theatre, Liverpool, Miss Bateman played the leading female role. In September 1875, on a revival of Shakespeare's tragedy of ' Macbeth,' at the Lyceum Theatre (Mr. H. Irving as Mac- beth), she played the part of Lady Macbeth. " Miss Bateman's Lady is, as it ought to be, the exact reverse of Mr. Irving's Macbeth. The grand man- ner in which she invokes the spirits of evil before the entrance of the Thane that she may brace herself for the coming conflict will remind many readers of the incantation in Legouve's ' Medea.' From the preternatural to the natural she -bounds in the hearty greeting with which she welcomes her husband. Then begins the long de- bate, carried virtually through two acts, in which the victory of the stronger over the more feeble nature is distinctly shown at every point in the battle — a battle which, we repeat, is not the struggle of wickedness with goodness, but of courage with the feeble resistance of cowardice. The mental superiority of the lady is also made singularly conspicuous in the ghost scene, where her unfailing pre- sence of mind is strongly contrasted with the abject terror of Macbeth." — Times, October 2, 1875. In April 1876, first performance at the Lyceum Theatre of ' Queen Mary' (Tennyson) Miss Bateman sustained the title role. In Janu- ary 1877, in a revival of 'Fazio' (Milman), at the same theatre, she 1 layed Bianco.. BATEMAN, VIRGINIA FRANCES. See FRANCIS, VIR- GINIA. BEATRICE, MDLLE. (a?wm de theatre.) Made her debut 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 ' Mademoi- selle de Belle Isle.' In November 1864, she appeared at the same theatre in ' The Stranger.' "The new actress at this theatre has put her claims to the test of a BEATRICE, MDLLE. 33 second character, and has better satis- fied the public than in the first. Mdlle. Beatrice as Mrs. Hatter 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 extremely 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 appa- rently natural manner which conceals the skill by which the effect is secured. Mdlle. Beatrice prefers a happy cata- strophe, 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." — Atkenczum, Nov. 5, 1864. 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. In 1865, Monday, April 1 7, in a revival of Belphegor ' at the Lyceum Theatre (Mr. Fechter in the title role), Mdlle. Beatrice sus- tained the character of Madeleine. Since the last-mentioned year, Mdlle. Beatrice has appeared oftener at provincial theatres than on the London stage. In 1867 she appeared with very great suc- cess in the provinces in Mrs. Fanny Kemble's (Mrs. F. Butler) English version of Schiller's ' Mary Stuart.' In February 1869 she re-appeared on the London boards for a brief season as Marie Antoinette in the drama of that title by Mr. Palgrave Simpson ; but Mdlle. Beatrice has entered into no permanent engagements in the metropolis since her first connection with its stage. She has occupied herself principally in travelling in the provinces with a company of her own, appearing from time to time in London with that company in the summer season. 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 Satur- day, August 22, 1874, she opened the Haymarket Theatre for a brief period with her ' Comedy- Drama Company,' and produced '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 fits' ' Monsieur Alphonse,' under the title of ' Love and Honour ; or Monsieur Alphonse,'by Mr. Camp- bell Clarke, in which she sus- tained the part of Madame Gui- chard. 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 in the leading role in a melodrama entitled ' The Woman of the People,' which had been already performed by her com- pany with success in the pro- vinces. BELL, PERCY. Born at Peterborough, January 4, 1848. Entered the dramatic profession 1869, first appearing on the stage at the Theatre Royal, Weymouth. After fulfilling various engage- ments in the provinces (Leeds, Belfast, Scarborough, &c), in 1875 was engaged at the Theatre Royal, Edinburgh. Appeared at this theatre as Captain Thornton in a grand revival of ' Rob Roy,' and as Dick Evergreen in Charles Mathews's comedy ' My Awful D THE DRAMATIC LIST. Dad.' For his excellent perform- ance of this part Mr. Bell was recommended to the management of the Gaiety Theatre, London. Made his first appearance on the London stage at that theatre, April 17, 1876, in the above-named piece, with the late Mr. Charles M athevvs in the principal character. "Mr. Bell's representation is par- ticularly life-like and free from stage artifice." — Daily Nr.vs, April 18,1876. Was engaged by Mr. F. B. Chatterton for the season 1876-7, at Drury Lane Theatre, appearing in important parts in ' Richard III.,' 'Macbeth,' &c, with Barry Sullivan. In September 1877 again played the part of Dick Evergreen on tour with the late Mr. Charles Mathews, during which tour Mr. Bell acted as stage- manager. April 1878 was en- gaged at the Queen's Theatre, London. BENTLEY, WALTER (a nom de theatre). Born at Edin- burgh. Fourth son of the Reverend Dr. Begg, of that city. 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.' Subse- quently played at several colonial theatres all classes of parts. For a season, 1873-4, was lessee of the Prince of Wales's Theatre, Auck- land, New Zealand. Arrived in England October 1874, and in that month first appeared before a London audience, at the Royal Court Theatre, in the character of Stephen Tickle in Herman Merivale's ' Peacock's Holiday.' February 22nd, 1875, appeared at the Princess's Theatre, Edinburgh, as Alfred Evelyn in ' Money,' sustaining, also, during this and ensuing engagements in other Scotch towns, the following cha- racters, viz., Hamlet^ Macbeth, Richard III, Othello, I ago, Shy- lock, Claude Melnbtte, Richelieu, John Mildniay, &c. " On the whole, Mr. Bentley's is an intellectual and forcible impersona- tion of Hamlet. . . . The noble so- liloquies were delivered with great force and expression. ... It might be pronounced one of the best on the stage at present." — Scotsman, May 4, 1875- Mr. Bentley's first important London engagement was at the Lyceum Theatre, under Mrs. Bateman's management, where he made his debut as Noailles, the French Ambassador, in Ten- nyson's ' Queen Mary.' At the same theatre, subsequently, has sustained various leading parts in the several plays revived and pro- duced during Mr. Irving's engage- ment, notably, Laertes in ' Ham- let,' Lord Moray in ' Charles I.,' Christian in ' The Bells,' Clarence in 'Richard III.,' and Tristan EErmite in ' Louis XL' " Mr. Walter Bentley, by his ad- mirable rendering of Clarence's dream in (' Richard III.,') secured also an im- mediate recognition of his elocution- ary powers, and won honours in a position that a young actor might justly feel some pride in obtaining at an early stage of his career." — Daily Telegraph, January 31, 1877. BEVERIDGE, JAMES. Born in Dublin, Oct. 28, 1844. First appearance on any stage Aug. 31, 1 86 1, at the Theatre Royal, Old- ham. Studied the various lines of an actor's profession at the Thea- tres Royal, Newcastle-on-Tyne, Glasgow, Plymouth, Belfast, &c. Made his debut in London, Oct. 3, 1869, at the Adelphi Theatre, as BILLING TON, J. 35 Lord Alfred Colebrooke, in a drama written in collaboration by Messrs. Boucicault and Byron, entitled ' Lost at Sea.' At the same theatre played various parts, original and otherwise, during the season 1869-70. In the summer of 1870 Mr. Beveridge went on tour with Mr. H.J. Byron ; and, afterwards, owing to the death in a railway accident of Mr. Frederick Younge, filled the place of that gentleman in Mr. Richard Younge's company of comedians. This engagement continued for three years, during which time Mr. Beveridge sus- tained various leading characters in the comedies of Mr. T. W. Robertson in all the principal towns in the kingdom. In May 1873, at the Charing Cross Theatre, Mr. Beveridge was the original Claude Ripley, in a comedy of H.J. Byron's, entitled 'Time's Triumph.' He afterwards accepted an engagement at the Lyceum Theatre for two years, under the late H. L. Bateman's management. Since leaving the Lyceum Mr. Beveridge has ful- filled various metropolitan and provincial engagements. At the Queen's Theatre, Manchester, he has appeared as Marc Antony in a revival of ' Julius Caesar.' The autumn of 1878, he was en- gaged as stage-manager for Mr. Ranee's company of comedians, and to sustain the character of Beauclerc in ' Diplomacy.' BILLINGTON, JOHN. Born in 1830. Having earned in the provinces the reputation of being a painstaking actor, 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 1 Like and Unlike.' From that date down to the year 1868, a period of eleven years, Mr. Bil- lington remained a member of the company of the Adelphi Theatre, under Mr. Benjamin Webster's management. He appeared in nearly every play of importance originally performed at that theatre during the term of this long en- gagement. The following, among the various characters sustained by him, are deserving of record, viz. : Walter, nephew of Michael Cassidy, first performance of ' The Poor Strollers ' (Watts Phillips) on Monday, January 18, 1858 ; M. Dubois, first perform- ance of ' Ici on Parle Francais,' on Monday, May 9, 1859; Fre- derick IVardour, first perform- ance of ' The House or the Home ' (Tom Taylor), on Monday, May 16, 1859 ; Beaumont Fletcher, first performance of ' One Touch of Na- ture,' &c, on Saturday, August 6, 1859. On Monday, September 10, i860, first performance in London of ' The Colleen Bawn ' (Bouci- cault), he sustained the part of Hardress Cregan. First perform- ance of ' Magloire, the Prestigia- tor,' on Monday, April 1, 1 861, he performed the character Count D'Arcy ; and on Monday, No- vember 18, 1 86 1, 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 dramatised version of ' The Cricket on the Hearth,' en- titled 'Dot,' Mr. Billington per- formed the character of Ned Plum- mer. In March 1863, in a version of ' Aurora Floyd,' dramatised by Mr. Benjamin Webster, junr., he played John Mellish. '■'■John Mellish is realised by Mr. Billington in a style so effective that this eccentric individual becomes the legitimate hero of the drama. We D 2 36 THE DRAMA TIC LIST. use the word ' individual ' purposely : for the part is by the actor, and, in the intention of the adapter, indivi- dualised 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 pos- sesses the business habits in which he is deficient, is drawn with a fidelity to nature that does credit to the author and actor." — Athenaum, March 28, 1863. On Monday, January 30, 1865, in a revival of ' The Hunchback,' at the Adelphi (Miss Bateman as Julia), Mr. Billington played Modus. In July 1865, first per- formance of Walter Gordon's play 'Through Fire and Water,' Mr. Billington sustained the part of Kit Coventry. On Thursday, December 26, 1867, first perform- ance 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 Thea- tre terminated. Since that date he has principally devoted his time to playing " star" parts in the provinces, and leading roles in London. On Monday, October 9, 1 87 1, first performance at the Olympic Theatre of 'The Woman in White' (Wilkie Collins), Mr. Billington sustained the character of Sir Per civ al Glyde. January 31, 1874, at the Adelphi Theatre, London, in a drama by Mr. Paul Merritt, entitled ' Rough and Ready,' he played the part of the hero, Mark Musgrave. On Mon- day, July 19th, 1875, he entered upon the management of the Globe Theatre for a brief season and produced there the last-men- tioned play, sustaining the same character, and also appearing in his original character of Alfred Casby, 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 manage- ment, appearing there in the various plays and revivals of plays produced in the decade 1858-1868. In August 1859, sustained the part of Cynthia, in a revival of ' The Flowers of the Forest.' On Monday, September 10, i860, first performance in London of ' The Colleen Bawn,' played the cha- racter of Mrs. Cregan. On Saturday, March I, 1862, first performance at the Adelphi of 'The Life of an Actress,' by Mr. Boucicault, Mrs. Billington played the part of Julia; and in the same year appeared in the same author's dramatised version of 'The Cricket on the Hearth,' entitled 'Dot.' In 1863 (March) 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 Bianco) Mrs. Billing- ton sustained the part of Aldabella "with great force of style, that frequently extorted loud plaudits from the pit." On Monday, Sep- tember 4, 1865, first appearance of Mr. Joseph Jeffersonat the Adelphi Theatre in his famous impersona- tion of Rip Van Winkle, Mrs. Billington played Gretchen. In 1867, Thursday, December 26, first performance of ' No Thorough- fare ' (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- BOUCICAULT, AGNES. 37 nection with the Theatre Royal Adelphi. On Saturday, September 9, 1871, first performance at the Queen's Theatre, Long Acre, of MrT W. J. Will's drama of ' Hinko,' Mrs. Billington played the part of Mar- garet. 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. Bridgrud- derry. 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 cha- racter, 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 hus- band, fulfilled several important provincial engagements. BLUNT, ARTHUR CECIL. See Cecil, Arthur. BOLE YN, RICHARD SMITH (a nom de theatre). Born at Edgbaston, near Bir- mingham. Served for a time in the Mercantile Marine. En- tered the dramatic profession in 1 87 1. Has been frequently en- gaged to play leading parts in the provinces, viz., at the Theatres Royal, Nottingham, Scarborough, and Bradford. 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.' Subsequently fulfilled a short en- gagement at the Globe Theatre, and afterwards at the St. James's Theatre, with success. Has been a member of the following travel- ling companies, viz. : the late Mr. H. J. Montague's, playing Albery's comedies ; Mr. R. Younge's, play- ing Byron's comedies ; and Mr. Duck's so-called ' Our Boys 'com- pany. BOUCICAULT, AGNES {ne'e Robertson). Was an actress of juvenile comedy at the Prin- cess's Theatre, London, during the first period of the manage- ment of Mr. Charles Kean. Ap- peared there during the seasons 1 85 1-2-3, m 'Our Clerks,' by Mr. Tom Taylor ; in a bur- lesque bv the same author entitled ' Wittikind and his Brothers,' and as Margaret in a two-act drama by Mr. Boucicault, 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 dibutante likewise, 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." — Tunes, Sept. 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 perform- ance in London of 'The Colleen I lawn ' (Boucicault), at the Adelphi Theatre, she played the part of Eily O'Connor. 33 THE DRAMATIC LIST. "Mrs. Boucicault is the same grace- ful, intelligent actress she ever was, and in her embodiment of the charm- ing Irish beauty showed that a Trans- atlantic 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 longer loves her." — Daily Telegraph, Sept. II, i860. On Monday, November 18, 1861, Mrs. Boucicault appeared at the same theatre as Zoe, in ' The Octoroon' (Boucicault), first per- formance of that play in London. "Mrs. Boucicault as Zoe has occa- sion for far more intense pathos than in the 'Colleen Bawn,' and last night surprised the public by the force of her delineation. Indeed, such a popu- lar person was the Octoroon in her hands that several of the audience were dissatisfied with her unfortunate end, and refused to understand 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 remit- tances from Liverpool had set him on his legs. To this feeling alone can we ascribe the few sounds of disap- probation which followed the descent of the curtain last night, and con- trasted so strangely with the enthusi- astic applause that had accompanied the first four acts." — Times, Nov. 19, 1861. Monday, February 10, 1862, at the same theatre, she played the leading role in ' The Dublin Boy,' a version by Mr. Boucicault of Vanderburch's ' Le Gamin de Paris.' ' * The character of the reckless hero — the mischievous but good-hearted J boy — exactly suits the mingled dash and delicacy of Mrs. Boucicault's style. | Her assumption of the Irish patois and the juvenile indifference to conse- quences was admirably realised. But when the occasion calls on the lad's intrinsic qualities and his undoubted courage, mere vivacity is exchanged for earnestness and determinate pur- pose, and the excited youth nobly vindicates his sister's honour." — Athemcum, Feb. 15, 1862. Saturday, March 1, 1862, first performance at the Adelphi of the ' Life of an Actress ' (Bouci- cault), she played the part of Violet. "Mrs. Boucicault's impersonation of the heroine is nothing less than perfect. Her ingenuous naivete and the sweetness of her voice, when she appears as the poor street singer, enlist at once all sympathies. The increased refinement in her manner after she has become more educated is most delicately delineated ; and although the slight elegance of her figure does not seem altogether adapted to the character of Corneille, she 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 situa- tion of more than half its repulsive- ness." — Daily Telegraph, March 3, 1862. In the same year, September 15, at Drury Lane, acted the heroine, Jessie, in a spectacular drama by her husband entitled ' The Relief of Lucknow.' Appeared in the same piece on its production by Mr. Boucicault at the Theatre Royal, Westminster (Astley's), Monday, December 22, 1862, and on the same occasion as Bob Nettles in ' To Parents and Guar- dians.' Monday, January 26, 1863, at the same theatre, sustained the part of Jeannie Deans, first per- formance of Mr. Boucicault's dramatic version of ' The Heart of Midlothian.' " Mrs. Boucicault is charmingly graceful and natural as Jeannie Deans ; so perfectly free indeed from all exaggeration and appearance of BOUCICAULT, DION. 39 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 com- mendation is her conduct in the witness-box, where the expression of intense anguish is checked by native timidity ; but the impersonation is excellent throughout." — Times, Jan. 29, 1863. On Wednesday, March 22, 1865, at the Princess's, first per- formance in London of Mr. Bouci- cault's drama, ' Arrah-na-Pogue,' she played the part of the heroine. "Mrs. Boucicault's performance of the ardent and loving girl was exqui- site." — AthencEum, March 25, 1865. " Mrs. Boucicault, as Arrah-na- Pogue, has another of those sympa- thetic half-peasant parts which no one can make so delightful. Her acting is natural and full of heart, and it maintains its hold from first to last of the best feelings of the audience." — Daily News, March 23, 1865. At the Lyceum, in September, 1 866, 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, where Mr. and Mrs. Boucicault reside) she reappeared in London at the Gaiety Theatre, in her original part in a play by her husband founded on ' La Joie fait Peuiy entitled ' Night and Morn- ing.' Appeared at the same the- atre during 1872 in various re- vivals of Mr. Boucicault's plays. On Saturday, September 4, 1875, first performance in London, at Drury Lane, of ' The Shaughraun,' played the part of Moya. In 1878 (Monday, June ioj appeared at the Olympic Theatre in the lead- ing female role, in a piece dra- matised from one of Crabbe's ' Tales of the Hall,' entitled ' Love or Life.' BOUCICAULT, DION. Born in Dublin, December 20, 1822. Youngest son of the late S. S. Boucicault of that city. Was educated partly in Dublin and partly at the London University. Became connected with the dra- matic profession in the year 1841, as author of ' London Assurance,' a play in five acts, first performed 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 ori- ginal cast: — Dazzle, Mr. Charles Mathews ; Sir Har court Courtly, Mr. Farren ; Charles Courtly, Mr. Anderson ; Lady Gay Spanker , Mrs. Nisbett ; Grace Harkazuay, Madame Vestris. "A five-act piece called 'London Assurance' was produced last night, sustained 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 marriage between a remote ancestor and ancestress, whom he admits in an ' aside ' to have been Adam and Eve, with much cool impudence, and flexi- bility of 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 — apuller- 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 so contrived to make it a vehicle for oddities both of situation and dialogue, that he contrives to 4o THE DRAMATIC LIST. 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 qualifications 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 to the last, which distinguishes this piece from every work of the day Mr. Charles Mathews an- nounced the piece for repetition amid tumultuous applause, which was only interrupted by calls for Mr. Lee More- ton, the author, who was led forward eyeing the enthusiastic multitude with considerable nervousness." — Times, March 5, 1841. In February of the following year Mr. Boucicault produced, under his own name at the same theatre, ' The Irish Heiress.' The play was not a success. Monday, September 19. 1842, was performed at the Hay market Theatre, for the first time, ' Alma Mater ; or a Cure for Coquettes,' by Dion Boucicault. "Writing for the stage is either easy or difficult according to the way in which the 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 in- stances of success may be soon num- j bered ; to the mass of playwrights | who take the shorter method of dis- | regarding 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 phan- tasmagoria, 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 glimpse of it on the stage which 'holds as 'twere the mirror up to itself.' This short way to success Mr. Bourcicault [sic) 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 ex- ploit, 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 delighted admirers, be success : why should it not since the piece pleases the public ? and those who live to please must please to live." — Athenccum, Sept. 24, 1842. "A new piece called 'Alma Mater; or a Cure for Coquettes,' of which the word 'comely' was unaccount- ably predicated in the bills, was brought out last night with the most extraordinary success. . . . Had the piece been one of the highest produc- tions of dramatic genius the success could not have been more distin- guished. Yet it was not first-rate, nor even third-rate, indeed we cannot conceive a more humble effort of a mind accustomed to the business of the stage than the drama we have just witnessed. 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 re- gard 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 themselves to be carried away for the 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 oc- casional smartness of dialogue. He sometimes utters a rapid series of BOUCICAULT, DION. 4i • good things ' which produce a legi- timate laugh. But the worst of it is these good things seem to be uttered in the course of saying everything that comes uppermost, 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 meeting, because we distinctly recollect that we have seen him look much 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'Malley, played at the Olympic, and singularly like 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, be- fore he can plead his example as an apology. We repeat the audience were delighted ; the author had mea- sured 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 pro- mise of better things, and who last night displayed much real wit, may turn his talents to some higher pur- pose than the mere vamping of dis- jointed, unartistical, and rakish extra- vaganzas, which though they may be uproariously hallooed at for a week or two, cannot elicit the approbation of a single judicious friend." — Times, Sept. 20, 1842. 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, No- vember 18, 1844, he produced at the Haymarket Theatre 'Old Heads and Young Hearts.' In a long criticism of this play, the AthencEum published the follow- ing :— "The talent and wit undoubtedly possessed by the author, and his quali- fications in many obvious respects for a successful dramatist, induces 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, that 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 a distant approximation." —AthencEum, Nov. 23, 1844. "Of late years the fault of our so-called ' comedies ' has not been that they have pleased one class of persons alone. On the contrary, they have pleased nobody They have not been amusing, and therefore have failed, for, be it re- membered, if a work be amusing in some sort or other, it will work its way through the public and this do we say of Mr. Dion Bourci- cault's (sic) comedy of ' Old Heads and Young Hearts,' produced last night, that it is the most amusing five-act production that has been seen for years, and that it has pleased— honestly pleased— the public to a degree that may defy the exertions of any opposing theorist to dispute its claim to popularity. The improve- ment which Mr. Bourcicault manifests in this piece, as distinguished from those of former times, is 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 him- self. His piece is carefully written throughout, and he has introduced 42 THE DRAMATIC LIST. points in his dialogue which are worthy of any author The creation of character, strong in- dividual character, totally distin- guished from any conventional class is not Mr. Bourcicault's greatest forte. But he can give appro- priate and characteristic dialogue to personages of a more familiar de- | scription, and make them vigorously assert their position in his comedy, i He loves the stout bustle and equi- voque that distinguished the intrigue j school of comedies, and that he may work his characters for these purposes he is inclined to colour them, parti- cularly 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 more ele- ments of popularity than any of equal length that we have seen for a long, long time." — Times, Nov. 19, 1S44. 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 was but a partial success, | however. Tuesday. May 2, 1848, he produced, at the same theatre, a comedietta adapted from the French, under the title of ' Con- fidence ;' and on Wednesday, No- vember 22. 184S. at the same theatre, ' The Knight of Ana.' In the year 185 1, 'The Broken Vow,' adapted from the French. ' L'Abbaye de Castro; by Mr. Dion Boucicault, was performed (Feb- ruary) for the first time at the Olympic ; and in April of the 1 same year he produced at Drury Lane, ' The Queen of Spades,' an adaptation of the libretto of ' La Dame de Pique.' On Monday, June 14, 1852, Mr. Boucicault made his debut on the London boards at the Princess's Theatre, under Mr. Charles Kean's management, in an after-piece in three acts (or "dramas," as an- nounced in the play-bills), written by himself, entitled 'The Vam- pire.' " If there is truth in the old adage, that ' When things are at the worst they must mend,' 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 Vampire.' Its plot is chiefly copied from a piece which, some years ago, turned the Lyceum into a Cham- ber of Horrors ; but it has been spun out into three parts, facetiously desig- nated as ' three dramas ; ' the little period of a century has been inter- posed 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 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 deli- cate 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. Bourcicault (.sic), with due paleness of visage, stealthine>s of pace, and solemnity of tone ; the scenery, especially a moonlit ridge amidst the heights of Snowdon, was beautiful, and the costumes were prettily diversified ; but the dreary repetition of fantastical horror almost BOUCICAULT, DION. 43 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 con- travenes 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." — Examiner, June 19, 1852. The same year (Saturday, Sep- tember 18), he produced at the Princess's a new two-act drama, ' The Prima Donna ;' and in 1853 (June), at the Adelphi, ' Gene- vieve ; or the Reign of Terror,' 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 super- intended various revivals of his plays at Wallack's Theatre, New York; and, 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 the 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 pro- duced, in New York, a version of the 'Louis Onze'of M. Casimir Delavigne, which was first read by Mr. Boucicault in Hope Chapel, New York. Returning tempo- rarily to England, on the 1st January, 1855, he produced at the Theatre Royal, Drury Lane, then under Mr. E. T. Smith's manage- ment, ' Eugenie,' a drama ; and on Monday, February 5, 1855, at the Adelphi, "Janet Pride,' a play which had been already per- formed with much success in the United States. {See Celeste, Madame.) Wednesday, June 3, 1857, he produced at the same theatre a drama under the title of ' George Darville.' "To Mr. Boucicault must be as- cribed the praise of practised skill in the construction of a new piece out of the odds and ends of old ones. ' George Darville ' is an 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 re- pented of. Altogether the play is full of stage interest." — Athenczum, June 6, 1S57. In September i860, Mr. Bouci- cault and his wife, Mrs. Boucicault {nee Miss Agnes Robertson), 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 ; and Mr. Bouci- cault, Myles na Coppaleen. The play was eminently successful. "When the novel ('The Colle- gians ') was yet new, a version of it, entitled ' Eily O'Connor,' was played at one or more of the minor theatres, but memory does not allow us to record how far Mr. Boucicault's treatment of the tale differs from that of his predecessors. The early version has been long forgotten by the public, who will be pleased to find in Mr. Boucicault's work one of the best constructed and most striking dramas of domestic life that was ever put upon the stage. The interest rises as the story progresses, and the acts, in accordance with a valuable rule, in- variably terminate with strong situa- tions. The attempted drowning of 44 THE DRAMATIC LIST. Lily 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 Cretan is first charged with murder, amid the preparations 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 no. Coppaleen, the plebeian Irishman of scampish propensities, who alter- nates 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 in- vestigator, are admirably delineated, though he is less ' rollicking ' than most of the artists who have shown in Milesian character." — Times, Sept. II, i860. "The ' Colleen Bawn' is a genuine Adelphi drama, and in no London theatre could it be more appropriately represented than in that over which Mr. Webster holds sway. Founded upon Gerald Griffin's powerful story, 'The Collegians,' it presents a suc- cession of highly-wrought domestic scenes, introduces many very effective situations, and affords good scope to the artist for the display of effective pictorial accessories. . . . The drama from first to last was admirably acted. Mr. Dion Boucicault is a capital Irish- man, full of quiet humour and Hiber- nian wit, occasionally dashed with Hibernian pathos. There is no trace of effort in his acting, no attempt to make points. All is easy, unre- strained, free from conventionality, and yet thoroughly finished and ar- tistic." — Daily Telegraph, Sept. 11, i860. At the close of the Adelphi season 1860-1, Mr. Benjamin Webster announced from the stage that Mr. and Mrs. Bouci- cault had performed in ' The Col- leen Bawn ' (in London and the provinces) for more than 360 con- secutive nights — at that time one of the longest " runs," if not alto- gether the longest "run" on record. It may be added that 'The Colleen B iwn ' was first performed in New York, with Mr. and Mrs. Bouci- cault in the characters already mentioned. On Monday. No- vember 18, 1861, Mr. Boucicault produced at the same theatre another play originally performed in America, entitled ' The Octo- roon,' in which he sustained the part of Salem Scudder, and his wife that of Zoe, the Octoroon. " Mr. Dion Boucicault's drama, ' The Octoroon; or, Life in Louisiana,' was, after several postponements, pro- duced last night ; and, as might be expected, 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, there- fore, 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 competi- tion that arises with respect to Zoe is most exciting. The whole body of planters wish to preserve the daughter BOUCICAULT, DION. 45 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, Nov. 19, 1 86 1. On Monday, February 10, 1862, he produced at the same theatre ' The Dublin Boy ' — a version of Vanderburch's ' Le Gamin de Paris ;' and on Saturday, March 1, 1862, at the same theatre, a drama in five acts, under the title of ' The Life of an Actress.' 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 master-piece of 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 neces- sary 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 abilities and a comprehensive mind. .... We are not quite sure that the drama itself (which is partly compila- tion 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 sup- ported the part of its hero."— Athe- nceum, March 8, 1862. ' ' We can scarcely call to mind a first act of better promise, a second act of more sustained interest, or a third act more bustling, exciting, and picturesque. Nor have we often" heard applause more appreciative and cordial than was bestowed, without stint, up to this point. Truth com- pels us to add that we have never witnessed a fourth act so detestable or which called forth such unmis- takable signs of disapprobation, and a fifth act so purposeless and weak. Seldom, indeed, has a good introduc- tion been brought to so ' lame and impotent a conclusion.' .... But all these verbal defects can be remedied in half an hour, and with very little trouble the play might still be made very effective. Indeed, Mr. Bouci- cault would do well to translate into words the applause and disapproba- tion exhibited on Saturday night. If, in fact, he was to exercise the same self-denial that he evinced after the 'Octoroon' was first produced — if he were to allow the public to cut out the last two acts altogether, and to edit the other himself — his new piece would doubtless achieve an enormous popularity ; for the general perfor- mance is not merely above reproach, but it is in the highest degree ad- mirable Mr. Dion Boucicault, too, we can commend in his capacity of an actor even more earnestly than we have condemned him as an author. Allowing for the inherent improba- bility of an Italian talking French as if it were his native language, and of his being engaged in an English theatre — before the days of Mr. Fech- ter — we can unreservedly praise M r. Boucicault's portrait of the kind- hearted actor. His pronunciation of French is singularly admirable ; and to show how extremely careful and artistic he is in the minutest parti- culars, we may instance his imitation 4 6 THE DRAMATIC LIST. of Rachel, which was just what that of an old man with a strong memory and a weak voice would be." — Daily Telegraph, March 3, 1862. 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 ] roduced there a spectacular drama entitled ' The Relief of Lucknow,' in which he sustained the part of Corporal Cassidy. Vacating that theatre in Decem- ber of the same year, on Monday, the 22nd of that month, he opened Astley's Theatre as " The Theatre Royal, Westminster," and pro- duced on the opening night, ' To Parents and Guardians ' (in which he played the part of M. Tour- billon) , and a revival of ' The Re- lief of Lucknow,' sustaining in this piece his original character before-mentioned. At the same theatre, on Monday, January 26, 1863, he produced a dramatic version of 'The Heart of Mid- lothian,' 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.' This play was not altogether suc- cessful. In the same year, on the 5th 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 therespective titles of 'Fraud and its Victims,' and ' Pride and Poverty.' The original, it may be remarked, of these adaptations, is a 7-act French drama, entitled ' Les Pauvres de Paris,' by MM. E. Brisebar and Euge"ne Nus, acted in 1856 at the Ambigu Comique. Before being per- formed in London Mr. Bouci- cault 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 origi- nally presented it on the stage, in November 1S64, in Dublin), a drama entitled ' Arrah-na-pogue ; or the Wicklow Wedding,' in which he sustained the part oiShaun, 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 ex- pert 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 some- times with wit, at others glow with good humour, but are always terse, naturally in keeping with the exi- gencies of the situation, and fitted to the characters from whose lips they proceed. The principles which com- mand 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 scene of the story is laid in Wicklow, and the action is assigned to the period when the Irish rebellion of 1798 had become partially suppressed. An outlawed BOUCICAULT, DION. 47 rebel, Beamish McCoul, is introduced in the first scene as anxious to escape to France. To provide himself with the means of flight Beamish calls in the aid of his tenantry to recover the rents of his confiscated estates, which have just been collected by the Go- vernment official. Force is resorted to, and having possessed himself of the sums to which he considered himself entitled, Beamish conceals himself in a barn attached to the cabin of his foster-sister, Arrah Meelish, who has obtained the name of Arrah-na-Pogue, or Arrah of the Kiss, for a reason that is speedily explained. Some time before the play commences the peasantry had contrived a plan by which their favourite landlord, McCoul, could escape ; but as every one was searched on entering the prison where Beamish was rigidly guarded, a difficulty arose in making him acquainted with the details. Arrah, then a'girl of thirteen, undertook to transmit the plan, which had been written on a small piece of paper. Rolling it up into a con- venient form, she placed it in her mouth, and dexterously eluded the vigilance of the gaoler by conveying it to her foster- brother in a kiss. From this period the escape of Beamish, which was due to her dex- terity, has made her the idol of the tenantry, who have bestowed upon her the appellation which gives the drama its title " While Beamish is now concealed in the adjacent barn ready to take flight to the Continent, her lover, Shaun, the Post, arrives, the long attachment that has subsisted be- tween them being that day to be crowned by their wedding. Beamish, in gratitude for the past, has given to Airah, as a wedding-gift, a few bank- notes, the result of the ready mode he has adopted of reclaiming his rents from the hands of the collector. These Arrah shows to Shaun as the fortune she brings to him as a wife, but how she acquired the sum is not com- municated. Beamish hopes to emerge from his hiding-place unobserved when the gaieties of an Irish wedding are at their height ; but when the jig and the jest are exciting the utmost mirth among the hilarious throng invited to the festivity, the cabin becomes sur- rounded by soldiers, and the officer in command announces that the collector of the rents has seen the missing notes in possession of Arrah. Shaun, who was driver of the post-car which brought the official to the place, indignantly resents the accusation ; ignorant that Beamish is concealed in the neighbourhood, knowing nothing of the robbery, and assured that Arrah is innocent of the charge, Shaun re- quests her to produce the dowry she has brought him. The bank-notes which were taken from the collector by Beamish, who gave them to Arrah, are thus found upon her. The young wife, terrified by the discovery, but unable to save her husband without betraying the confidence reposed in her by Beamish, is further appalled by the officer's demand that she should deliver up the stranger who has been seen speaking to her that day, and who is believed to have been long concealed in her cahin. Unable to reply, the evidence of her guilt is believed to be strengthened by the discovery of a frieze coat, which is found on the premises ; and Shaun and the peasants are equally com- pelled to suspect Arrah guilty of having had an interview with a secret lover. Shaun, gazing into the face of his new-made bride, reads, however, nothing in her eyes to justify his mo- mentary suspicions, and resolved to save her from reproaches, he first ascertains that the stranger has escaped, and then boldly proclaims the coat is his own, and that he was the mysterious visitor. This con- fession only adds to the difficulty in which he is placed ; and accused of the robbery, he is led from the scene of the recent merry-making, whilst Arrah is torn from his embrace, with an anguish deepened by a knowledge of the sacrifice he has made for her sake. This closes the first act with a singularly strong situation ; and 4 8 THE DRAMA TIC LIST. though the second and third acts are full of dramatic interest, it will be sufficient to mention in this place that they represent those stages of the action which show Shaun put on his trial, subjected to the penalty of death on being found guilty both of robbery and rebellion, and ultimately pardoned, partly owing to the sur- render of Beamish McCoul, who will not see another sacrificed for him, and partly through the active inter- position of The O'Grady, a noble- hearted Irish squire and magistrate, whose sympathies are with the insur- gents, though checked by the allegi- ance he owes the English Govern- ment. "Though we have thus briefly dis- missed the remaining details, it must not be imagined that an audience so stirred by the excitement of the first act is allowed to become in- different to the development of the story. On the contrary, it is in the third act that the great, and, as it will no doubt be described, the ' sen- sational ' incident of the drama is placed. Shaun, in prison, hears the voice of Arrah, who has been per- mitted to remain on the summit of the tower beneath which he is to be led to execution. Tearing away the bars of the window in his cell, Shaun makes his way on to the outer ledge, and climbing up the ivy which trails along the castle walls, he gains, in sight of the audience — by a well-con- trived dioramic effect managed with a sinking scene— the upper battle- ments. Here looking down on a fine expanse of a moonlit sea, Arrah, with love-sustained energy, but a lost hope, is still singing, in the belief that he will be happier if he hears her voice. Mike Feeny, the collector and Go- vernment spy, who has been her accuser, and would be her second husband, comes to the same spot to maliciously enjoy the triumph of his position and renew his odious pro- testations to the wife, who seems on the verge of widowhood. A sound of crumbling masonry draws his atten- tion to the parapet. He sees Shaun rising to the summit, and is about to hurl him below, when he becomes himself the victim, and is sent head- long down to the sea, fortunately escaping, as it turns out, a death by the fall, which would only have been regarded as just dramatic retribution. This portion of the play is materially altered from that submitted to a Dublin audience, and is exceedingly well illustrated by every contrivance that can promote stage effect. "The character oi Shaun, the Post, a Wicklow carman, which Mr. Bouci- cault has allotted to himself, is ren- dered with considerable artistic power, guided by a thorough knowledge of the peculiarities of the Irish tempera- ment, 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 confidence 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 represented in Paris, and throughout the French provinces, the United States, and Australia. The French version, ' Jean la Poste ; ou les No-ces Irlandaises,' was performed at the Gaite for 140 nights. In May 1866, Mr. Boucicault produced at Manchester an ' ori- ginal ' 3-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. Bouci- cault produced ' The Long Strike ' (partly founded on the story of ' Mary Barton,' and partly on that of ' Lizzie Leigh '), in which he played the part of Johnny Reilly. In the same year on Saturday, October 6, on the occasion of the B REN NAN, M. 49 opening of the Holborn Theatre, he produced ' The Flying Scud ; or, a Four-legged Fortune.' In November of the same year, at the St. James's Theatre, he produced ' 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 Evidence,' a drama ; and in Au- gust, at Drury Lane, ' Formosa,' a drama. In 1870, likewise at the Princess's Theatre, he produced the three following pieces, viz., ' Paul Lafarge,' 'A Dark Night's Work,' and ' The Rapparee '; and in De- cember 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 al- together successful. After so- journing 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. Bouci- cault 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 ap- peared 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. Bouci- cault sustained the part of Dennis I Brulgruddery. In 1874, (June) at the same theatre, he produced ' Led Astray,' a play adapted from 'La Tentation,' of M. Octave Feuillct. In the following year (Saturday, September 4, 1875) at Drury Lane he produced, for the first time in London, ' The Shaugh- raun,' in which he performed the part of Conn O 'Kelly. " The acting in two or three charac- ters was admirable. Mr. Boucicault is probably the best stage Irishman that has been seen. It is impossible to make drollery more unctuous and blarney more attractive than they ap- pear in his rendering. To the vitality he imparts to the character of Conn the success of the piece is largely attri- butable." — AtkencBum, Sept. II, 1875. In 1876 Mr. Boucicault returned once more to the United States, where he resides. It maybe said that he reached the climax of his fame as an actor and dramatic author in i860 with the produc- tion of The Colleen Bawn.' His merits as an actor were probably- best exhibited in that play, and in his later production, 'The Shaugh- raun.' Mr. Boucicault cannot be said to be entitled to the distinc- tion of being designated an origi- nal writer. His most popular plays are adaptations ; but no modern dramatic author has said better things on the stage than Mr. Boucicault in those plays. BRENNAN, MAGGIE. Made her debut on the London stage Saturday, November 28, 1868, at the Globe Theatre, as the Hon. Fred. Titeboy in Byron's play, ' Cyril's Success.' "Miss Maggie Brennan, another name hitherto unknown to the stage, performed 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 cer- tainly did not suggest immaturity. Her acting, indeed, in the part of the J foil. 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 E 5° THE DRAMATIC LIST. favour of the audience." — Daily News, Nov. 30, 1868. 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 intrin- sically comic. Miss Brennan's power of changing her expression, however, is very humorous and her mimetic skill is remarkable." — Athenaum, April 17, 1869. Miss Maggie Brennan has since played original parts in various plays, of which the following will suffice as examples, viz., ' For- mosa ' (Earl of Eden), ' On Guard ' {Guy Warrington), ' Randall's Thumb ' {Miss Spinn), &c. BRENNAN, MAUDE. Born at Hurst Castle, Hampshire, 1855. Became a pupil of Edward Stir- ling, of the Theatre Royal, Drury Lane, in 1869. Entered the dra- matic profession at the Brighton Theatre in 1871. After a tour through the pro- vinces, was engaged by Mr. W. Sidney for the Prince of Wales's Theatre, Glasgow, 1872, to sup- port Mr. Barry Sullivan. During that engagement played various leading parts, including Lady Macbeth. Afterwards fulfilled various engagements at the prin- cipal provincial theatres. First appearance in London in 1876, at Covent Garden Theatre, as Portia in the ' Merchant of Venice.' Sub- sequently played at the Gaiety Theatre, Glasgow, under Mr. C. Bernard's management, and was by him sent on tour with Mr. H. J. Byron. Has lately concluded a successful " starring " engagement at Belfast, where Miss Brennan presented the character of Leah in the tragedy of that name. "The accomplished actress of this leading part was as sympathetic as she was forcible, and showed us much more of the womanly nature of the Jewess, even at the times when her passion seemed fiercest and hardest, than we have been accustomed to see imparted to the character." — Belfast Nezvs Letter, March 5, 1878. BROUGH, FANNY WHITESIDE. (Mrs. R. S. Boleyn, a nom de theatre.) Born in Paris. Only daughter of the late Robert Brough (better known as one of "the Brothers Brough"), the author. Entered the dramatic profession in 1869, as a member of Mr. Charles Calvert's company at the Prince's Theatre, Manches- ter. Remained at that theatre for two years, and during the engage- ment played Ophelia (' Hamlet ") with considerable success, Mr. Barry Sullivan acting the title role. 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. Sar- dou's play of that name. " MissFanny Brough, anew actress, is very successful as Fernande. She plays with great intelligence and gives the character much sweetness and gentleness. A little more force in Xhe expression of strong feeling will pro- bably come with time and practice." — Examiner, Nov. 12, 1 870. During her engagement at St. James's Theatre Miss Brough ap- peared as Fanny Parkhouse, 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 manage- ment of St. James's Theatre. Was engaged to play leading parts with Mr. R. Younge's so-called ' Caste ' company of comedians ; B ROUGH, LIONEL. 5i and subsequently appeared at the Prince of Wales's Theatre, Lon- don, under Mr. and Mrs. Ban- croft's management, as Clara Douglas in ' Money ' on its first revival there. At the Gaiety The- atre, under Mr. J. Hollingshead's management, Miss Brough has personated important characters with Mr. Toole and the late Mr. C. Mathews, these gentlemen acting the principal roles. 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 greatest successes on the provincial stage have been in the characters of Mary Melrose (' Our Boys ') and Ethel Grainger (' Married in Haste '). BROUGH, LIONEL. Born at Pontypool, Monmouth, 18th 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." Brother of the late William and Robert Brough (known as " the Brothers Brough,") authors, and of the late John C. Brough, sometime secre- tary of the London Institution, and a frequent contributor to scientific literature. Began life in the office of John Timbs when that gentleman was editor of the Illustrated London News, and when among its chief literary con- tributors were included Douglas Jerrold, Albert Smith, Angus Reach, Charles Dickens, W. M. Thackeray ; and among its artists John Leech and Sir J. Gilbert. Was, in the earlier years of its existence, assistant publisher of the Daily Telegraph. In that Capacity originated the present system of selling newspapers in the streets, having organised in London for the Daily Telegraph a staff of 240 boys for that pur- pose. First appearance on any stage, December 1854, at the Ly- ceum Theatre, London, under the management of Madame Vestris and Mr. Charles Mathews, in an extravaganza by William Brough, entitled ' Prince Pretty Pet,' and a farce, ' My Fellow Clerk.' Left the stage for a time after the death of Madame Vestris, but returned to the Lyceum in 1858, under the management of Mr. Edmund Falconer. In that year played in ' Siege of Troy ' (burlesque by R. B. Brough) under the pseudonym of " Lionel Porter," also in ' Fran- cesca' by Falconer. 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. After- wards gave an entertainment in London, of which the piece de resis- tance was ' Cinderella,' written by Byron, Leicester Buckingham,, the brothers Brough, Frank Talfourd, Andrew Halliday, and others, and presented by the authors to Lionel Brough. Was at the Polytechnic Institution for a year, giving so- called " Ghost Entertainments," and was the first who travelled the provinces with this class of exhibition. Played with the mem- bers of the Savage Club before the Queen, Prince Consort, and Royal Family in aid of the " Lan- cashire Famine Relief Fund," and afterwards in Manchester and Liverpool for the same object. In October 1863 Lionel Brough 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. Sub- E 2 52 THE DRAMATIC LIST. sequently was at the Amphitheatre under the respective managements of Copeland, and Henderson, and Byron, and then became asso- ciated with Mr. Saker of the Alexandra Theatre. In October 1867 played Dard in ' The Double Marriage ' on the occasion of the opening of the new Queen's The- atre in London. Mr. Lionel Brough's first important London success was in the character of Ben Garner in Byron's comedy, ' Dearer than Life,' first performed in January 1868. "Next in importance to Mr. Toole's Michael Garner is the Uncle Ben of Mr. Lionel Brough, who makes up to perfection the figure of the debased profligate, not wholly unlike that of Mr. Eccles in ' Caste,' and with equal accuracy represents savage ferocity and maudlin wretchedness. In short, Mr. Lionel Brough has made one of those 'hits' which mark a decided stride in the career of a rising actor." — Times, Jan. 11, 1868. " Next to the principal part the most striking was that assigned to Mr. Lionel Brough, who only wants fair opportunity to become one of the most successful comic or character actors of the day. His impersonation of the drunken old sot, Ben Gamer, 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 humo- rous force of his impersonation." — Standard, Jan. 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 Vi- vandiere ' (Gilbert), ' Stranger ' (Reece), and ' Foul Play ' (Bur- nand). Under the auspices of J. L. Toole, Mr. Brough travelled some time with the company of which Henry Irving was a mem- ber. Played at the Holborn Theatre when it was first opened, and afterwards joined the St. James's company, under Mrs. John Wood's management. At this theatre performed the character of Tony Lumpkin for a run of nearly 200 nights, and Paul Pry for a run almost equally as long. 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 per- formed for over 100 nights at the St. James's Theatre. 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 spectacle of ' Babil and Bijou,' in the representation of which 480 persons were employed nightly for seven and a half months. Was at the Gaiety Theatre for a period of twelve months, playing in such pieces as ' Bib and Tucker,' ' Lon- don Assurance,' &c, and in the various opera bouffes and bur- lesques produced there. Subse- quently Mr. Brough became at- tached to the companies of the Globe and Folly Theatres, playing Blue Beard (over 300 nights), Robinson Crusoe, &c. ; and April 28, 1878, he concluded an engage- ment at the New Royalty Theatre, afterwards (September 1878) en- tering upon an engagement at the Folly Theatre. BROUGHAM, JOHN. Born May 9, 1 8 14, in Dublin, where he was educated with the view of following medicine as a profession. This intention, however, was not carried out. Mr. Brougham's tastes were more in the direction BROUGHAM, JOHN. 53 of the stage, on which he first appeared in the year 1830. The place of his debut was the Queen's Theatre, now the Prince of Wales's, in Tottenham Street, Tottenham 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 (see Mathews, Charles). In 1840 he entered upon the management of the Lyceum Theatre, and commenced in the same year his career as a dramatic author in 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 resi- dence, and followed his profes- sion of dramatist and actor with great success. Returning to Lon- don in 1 859, he 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, principally adapted from the French, viz., 'The Duke's Motto,' and ' Bel Demon io.' The first was produced at the Lyceum Theatre on Saturday, January 10, 1863 ; the second on Saturday, October 31, of the same year. Mr. Broug- ham was in the original cast of both these plays. " As a drama, it [' Bel Dcmonio '] has this quality in common with the ' Duke's Motto,' that it interests the audience more by the exhibition of a series of extraordinary adventures, than by the development 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 con- stantly 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 Lagardere 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 this fascinating actor, and a few passages of pathos on the discovery of Lena in the crypt, Angelo is rather a thread by which a number of incidents are connected together, than a character of impor- tance 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 characters in the play. But nearly all the parts are well filled." — Times, Nov. 2, 1863. Subsequently Mr. Brougham ap- peared at the Princess's Theatre, and on the occasion of the first per- formance there,Wednesday,March 22, 1865, of Boucicault's drama, ' Arrah-na-Pogue,' played the part of Colonel Bagenal O 'Grady. Per- haps the most favourable example of Mr. John Brougham's powers as a dramatist is found in his comedy ' Playing with Fire,' pro- duced at the Princess's Theatre on Saturday, September 28, 1861. Mr. Brougham himself sustained the principal character, Dr. Savage. " On Saturday night this house was re-opened for the season, and the occasion was rendered memorable by the performance, for the first time in London, of Mr. John Brougham's comedy, ' Playing with Fire.' Enough was known of the previous fortunes of the piece to awaken considerable 5 + THE DRAMATIC LIST. curiosity among those who pursue their inquiries respecting the English stage beyond the metropolitan limits, which confine the investigations of ordinary playgoers. It had been pro- duced with great success in America, and, though a New York theatre can scarcely be regarded as a passport office that will secure the hospitable reception of a drama in the old country, this particular play had been men- tioned in such remarkably high terms that one could not help expecting something superior to the generality of Transatlantic importations. Be- sides, a subsequent performance in Manchester had procured from a public that claims some authority in theatrical matters a confirmation of the verdict pronounced in the United States. We may add that Mr. Brougham, who sustained the prin- cipal character in his own piece, gained considerable reputation years ago, during the management of the Olympic by Madame Vestris, and that when, after a long absence, he reappeared last autumn at the Hay- market, he was heartily welcomed by playgoers of another date, and made a favourable impression upon those of the present generation. . . . The dialogue is smart and telling, and though the characters are not strongly marked, the acting is in every respect satisfactory. Mr. J. Brougham, as Dr. Savage, is exactly the cool, easy, business-like man, and his natural disposition does not quit him in the midst of his ludicrous perplexities." — Times, Sept. 30, 186 1. BUCKSTONE, JOHN BALDWIN. Born at Hoxton, near London, September 1802. 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. Made his debut in the part of Gabriel in « The Children in the Wood.' Afterwards joined the ' Faver- sham, Folkestone, and Hastings Circuit,' and remained of that association for three years. Dur- ing this period he made the ac- quaintance of the late Edmund Kean, to whose encouragement Mr. Buckstone owed, in some part, his early success as a come- dian. First appearance on the London stage at the Surrey Theatre in the year 1824. Acted the part of Peter Smink in a play entitled ' The Armistice.' Having shown considerable ability in the line of low comedy at that theatre Mr. Buckstone was offered various engagements in London. Became connected with the company of the old Adelphi Theatre, and first appeared there in 1828 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 Hay market Theatres. For the first-named he wrote two plays in particular — ' The Green Bushes,' first performed at the Adelphi, January 27, 1845, and the ' Flowers of the Forest,' produced March 11, 1847 — which still remain impor- tant 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 considerable popu- larity. Among the number may be specially mentioned, a drama entitled 'The Wreck Ashore,' first performed at the last-named theatre October 1830. On the 5th of March, 1832, was pro- duced at the Adelphi a domestic drama entitled ' Forgery ; or 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 BUCKSTONE, J. B. 55 comicalities of Mr. Buckstone." In the year 1833 he produced at the same theatre a successful 3-act piece founded on Cooper's novel, ' The Bravo.' The same year at the Hay market he pro- duced 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 political 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. Buck- stone performed at the same theatre with the late Mr. Charles Mathews, the younger, in one of many plays written by that admir- able comedian, entitled ' Pyramus andThisbe'; and in the following October in a piece from his own mirth - provoking pen, entitled ' Uncle John.' Besides the author himself, the elder Farren, Ben- jamin 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 pro- duced the two following plays, viz., ' Rural Felicity ' and ' Mar- ried Life.' In the latter Mr. Buck- stone himself acted, together with Mrs. Faucit, Mrs. Glover, and Mrs. Humby, and Messrs. Farren and F. Vining. " To say that there is no merit in it (' Married Life ') would be to say that which is neither just nor true. There is a great deal in the idea, and not a little in the execution ; but upon the whole, with every good wish towards one who is a very quaint and original actor, and a most amusing and in- dustrious author, we feel bound to say that in our opinion Mr. Buck- stone's flight has been a little too high this time." — Athenaum, Aug. 23, 1834. In November 1834, Mr. Buck- stone 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 dramatisa- tion of ' The Last Days of Pom- peii.' 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 per- manently enrolled a member of the company of the Haymarket Theatre, as its principal low co- median, and continued to provide for that theatre farces " bearing the droll impress of the broad Buckstonian stamp." In June 1835, ne 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 3-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 Drury Lane, ' Our Mary Anne.' In May 1838, was performed at the Hay- market, 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 soirees and evening 56 THE DRAMA TIC LIST parties a literary lion 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 re- turned in the summer of the year 1842. His American tour was but a partial success. At the Haymarket " Buckstone showed his comic phiz again on Wednesday, after his long absence in America, and literally ' tipped the wink ' 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 ex- pressed, in a becoming and feeling manner, his acknowledgments of the welcome" (Athenceum, Octo- ber 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 an- ticipated prize comedy of Mrs. Gore, entitled ' Quid pro Quo ; or the Day of Dupes ' (see Webster, Benjamin), was produced at the Haymarket, Mr. Buckstone being in the original cast. November 18, 1844, he was the original Bob, first performance at the Hay- market of Dion Boucicault's play, ' Old Heads and Young Hearts.' In September, 1845, he played the part of Sir Peter Redwing, first performance at the Haymarket "of an original comic drama by the author of ' Paul Pry.' " Janu- ary 6, 1846, first performance of Benjamin Webster's dramatic ver- sion of ' The Cricket on the Hearth,' he played the part of Tilly Slowboy ; and, during the same year, Golightly, first per- formance 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 Haymarket 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, Febru- ary 4, 1847, he play the MacDun- num of Dunnum, first perform- ance 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,' in the month of Octo- ber following he joined the com- pany of the Lyceum Theatre, then under the management of Madame Vestris and Mr. Charles Mathews. Monday, November 1, 1847, was produced there " an amusing in- terlude " 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 pro- viding 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. 1). In the season 1848- 9 he had returned to the Haymarket Theatre, and was there playing in the Shakespearian BUCKSTONE, J. B. 57 revivals introduced during the I temporary engagement of Mr. and Mrs. Charles Kean. Saturday, June 2, 1849, revival of ' Mac- beth,' 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 n, 1849, he pro- duced at the Haymarket "one of the raciest little dramas imagin- able," under the title ' An Alarm- ing Sacrifice,' in which he himself performed the part of Bob Ticket. Tuesday, October 30, 1849, was performed for the first time at the Haymarket ' The Serious Family,' adapted from the French ' Le Mari k la Campagne,' in which Mr. Buckstone personated the character of Aminadab Sleek with great success. In January, 1850 (Tuesday the 15th), Mr. Buckstone produced at the Haymarket a domestic drama which was eminently successful, 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 drama- tic version of ' The Vicar of Wake- field'; and (in May) Apple/ace, first performance of Douglas Jer- rold'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 sus- tained the part of Shadoivly Soft- head. {See Webster, Benjamin.) " Mr. Buckstone abounded in that rich and eccentric humour with which he usually vitalises absurdity, and which, in this instance, gave the effect of a full-length portrait to a simple and meagre sketch." — At/nnu:ui)i,¥tb. '9. I853- In the year 1853 Mr. Buckstone entered upon the lesseeship and management of the Theatre Royal Haymarket, on the retire- ment of Mr. Benjamin Webster, and from that time to the year 1876 devoted himself largely to managerial duties. On Easter Monday, 1853, Mr. Buckstone opened the theatre with the following company, viz. : Mr. Barry Sullivan, Mr. Compton, Mr. Chippendale, Mr. Corri, Mr. Howe, Mr. Wm. Farren, junr., Mr. Til- bury, Mr. Rogers, and Mr. Arthur Payne, and Miss Reynolds, Miss Louisa Howard, Mrs. Bucking- ham, 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 Planche, entitled ' Buckstone's Ascent of Mount Parnassus.' Mr. Buckstone ex- pressed his intention of con- fining ' the performances of the theatre as far as possible to comedy and farce, which consti- tuted its principal characteristics in former periods. Saturday, May 20, 1854, in pursuance of this re- solve, he produced ' The Knights of the Round Table,' by J. R. Planche". "Mr. Planche very properly calls his new five-act piece, produced most successfully at this theatre, a drama rather than a comedy The story appears to be founded on a French piece, but Mr. Planche is no clumsy appropriator of other men's work. What he takes he makes his own by skill and e.\pertness of hand- ling. We have seen adaptations of his clearly better than the origi- nals This is high praise. The actors deserve hardly less. In the reduced little gentleman who teaches fencing, blows the French horn at evening parties, has a hankering after 53 THE DRAMATIC LIST. milliner's apprentices, drops down chimneys, fights duels with rapier or poker, and is always at hand to rescue virtue in distress, Mr. Buckstone pleases the audience as much by his hearty cordiality as his fun ; and there is another reduced gentleman of the more vagabond description, who saunters into taverns without a six- pence in his pocket, enjoys his turtle and Burgundy, and orders a constable to be sent for instead of sending for his bill, hit off by Mr. Compton with whimsical nonchalance We never saw anything better put on the stage In short, the success was thoroughly deserved in all respects, and ought to carry Mr. Buckstone through his season." — Examiner, May 27, 1854. "The new five-act drama, entitled 4 The Knights of the Round Table,' which was brought out on Saturday, was a real success. Those whom ex- perience has made acquainted with a long series of sham successes well known the worth of the distinction. .... The piece has the advantage of admirable acting, and while we ex- tend our commendation to all parties in the representation, we would par- ticularly pick out Mr. G. Vandenhof and Mr. Buckstone, inasmuch as the excellencies of those gentlemen lay beyond the limits of their usual de- partments Tom Tittler, who combines the usually separate func- tions of ' funny man ' and Dens 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 gives us a specimen of sound legitimate acting, in which the oddity of the poor but valiant Tittler by no means obscures the chivalric foundation of his character. We could dwell at some length on the excellent manner in which Mr. Compton, as Smith, cheats the landlord, but we have purposely omitted all description of that episode." — Times, May 22, 1854. Among noteworthy plays first performed at the Hay market during the period of nearly a quarter of a century Mr. Buck- stone held the reins of man- agement, the following are en- titled to mention, viz., on Wed- nesday, July 8, 1857, a comedy- entitled 'The Victims,' by Mr. Tom Taylor ; on Saturday, No- vember 7, 1857, 'An Unequal Match,' by Mr. Tom Taylor ; in which Mr. Buckstone played the part of Dr. Botcherby ; on Satur- day, April 2, 1859, a comedy by Mr. Stirling 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 Thurs- day, 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 Bub- ble; 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. Buckstone played the character of Mr. Bunny ; on Monday, Nov. 1 1, 1861, 'Our American Cousin,' a comedy by Mr. Tom Taylor, Mr. Buckstone as Asa Trenchard '; on Mondav, March 10, 1862, 'The Wife's Portrait,' by Dr. Westland Marston ; on Saturday, Nov. 14, 1863, a play entitled ' Silken Fet- ters,' by Mr. Leicester Bucking- ham; on Saturday, April 30, 1864, BUFTON, ELEANOR. 59 'David Garrick,' by T. W. Robertson, in which Mr. Buck- stone was the original Squire Chevy; on Monday, June 13, 1864, ' Lord Dundreary married and done for ' ; in May, 1865, ' Brother Sam,' in which Mr. Buckstone played Mr. Jonathan Rumbelow ; on Monday, April 2, 1866, Dr. Westland Marston's comedy ' The Favourite of Fortune,' in which Mr. Buckstone sustained the part of Tom Sutherland ; on Saturday, March 14, 1868, 'A Hero of Ro- mance,' by Dr. Westland Marston, Mr. Buckstone playing Dr. Lafitte; on Monday, October 25, 1869, ' New Men and Old Acres,' by Mr. Tom Taylor, in which Mr. Buckstone was the original Bun- ter ; 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 Saturday, 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. Buck- stone has played almost all the principal low comedy parts of the English Drama presented on the London stage within living me- mory. His name will be inse- parably associated with some of the more amusing characters in the higher range of old English comedy, such, for example, as Grumio, Speed, Touchstone, Sir Andrew Aguecheek,Zekiel Home- spun, Tony Lumpkin, and Bob Acres; and, it may be added, that the varied attributes of those characters have invariably re- ceived at his hand the happiest and most complete illustration. Since the year 1876 Mr. Buck- stone has ceased to take any active part in the duties of his profession. BUCKSTONE, LUCY ISA- BELLA. Born in 1858. Daughter of Mr. J. B. Buckstone, the well- known comedian and late lessee of the Haymarket Theatre. Made her first appearance on any stage at the Croydon Theatre as Ger- trude in ' The Little Treasure.' Afterwards accompanied her father and Mr. Sothern on a pro- vincial tour, and appeared at the Theatre Royal, Dublin, in the following characters, viz., Florence Tre7ichard in ' Our American Cousin'; Lucy Dorr ison in' Home'; and Ada Ingot in ' David Gar- rick,' in which part she made her debut at the Haymarket Theatre, December 26, 1875. Mi ss Buck- stone subsequently accepted an engagement at the Lyceum The- atre, 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 Ormond in ' Peril.' BUFTON, ELEANOR. (Mrs. Arthur Swanborough.) Born in Wales in 1840. Became connected with the stage at a very early age. Made her professional debut at Edinburgh as the Servant in ' The Clandestine Marriage.' Shortly afterwards came to Lon- don, and made her first appear- ance on the London boards at the St. James's Theatre. Subse- quently became a member of the company of the Princess's Theatre, under Mr. Charles Kean's man- agement, and appeared in various Shakespearian plays produced there by that distinguished actor. On Wednesday, July 1, 1857, 6o THE DRAMATIC LIST. played, at the Princess's Theatre, the part of Ferdinand — the first time this character had ever been played on the London stage by a woman — in a grand revival of ' The Tempest.' " The propriety of representing this character by a female (Miss Bufton) is doubtful — the real contrast of the sexes in this instance is decidedly want- ing. The lady, however, was graceful in her attitudes." — Athemxiim, July 4, 1857. From the Princess's Miss Buf- ton went to the Strand Theatre, where she was for a long period one of its leading and most popular actresses, appearing there in many original parts in the numerous co- medies and burlesques produced under Mr. W. H. Swanborough's management. Among plays in which Miss Bufton especially dis- tinguished herself, the following may be mentioned, viz., 'Christmas Boxes ' (Sutherland Edwards and Augustus Mayhew), produced at the Strand, in January 1S60 ; ' Ob- servation and Flirtation ' (Horace Wigan), produced in July of the same year ; ' The Post Boy ' (Craven), first performed October 31, of the same 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 No- thing ' ; 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, 187 1, on the occasion of the opening of the Royal Court Theatre, Sloane Square, London, Miss Bufton played the part of Miss Flam- boys in the first performance of W. S. Gilbert's comedy, en- titled ' Randal's Thumb ' ; and at the same theatre, in May 1871, first performance of a dramatic version of Mr. Charles Dickens's ' Great Expectations,' she sus- tained the character of Estella. Shortly after the termination of her engagement at the Court The- atre, Miss Bufton had the mis- fortune to meet with a severe railway accident, which incapaci- tated her from following her pro- fession for two years. Since 1876 she has appeared only at intervals on the London stage. BURNETT, MRS. See LEE, Jennie. BURNETTE, AMY. Born in London. First engagement of importance in 1S7 1, with Miss Thome's so-called ' Palace of Truth ' company. Previous to this had played minor cha- racters at some of the London theatres, viz., the Adelphi, Olym- pic, and Holborn. In the autumn of 1 87 1 joined Mr. Rice's com- pany at the Theatre Royal, Brad- ford, and played the parts of Amy Robsart, Esmeralda, &c. March 4, 1872, was specially engaged by Mr. L. J. Sefton to perform the character of Cynisca (' Pygmalion and Galatea '). Continued a mem- ber of his company until 1874. " As the sculptor's wife, Cynisca, Miss Amy Burnette was very far supe- rior to any actress who has hitherto played the part here. In face and ges- ture, voice and style, she left nothing to be desired, and in the climax at the close BYRON, H. J. 61 of the second act, when she leaves Pygmalion in a paroxysm of passionate affection and despair, she rose to so great a height of fervid expression as to elicit a loud and hearty call." — Birmingham Daily Post, Aug. 4, 1874. After fulfilling engagements at Cheltenham and Liverpool, and again with Mr. Sefton's company, in October 1875, Miss Burnette joined the company of the New Theatre Royal, Bristol, under Mr. Chute's management. 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 in the fol- lowing leading characters, viz., Lady Macbeth, Ophelia, Desde- mona, Airs. Haller, Pauline, Clara Douglas, &c. 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 spe- cially engaged for the part of Lady Dedlock. Since 1877 Miss Burnette has fulfilled engagements in London and Liverpool. BUTLER, MRS. FANNY. See Kemble, Frances Ann. BYRON, HENRY JAMES. Born January 1834. Son of Henry Byron, Esq., of her Majesty's Con- sular Service. Mr. H.J. Byron had gained some reputation as a dra- matist long previous to his appear- ance 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 re- ceiving a contribution to genuine comedy. He is destitute of in- vention, a deficiency he shares in common with every English dra- matist of the last fifty years. He has wit, however, dramatic per- ception, a certain power of cha- racter painting, and a talent, quite unrivalled in England, of turning to fresh account well-used ma- terials. His defects are want of patience, and an irresistible ten- dency 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 work. 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." — (Athe- nceiim, No. 2362, p. 156, Feb. I, 1873.) Mr. H. J. Byron's reputation as an actor rests on' his impersona- tion 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. "On Saturday night Mr. II. J. Byron repeated, for the first time in London, an experiment which he had already made with success in Liver- pool — that is to say, he acted the principal character in a new farcical drama of his own composition. The character, which may loosely be assigned to the Dundreary category, was originally intended for Mr. Sothern, but for some reason or other the play did not meet the approval of the celebrated comedian, and the functions of the actor developed upon the author himself. The first two acts of ' Not such a Fool as he Looks ' (so the piece is called), are admirably constructed; Sir Simon Simple, Bart. (Mr. II. J. Byron), the apparently silly aristocrat, not being, like Lord 62 THE DRAMA TIC LIST. Dundreary, an eccentric figure, utterly disconnected from the action by which he is surrounded, but concentrating within himself the whole motive power of the plot. Mr. Daniel Mur- gatroyd, a solicitor and money-lender, intending to secure a brilliant match for his niece, P'elicia Craven, has borrowed a child from a low washer- woman, and brought it up as the son of one of his late clients, a deceased baronet. The child, grown up and destined to be the husband of Felicia, is the so-called Sir Simon, who, treated by everybody as little better than 'daft,' gives signs of shrewdness and of a sense of right and wrong that prove him to be ' not such a fool as he looks.' Altogether the lawyer's scheme does not work kindly. Jane Cooksey, the washerwoman, having become the wife of his messenger, Mould, is constantly extorting money from him as the price of secrecy ; and Felicia not only bestows her heart on his clerk, Mr. Frederick Grantley, but enlists the sympathies of the young baronet in favour of this attachment. Although himself attached to the young lady, Sir Simon is strongly resolved not to mar her happiness, and refuses to marry her, in a manner so peremptory that the exasperated Murgatroyd, reckless of consequences, hurls him from his high position by unveiling to him his humble origin, and consigning him to Jane Mould, who happens to be entering the room at the moment. " When six months have elapsed, and the second act begins, poor Simon is leading a very uncomfortable life with Jane Mould and her un- couth husband. Jane had previously been the tyrant of the humble menage, but the discovery of her fraud has reversed her position, and Mould, who once trembled at her frown, treats her with retributive brutality. This displeases Simon, who, though he detests the washerwoman from the bottom of his heart, feels that there is, after all, such a thing as filial duty, and that therefore he is bound to act as her protector. " His benevolent tendencies are also called into play by the arrival of Felicia and Frederick, who, privately married, are flying from the pursuit of the lawyer, and seek a place of concealment. But his position is en- tirely changed by the appearance of Mrs. Merton, a somewhat mysterious lady, who, reminding Jane of a child whom she confided to her care several years ago, reveals herself as the real mother of Simon. The pursuit of Felicia by Murgatroyd nearly leads to a personal conflict between the lawyer and his former ward, when Simon is checked by his newly-found mother's astounding revelation that Murga- troyd is his father. "Mrs. Merton, who has separated from her husband on account of a discrepancy of temper, is a pious lady who distributes tracts among the poor ; and when the third act, after the lapse of a supposed twelvemonth, begins, we find her son Arthur (the Sir Simon of former days), and Mould, who has left his wife, taking a lead- ing part among her co-operators. The reconciliation of the two severed couples ends the story, and a dance by the principal characters, in honour of the reconciliation was, on Satur- day, found so absurd by several of the audience as to cause a smart hiss on the fall of the curtain. . . . Weak-^ ness of the third act is, indeed, the defect of the piece, but there is an amount of humour in the situation and dialogue of the earlier portion that can scarcely fail to render it attractive. The very notion of a blundering, obtuse 'exquisite' being tossed about the world in the rudest fashion, and constantly visited with new discoveries as to his origin and his social status, so that he is first a wealthy baronet ; then the son of a washerwoman, living in an obscure street, in the midst of vulgar domestic wrangles ; then again a respectable young gentleman in a genteel family, with Evangelical proclivities — this very notion, we say, is in itself irre- sistibly ludicrous ; and the roar which arose on Saturday whenever Sir BYRON, H. J. 63 , Simon discovered a new mother, or an unexpected father, was a spon- taneous expression of amusement. The distinctive idea of the baronet's character, too, is exceedingly well sustained. He is not a perfectly vacant 'swell,' like Lord Dundreary, nor a selfish 'swell,' like Brother Sam ; but his heart is in the right place, and his views are sound, though he has much difficulty in re- ducing them to perspicuity. Mr. Sothern alone could have given the part its full significance ; but Mr. Byron's performance, though it lacked the breadth with which the inimitable representative of 'swell' eccentricities would have portrayed Sir Simon, is entitled to high commendation. The state of mental puzzle is completely presented, and there is nothing in his manner that denotes the amateur. He is easy and finished throughout." — Times, Oct. 25, 1869. " Although not by any means a thing without precedent, the an- nouncement that a well-known dra- matic author would perform at a Lon- don theatre the principal part in a play of his own writing is remarkable enough at any time to draw a crowded audience. Mr. Byron's appearance on Saturday evening at the Globe Theatre in the part of Sir Simon Simple in his own drama of • Not Such a Fool as He Looks,' was cer- tainly no exception to this rule. The drama which has been performed for some months in provincial cities, is, as far as the metropolis is concerned, entirely new. With regard to Mr. Byron, although he has once or twice taken a part in amateur performances in London, and has sustained in Man- chester and Liverpool the same cha- racter in which he now appears at the Globe, he, too, is, we believe, entirely unknown on London boards. Such a combination of novel circumstances constitutes a dramatic event, and sufficiently explains the enthusiasm with which the audience of the Globe greeted the rising of the curtain on Saturday evening Mr. Byron's performance certainly needs no apo- logy 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 dra- matic art. Nothing could be better than his struggle between the desire to maintain a dutiful regard for his new-found muther and his horror of her vulgarity and hypocrisy ; nor would it be easy to name an actor who could render with 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 Mur- gatroyd, and breaks across his knee the stick with which the bill-dis- counter has threatened him is an ex- ample." — Daily News, Oct. 25, 1869. " ' Not such a Fool as He Looks," although in three acts, is a drama essentially farcical in structure, and making no pretention whatever to engage the attention by working out an intelligible stoiy. The sole object of the auther seems to have been the contrivance of situations which shall excite mirth by a whimsical defiance of the laws of probability. An im- probable plot is so treated that the impossibility of anything taking place in the manner indicated merely in- creases the enjoyment of the spec- tator 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 pecu- liarities, 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 refer- able to his tardiness of apprehension and not to his love of affectation. 6 4 THE DRAMATIC LIST. 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, unconsciously, the most desperate puns in the most deliberate manner. This apparent sto- lidity 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 recognised 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." — Daily Telegraph, Oct. 25, 1 869. Mr. Byron represented the cha- racter 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 Adel- phi, first performance of his play entitled ' The Prompter's Box,' Mr. Byron sustained the leading role, Fitzaltamont. "A new drama, in four acts, from the pen of Mr. Byron, produced at this theatre last evening, and con- cluded shortly before midnight, will not add much to the author's well- earned reputation as an original dra- matist. It bears the title of ' The Prompter's Box ; a Story of the Foot- lights and the Fireside,' and deals almost exclusively with the life, both private and public, of actors, actresses, playwrights, and, indeed, of almost every other kind of personage directly or indirectly connected with the thea- trical profession The play is wanting in that neatness of construc- tion which is conspicuous in other of Mr. Byron's pieces ; and the story is so overlaid with details more or less irrevelant, that its thread is at times almost lost. Though the cast includes Mr. Webster, Miss Furtado, and Mrs. Mellon, the acting, with one excep- tion, presented scarcely any points worth noting. In fact, Mr. Byron himself may be said to have been almost the sole redeeming feature in the performance. His representation of a moody fourth-rate tragedy actor, who subsequently takes to the position of chairman of a music hall, exhibitor of performing Indians, and, finally, a ' Mammoth Comique,' at a cheap concert, is certainly the best piece of acting he has yet achieved ; nor is the part itself less amusing in its dialogue or action. It was undoubtedly chiefly owing to this fact that the drama was well received by an audience who were rather puzzled by the intricacies of the play, and the general slowness of its development, not to speak of the superabundance of technical allu- sions, many of which can scarcely be expected to be intelligible to the general public." — Daily News, March 24, 1870. "Mr. H. J. Byron's new drama, entitled ' The Promptor's Box,' con- tains all the materials of a very good piece, but the intrinsic worth of the material is somewhat marred by over- elaboration. We have several good situations, one excellent character, and much smart writing, but still we have not enough satisfactorily to fill out four long acts. . . . Our readers will probably be surprised to learn that the all-important character in this long play is one to which we have very briefly adverted in our descrip- tion of the plot. The Prompter, capitally made up and played by Mr. , B. Webster, is, after all, a copy of the l plre de la debutante,' now acted so admirably at the Gaiety by Mr. A. Wigan. . . . But the notion of Mr. Fitzaltamont, an unfortunate provincial comedian, who is always bewailing his own miseries with the most ludicrous sorrow, and who, hav- ing long been an object of universal pity, astonishes the world by becoming a hero when heroism is required, is entirely new. He is, perhaps, the best of Mr. Byron's histrionic repre- sentations." — Times, March 25, 1870. Two years later (October, 1872), at the Strand Theatre, Mr. Byron played the same part in the same piece, slightly altered, and with BYRON, H. y. 65 the changed title ' Two Stars ; or, the Footlights and the Fireside.' In January 1873 he produced a new three-act comic drama, en- titled ' Old Soldiers,' at the Strand Theatre, in which he sustained the part of Lionel Leveret. " A new and original comic drama, in three acts, from the pen of Mr. H. J. Byron, was produced on Satur- day night with decided success, the ingenious author having once more fitted himself with one of those pecu- liar characters whom it has lately been his study to create and to elaborate. In 'Old Soldiers,' as the new piece is called, he represents Lionel Leveret, a young country gentleman, resident in Devonshire, who has a reputation for dullness and indecision, but who, like his predecessor, Sir Simon Simple, is not such a fool as he looks. . . . The story of Mr. Byron's new piece is ingenious. ... It has, however, this defect, that the vacillating disposition of Leveret reflects itself in the feelings of the audience. While all are charmed by the exhibition of character and the play of dialogue, none can exactly tell in which of the contend- ing parties they ought to take a pre- ponderation of interest. ... If we cease to regard the interest of the story, and to look upon the plot as a vehicle for the introduction of a number of amusing personages, our commendation need not be qualified. Though Leveret belongs to the same genus as some other of Mr. Byron's creations, he has an idiosyncrasy of his own, which stamps him with originality. The irresolution of his nature is contrasted with the plain bluntness of his speech, and though he is always ready to side with the last speaker, he accompanies his ad- hesion by inflicting a verbal box on the ear, without any visible intention of so doing. Good as his repartees are in themselves, they become doubly good through the delivery of Mr. liyron, who drops them, as it were, by accident, with the most amusing unconsciousness of their force. . . . Altogether, the author and the actors may fairly share between them the honours gained by the decided suc- cess of ' Old Soldiers.'" — Times, Jan. 27, 1873. " On the slenderest foundation the experienced dramatist (Mr. H. J. Byron) has contrived to raise a superstructure of three acts, which would have sorely taxed the inge- nuity of a less expert craftsman ; and if the result does not greatly im- press us with a notion of solidity, there is at least comfort in reflecting that the framework sufficiently serves the purpose for which it was designed. It would be a bad time for contri- butors to the modern stage if the characters coined in the dramatic mint of preceding reigns were ever called in, like our old currency, as soon as they were worn, and thence- forth prohibited from again getting into circulation. Although the original image and superscription may be greatly defaced, there is always a chance that a little rubbing and brightening up will make the coinage of a bygone day pass current in our own, and there is^ no one who turns theatrical treasure trove to better ac- count in this way than Mr. H. J. Byron. Yet with scarcely anything to be entitled to be called a plot, and helped by no character bearing the impress of novelty, the dramatist has provided a thoroughly amusing piece, which on Saturday night ob- tained the most flattering of recep- tions. The secret of the success which almost invariably accompanies each fresh production of this fertile author is to be found in the skill with which he employs the machinery of the stage, and the aptitude with which he studies the taste of his audience. His situations are managed with so much art that the act-drop always falls at the right moment ; and his dialogue is written with such smartness that the audience, always on the alert for some fresh oddity of expression, are ever prepared to expect as much amusement from what the personages of the piece may have F 66 THE DRAMA TIC LIST. to say as from what they have to do. How rapidly the time passes when a lively conversation is un- fiaggingly sustained, no one will need to be reminded ! When the curtain fell on the new drama on Saturday night, the discovery that two hours had flown by while the simplest of stories was being told, created a feeling of surprise which may, perhaps, be considered the most satisfactory proof of success in this direction that the author could desire. . . . The young country gentleman, Lionel Leveret, who is the object of the attack of the 'old soldiers,' is, of course, per- fectly safe in the hands of Mr. H. J. Byron, who, acting throughout with admirable repose, delivers smart re- partees with a quiet unconscious air which always contributes to their effectiveness, softens sometimes their rudeness, and occasionally helps to atone for their extravagance. The scene which serves for the first and second acts is an exceedingly pic- turesque view of a seaside resort, and on the entire production manifest care has been bestowed, alike by the author and actors and the manage- ment." — Daily Telegraph, Jan. 27, 1873- On Saturday, March 21, 1874, Mr. Byron produced his comedy, ' An American Lady,' at the Criterion Theatre, Piccadilly, on the occasion of its first opening, and played the part of Harold Triz'ass. 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. " The story of Mr. Byron's comedy, it must be confessed, is not remark- able 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 misunderstand- ing, or at feast 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 temporary 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 in Mr. Byron either boldness of design or vigorous handling of old elements ot dramatic story-telling. Strictly speaking, there is in his pieces scarcely any construc- tion 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-depend- ence which are the secret of the success of so many plays, not remark- able 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 gentleman. ... 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 BYRON, H. J. 67 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 obser- vations 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 es- tablished 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 recognising 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 inven- tion of which his powers have cer- tainly undergone no deterioration." — Daily News, Oct. 4, 1875. On Monday, September 16, 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. " With the skill that comes of long practice, Mr. Byron disposes his characters upon the stage so that they look like real beings engaged in a real action. So lifelike are they that we exact from them a behaviour con- sistent with what is known of human conduct. As we progress and our interest commences to grow, w r e find our faith disturbed. The fact that our sympathy has for a moment gone out to what appear to be real personages makes it resentful when we find them dummies. At the close of ' Con- science Money ' our feeling towards Frederick Darner, Mr. Byron's hero, is that of one who has apologised to a well-made wax figure for rubbing against it, and has then discovered that the set smile which deceived him could not be dismissed. At the out- set of the story Fred Darner loves a girl, and is doubtful whether his at- tentions are agreeable. He deter- mines to put all doubts to rest, pro- poses in a manly fashion, and is ac- cepted. While still in the seventh heaven, he finds that a compensatory misfortune brings him to earth. So far all is human, natural, sympathetic. He marries the girl without telling her that his fortune rests on an un- stable basis, or rather on no basis at all. Here, again, though weak and reprehensible, his conduct is human. When, however, having wronged his wife by his reticence, he attempts to atone for it by neglect amounting to desertion, we fail to see the logic of such a process ; and when he accepts as his close friend and the constant associate of his wife a man he knows to have been her lover, and believes to be a scoundrel, our surprise is dashed with contempt. Still, men are illogical, and something may be allowed the writer who has to frame a story. A return of interest comes again when the hero detects the false friend and tears the mask from his face, and it develops into sympathy when the outbreak brings upon him a revelation of his own miserable secret, of which his enemy has traitor- ously obtained possession. When, F 2 68 THE DRAMA TIC LIST. however, after the second exposure we find the hero again accepting in a moment a suggestion of the same transparent villain, to the effect that he shall at once quit his home with- out bidding farewell to his wife, com- mon sense rises in mutiny. Such a thing cannot be believed, unless we choose to assume the hero to be absolutely demented. So strong is this feeling that the whole audience experiences it, and a play which has succeeded fairly up to this point drops and becomes failure. A full lesson on the requirements of the drama is afforded in these things. A study of the fate of this piece should prevent Mr. Byron from ever incurring a similar fate with any succeeding work. It is scarcely worth while in the case of a piece that has collapsed to deal with matters of detail. As a new termination may yet be provided, it is perhaps worth pointing out that the minor characters, while cleverly sketched, are hurriedly filled in. . . . Much of the dialogue is good, though some is very weak. There is enough, however, of drollery to give the piece a hold upon the public when another termination is provided. . . . Mr. Byron plays satisfactorily in his own piece a character such as he has frequently presented." — Athencetim, Sept. 21, 1878. CARTON, R. C. 69 CALTHROP, JOHN ALFRED CLAYTON. See CLAYTON, John. CARTON, R. C, a nom de theatre. (Richard Claude Critchett.) Born in London. First appearance on any stage at the New Theatre Royal, Bristol, Monday, March 29, 1 875, as George de Laval, in 'The Sea of Ice.' June 19, 1875, made his debut on the London stage at the Ly- ceum Theatre, in the character of Osric, in a revival of ' Ham- let 'by Mr. Irving. Afterwards, during the same year, accepted an engagement under Mr. Sef- ton Parry's management at the Theatre Royal, Hull. In Dec. (1875) returned to London and reappeared at the Lyceum as Osric, and subsequently as Cour- tenay, first performance of Tenny- son's ' Queen Mary.' In the sum- mer of 1876 appeared at the Alexandra Theatre, Liverpool, to support Mr. G. H. Brooke, and played a round of characters in the Shakespearian drama. In the autumn of the same year accom- panied Mr. Irving on his first pro- vincial ' Hamlet ' tour. In July 1877, at the Amphitheatre, Liver- pool, 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. "Mr. Carton, as Mr. Lonsdale, more than fulfils the promise of his first appearance in London as Osric in ' Hamlet.' The character of the delicate, nervous, yet courageous curate is conveyed by a multitude of clever hints of action and expression, all of which are consistent with a distinct conception, and the by-play is worked out with much quiet care- fulness. The danger of becoming ridiculous is avoided with unusual skill. Mr. Carton has made his mark in this part, and much may be hoped from him." — Saturday Review, July, 1877. 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 weeks. In February 1878, he appeared at the Court Theatre in ' New Men and Old Acres ' ; and in April following played the part of Johnny Fos- brooke, first performance of' Such is the Law ' (Taylor and Merritt) at St. James's Theatre. "We all know the Johnny Fos- brookes of our time, and we like them. They are honest, good fellows, with a certain mild cynicism in their slang, and a certain affectation of despair, but with sound, wholesome, English hearts all the same. The spirit of Johnny Fosbrooke was exactly caught by this clever young actor (Mr. Carton). It was a bright, natural bit of acting." — Daily Telegraph, April 22, 1878. Remained at St. James's Theatre until the end of the season, and for the following (the winter) sea- son, 1878, was engaged by Mr. Henderson. CATHCART, MAUD. Born in London. Daughter of the under-mentioned Rowley Cath- cart. Entered the dramatic pro- fession at the Royal Court Theatre March 30, 1878, on which date she appeared as Polly Flam- borough in Wills's play of ' Olivia.' ■jo THE DRAMATIC LIST. Miss Cathcart continued to play the part during the successful " run " of the piece. CATHCART, ROWLEY. Born at Chichester, January 15, 1832. Entered the dramatic pro- fession when a child, playing boy's parts under his father's instruction at various theatres in the pro- vinces. In the year 1845 first appeared in a part of importance, playing at Glasgow Franco in ' Guy Mannering,' with Mackay and John Alexander in the cast. In 1847 was engaged at Liverpool, and from thence went on tour with his father to perform at Bristol, Bath, Manchester, Brigh- ton, &c. In 1850 the late Charles Kean enrolled Mr. Cathcart as a member of the company of the Princess's Theatre. He remained at that theatre during the whole of Charles Kean's management and that of his immediate succes- sors, Augustus Harris and George Vining. In 1868 Mr. Cathcart joined the so-called ' Caste ' com- pany in the provinces, and, re- turning to London, in the following years fulfilled engagements at the Globe, Olympic, Queen's, Royalty, Prince of Wales's, and Royal Court Theatres. Among im- portant characters sustained by Mr. Cathcart during his long career on the stage the following may be selected as deserving hon- ourable mention: — The Prince of Morocco, ' Merchant of Venice,' at the Princess's Theatre in 1858 ; Tremoroso in ' Jack the Giant Killer' at the same theatre, 1859-60; Launcelot Gobbo in 'Merchant of Venice' at the same theatre, 1863; Grumio 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 Flamborottgh in Wills's play of ' Olivia ' at the Royal Court Theatre, 1878. CAVENDISH, ADA. First excited attention in London as an actress in burlesque, at the Royalty and Prince of Wales's Theatres. At the last-mentioned theatre, in May 1865, performed the part of Hippodamia, in a bur- lesque by F. C. Burnand, entitled ' Pirithous, the son of Ixion.' On Thursday, February 15, 1866, ap- peared for the first time at the Haymarket Theatre, in a come- dietta entitled ' A Romantic At- tachment.' At the same theatre, Thursday, January 14, 1869, first performance of Mr. T. W. Robert- son's comedy of Home,' sustained the character of Mrs. Pinchbeck. 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 (Saturday, Oct. 8), she played the part of the Marchesa San Pietro, in a revival of Palgrave Simpson's ' Marco Spada.' Monday, September 11, 187 1, revival at the Gaiety Theatre of Westland Marston's drama of ' Donna Diana,' Miss Cavendish sustained the title role. "On its revival 'Donna Diana' went admirably — a fact for which the acting of Miss Ada Cavendish is largely responsible. In dignity and grace of bearing Miss Cavendish has no superior. Her p;e. c -juration 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, CA VEND IS H, ADA. 71 and in the later the strife with nascent tenderness was cleverly revealed." — Athemeutn, April 16, 1871. On Monday, March 25, 1872, at the same theatre, she performed the pirt of Julia, in ' The Hunchback.' "Miss Ada Cavendish, whose pro- fessional career has been most credit- ably marked by steady progress in art cultivation, last evening took her first benefit in London, signalising the event by a performance of Julia in ' The Hunchback,' which deservedly gained the warmest approval from the very numerous audience assembled on the occasion. The wayward heroine of Sheridan Knowles's popular play has always been a favourite trial part with youthful actresses who aspire to a prominent position on the stage ; but a thoroughly satisfactory embodi- ment demands the fullest exercise of gifts and acquisitions rarely possessed by the same individual. Fortunately the personal endowments of Miss Ada Cavendish completely realise the flat- tering picture drawn by the dramatist of the young girl who has ripened into womanhood with every charm that can captivate a lover, while theatrical experience, manifest intelligence, and a perfect command of all the resources of expression, are conspicuously dis- played as the fruits of patient study and application."— Daily Telegraph, March 26, 1872. At the Court Theatre first per- formance of Dr. Westland Mar- ston's and Mr. W. G. Wills's play 'Broken Spells' Miss Cavendish undertook the character of Estelle. At the Olympic Theatre, in May 1873, fi rst performance of Mr. Wilkie Collins's play, ' The New Magdalen,' she sustained the lead- ing part of Mercy Merrick. "There is considerable merit in Mr. Wilkie Collins's 'New Magdalen,' though it may be doubted whether, apart from its dramatic power, it can bear the test of criticism. The story is a simple one Mr. Wilkie Collins has ingeniously man- aged to enlist the sympathies of the audience not with the victim of fraud but with the impostor ; and the moral of the ' New Magdalen ' appears to be that a young woman may stray from virtue's path, and lie and steal and cheat, but if she repents in the end, she is sure not only to be for- given but to be glorified as a saint, and married to a clergyman of the Church of England The re- ception of the piece by a very crowded house could not fail to be flattering to the author, who was twice called before 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 Caven- dish 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 transition 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." — Examiner, May 24, 1873. "The piece is on the whole admi- rably acted. Mercy might have been represented with greater power, but not with more discrimination than by Miss Ada Cavendish. As the ' Mag- dalen' is constantly under the in- fluence of conflicting emotions, with a naturally tender conscience at the base of them, the character abounds in subtle details, and it is much to the credit of the actress that none of these are overlooked." — Times, May 21, 1873. Friday, September 26, 1873, at the Olympic Theatre, on the occa- 72 THE DRAMATIC LIST. sion of her benefit, Miss Caven- dish appeared for the first time in London as Juliet, in Shake- speare's tragedy. "Miss Cavendish's Juliet is a per- formance which proves that the mea- sure of her talent has not yet been taken. It is of course impossible for an actress, whatever her ability, to give without long training a repre- sentation satisfactory in all respects of a part like Juliet. This much may be said about the latest exponent, that her success was greatest in grappling with the most difficult portion of her task The performance proves the right of Miss Cavendish to take a place among our few exponents of poetic drama." — Athentzum, Oct. 4, 1S73. " On Friday night Miss Ada Caven- dish commenced her farewell benefit at this house (Olympic), appearing for the first time as Juliet. Her per- formance 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. Let it be added that she had to play under serious difficulties. The little 'tiff' between Juliet and the Nurse was completely spoilt by the scene- shifters, who in the midst of it trans- formed the room in Capulet's house into Friar Lawrence's cell, and the demerits of the general cast were great to an extent which a charge of mere inefficiency would utterly fail to con- vey. Nevertheless, Miss Cavendish, not allowing herself to be affected by unfavourable surroundings, bravely went her way, and in the eyes of all who witnessed her made a decided advance in her profession." — Times, September 29, 1873. In March 1874, first perform- ance at the Olympic of Mr. Tom Taylor's play ' Lady Clancarty ; or, Wedded and Wooed,' Miss Ada Cavendish performed the part of the heroine. At the Gaiety The- atre, in April 1875, for the first time she sustained the character of Beatrice in a revival of ' Much Ado about Nothing.' In 1876, at Easter, at the Globe Theatre, first performance in London of Wilkie Collins's 'Miss Gwilt ' (the play was originally produced in Liver- pool), Miss Ada Cavendish per- formed the character role. "Miss Cavendish has studied the character of Miss Gwilt with con- scientious care, and she plays it throughout with deliberation in the calmer scenes, and in the more pas- sionate passages with an impetuosity and dramatic fire which one welcomes 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 Caven- dish 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 pro- vinces, and is at present (Sep- tember 1878) fulfilling an engage- ment in the United States. CECIL, ARTHUR, a nom de theatre (Arthur Cecil Blunt). Born near London, 1843. First appeared on the stage, as an ama- teur, 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 ARTHUR CECIL. CECIL, ARTHUR. 73 of the 'Waterman.' Made his professional debut in London, Easter Monday 1869, at the ' Gal- lery of Illustration,' with Mrs. German Reed's company, as Mr. Churchmouse in ' No Cards,' by W. S. Gilbert, and Box in the musical version of ' Box and Cox,' by Messrs. Burnand and A. Sulli- van. In 1874 joined the com- pany of the Globe Theatre, and appeared there during that year as Jonathan Wags toff, in W. S. Gilbert's comedy ' Committed for Trial,' and as Mr. Justice Jones in Albery's comedy, 'Wig and Gown.' In the same year, De- cember 19, at the Gaiety Theatre, in a revival of ' The Merry Wives of Windsor,' Mr. Arthur Cecil played the part of Dr. Caius. The following year (1875) Febru- ary, at the Opera 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 Bache- lors,' by Messrs. Reece and Le- cocq, and as Charles in ' Oil and Vinegar,' by H. J. Byron. Jan- uary 1876, at the same theatre, on the occasion of his benefit, Mr. Arthur Cecil played Monsieur Jaques 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,' show how admirably care- ful 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." — Athenccum, Jan. 22, 1876. At the Globe Theatre, Easter Monday 1876, first performance of Wilkie Collins's play of ' Miss Gwilt,' adapted from his novel of ' Armadale,' Mr. Arthur Cecil sus- tained the part of Dr. Downward. Saturday, February 5, 1876, first performance at the Haymarket Theatre of ' Anne Boleyn,'byTom 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. " But, on the other hand, we are shown an admirable foil in the person of Sir Woodbine Grafton, the Marechal of the French play, an old Indian of supernatural selfishness and power of making himself unpleasant. In the hands of Mr. Arthur Cecil he is 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 par- ticular 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 repre- sentation 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 74 THE DRAMATIC LIST. detract from his performance, which was very amusing and very clever." — Tim... Oct 3, 1S76. In April. 1S77. at the same theatre, first performance of ' The Vicarage," by Savile Rowe. Mr. Cecil undertook the part of the Hayga :h; and in the following year January 12. first performance of ' Diplomacy ' I .'ssrs. Savile Rowe and Bolton Rowe'. the part of Baron Stein. "Mr. Cecil's Baron Stein is a finished performance with many thoughtful touches, which are spe- cially noticeable in the scene where his hand is repeatedly refused by the two brothers. The admirable acting, on the whole, of the piece more than atones for the faults of the adapta- tion.'" — Saturday Rcz-iezi', Tanuary 19, 1878. " Mr. Cecil's rare talents for dis- guise of speech, manner, and ap- pearance are shown in their fullest significance in the small but highly finished part of Stein, the Russian agent.'' — Times, January 21, 1878. CELESTE, MADAME. Born in Paris. August 16. 18 14. En- tered the classes of the Academy of Music in that city as a child, and at the age of fifteen com- menced an engagement in the United States, where she subse- quently married a Mr. Elliot. 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.' Made her profes- sional debut in London, at Drury Lane Theatre, in the year 1837, (October), as Maurice, the Dumb Boy, in Planches ' Child of the Wreck.' "The whole weight of the drama rests on Madame Celeste, whose ' dumb show, : unlike that of Shake- speare, is anything but inexplicable. She expressed by her varied and appropriate action, and by her swiftly changing features, the various pas- sions of love, despair, indignation, and joy, with touching fidelity. She was much applauded.'' — Times, Oct. 9. 1837. The same month of the same year appeared at Drury Lane Theatre as the heroine in a piece entitled ' The Indian Girl.' " Had this piece been produced at the Victoria or Surrey it would have been successful throughout Here (at Drury Lane) all but the part of the Indian Girl appeared prolix and mawkish, and was borne with every symptom of impatience by the house. In fact it was unequivocally con- demned ; but the performance of Mademoiselle Celeste saved it — no- thing could be more graceful, natural, and affecting. It seemed a reality. It was an admirable stroke of policy on the part of Mr. Cooper to lead Mademoiselle Celeste forth to an- nounce the repetition of the piece — she saved it" — Morning Herald, Oct. O 1 ' i>37- From time to time during the years 1838-9 and 1840-1. Madame Celeste appeared at the Hays market Theatre, and for the most part in characters involving only mute action. On May 30, 1841, at this theatre, she appeared in a melodrama entitled ' Marie Du- cange,' written expressly for her by Mr. Bernard. " The artificial brilliancy of Ce- leste's mute action is much more eloquent than her French- English accents." — Atlienaum, June 5, 1841. In November of the same year she performer a t 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 CELESTE, MADAME. 75 Haymarket Theatre on December 7, 1842. in a one-act piece from the French, entitled ' The Bas- tille.' On June 3, 1843. at the Haymarket she 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 Thea- tre) ; and subsequently, at the same theatre, with the same actor, the heroine, in ' Victor and Hortense,' another French vaude- ville. In 1844. in conjunction with Mr. Benjamin Webster, Madame Celeste 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 Adelphi dramas, in not the least noteworthy of which, ' The Green Bushes,' by J. B. Buckstone, first performed Janu- ary 27, 1845, she was the original Miami — a character which she invariably acted with uncommon vigour and pathos. " The scene of the first act of ' The Green Bushes ' is Ireland — the coast of Gahvay ; the time 1745. Connor O'Kennedy (Selby), an Irish gentle- man, 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 Government for his appre- hension ; but the plot fails ; the sol- diers, when they make their appear- ance at the moment of the fugitive's embarkation, 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'Xeil (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 vears have elapsed, and we find our- selves in America, near a log cabin by the Mississippi. Here Connor dwells ; but, alas ! not alone. He has been unfaithful, and lives with mi (Madame Celeste), the ' Hun- tress of the Mississippi,' a sort of wild woman of the woods, half Indian, half French, but, withal, a very pretty specimen of a coquette of the wilder- ness, as skilled, too, in the rifle as she is witching in her sweet looks 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 catas- trophe, in the shape of the deserted j 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 ap- I pears behind. In a moment all her savage blood is roused. Half-a-dozen times is the rifle carried to her shoul- der, and as often is the point let fall. Geraldine, wean - and foot sore, faints; her husband carries her to a neigh- bouring 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 frantically flies for assistance, and unknowing whence the fatal blow has been struck, sup- plicates on her knees the aid of her 76 THE DRAMATIC LIST. husband's assassin. The last scene in the act represents Connor's death. His wife flings herself distractedly over the body. Miami stands by unmoved, the 'stoic of the woods.' With his last breath Connor entreats the murderer of the husband to pro- tect 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 pro- ceeding down the stream on a raft. We ought to mention that the tragic part of the act is relieved by the va- garies of Master Grennidge (Wright), and Jack Gong (Paul Bedford) a show- man and his factotum, who have ar- rived 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 blacksmith. An accident happening to a passing carriage intro- duces 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 pro- ceeded to Ireland to make what atone- ment she could to the surviving child of her murdered lover. In the little girl in the blacksmith's shop she be- lieves she recognises the object of her search, and brings the child with her. Meantime, poor Nelly O'Neil is wan- dering disconsolately 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 inter- view, which is arranged, Geraldine, the widow of Connor, arrives, and falls in with Nelly O'Neil. George and Miami meet. The child is pre- sent. In the course of the inter- view Nelly sings ' Green Bushes ' outside ; the little girl recognises the noise, flies to the window, is as suddenly recognised by the wan- dering minstrel. Much of what re- mains can easily be conceived. The mother rejoins her daughter, and J //ami, the murderer of her father, having accomplished her work of atonement 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." — Morn- ing 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 Forest.' " The ' Flowers of the Forest ' is a perfect Adelphi melodrama, in which the exact strength and resources of the company are exquisitely measured. There is picturesque power for Ma- dame Celeste and Mr. O. Smith ; laughter and pathos for Mrs. Fitz- william ; the broadest drollery for Messrs. Wright and Bedford ; and a part for Miss Woolgar which gives admirable scope to her cleverness and versatility. She plays a gipsy lad, on whose murder of one of the characters CELESTE, MADAME. 77 (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 de- prived her of her own lover, is a very pretty notion ; and though Miss Woolgar is a somewhat young lover for the now (alas ! that we should say it) elderly Mrs. Fitzwilliam, the acting of both is delightfully natural." — Examiner, March 20, 1847. 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 per- sonated the heroine, first per- formance of Dion Boucicault's drama, ' GdneVieve ; or, the Reign of Terror.' ' ' The drama, which embraces all the strength of the company, was of course acted to perfection. Mr. Web- ster, as the noble-hearted, generous Sorin ; Mr. Wigan, as the subtle, vindictive Dismer ; and Mr. Leigh Murray, as the impetuous, ardent Maurice, were all that might be expected from such artists — while Mdlle. (sic) Celeste, as the sorrowing, heart-broken Genevieve, gave all pos- sible pathos to the part." — Daily News, June 21, 1853. "The Adelphi has produced an 'Adelphi drama,' and achieved an ' Adelphi success.' The new piece is in four acts — the scene laid in Paris during the Reign of Terror — the name 'Genevieve,' although all the actors pronounced it Gene)ve — and the author no less a person than M. Alexandre Dumas. We may add that Mr. Dion Boucicault is the adapter — that he has taken some liberties with the original, adding comic characters, for which he has been obliged to clog the action with mere carpenters' scenes — a sad necessity, but often felt by the Eng- lish dramatist. Nevertheless, Mr. Boucicault has accomplished his task satisfactorily. He has given to his characters not a little pungent dia- logue, and if the speaking here and there somewhat overlay and hamper the action, there is an easy remedy. .... The part of Genevieve does not afford much opportunity for the actress ; but Mdlle. (sic) Celeste played it with intelligence and sentiment, and gave it all its possible effect." — Morning C/ironic/e, June 21, 1853. " The Adelphi has wisely returned to that class of drama for which its resources are best adapted, and to which the liberal additions lately made to those resources by Mr. Web- ster may help to give a higher and more legitimate character. . . . The new Adelphi drama of 'Genevieve' is an adaptation by Mr. Boucicault from the French of Alexandre Dumas, cleverly done, and with additions involving that very welcome ingre- dient in the play-bill of the names of Mr. and Mrs. Keeley .... Madame Celeste plays well in it, Mr. Leigh Murray has a part which suits him, Mr. and Mrs. Keeley make the audi- ence laugh heartily, in the villain of the story Mr. Wigan shows himself the admirable artist that he is, and to the part of his better angel Mr. Webster gives generous gaiety and spirit. The drama is thoroughly suc- cessful." — Examiner, June 25, 1853. On Monday, March 20, 1854, at the Adelphi, Madame Celeste played the original Ruth Raven- sear, first performance of Messrs. Tom Taylor's and Charles Reade's drama, ' Two Loves and a Life.' " Messrs. Tom Taylor and Charles Reade, authors of ' Masks and Faces,' have produced another drama, ' Two Loves and a Life,' which will much confirm their credit as well-coupled 73 THE DRAMA TIC LIST. no less than accomplished authors. The authors had evidently determined that they would deprive the Adelphi audience of not one of its usual delights. . . . Mr. O. Smith should be a villain ; Mr. Keeley should have his comic genius, espe- cially in the depiction of moral terror, well brought out ; Mr. Webster should have a part to make a study of quite in his own vein ; Mr. Leigh Murray should have a gentleman's part ; Madame Celeste should have something melodramatic and pictu- resque, which would enable her to display all the great power that is in her ; and Miss Woolgar should be enabled also to bring into play nearly the whole range of her skill Madame Celeste never displayed more energy and spirit, more power of de- picting half-untutored passion than in the part which she here sustains." — Examiner, March 25, 1854. On Monday, May 20, 1854, she sustained the character of Mdlle. Marco, first performance at the Adelphi of ' The Marble Heart,' adapted from ' Les Filles de Marbre ' (Barriere andTheboust), by Mr. Selby. "Considering that ' Les Filles de Marbre ' created quite a furore in Paris during the greater part of last year, and that it was produced as far back as last May, one might natu- rally wonder that it had not long ago found its way to one of the London theatres, ever so ready to receive adaptations of the Parisian dramas. .... The piece has now found its way to the London stage, for a version by Mr. Selby, entitled the 'Marble Heart,' was brought out at the Adel- phi on Monday night While Mr. Murray's acting is the chief feature of the new drama, Madame Celeste makes the most of a not very kindly part. Her quiet manner of acting the marble-hearted lady, who sits in calm contemplation of her lover's distracted gestures, is as truth- ful as it is unobtrusive ; and the remorse she feels when at last she sees the dead body of Raphael is depicted by a most terrific expression of countenance." — Times, May 24, 1854. "Madame Celeste was admirable as the callous woman of the world, spurning all human feeling in the insatiate pursuit of wealth." — Daily News, May 24, 1S54. On Monday, February 5, 1855, first performance at the Adelphi of 'Janet Pride' (Boucicault) Ma- dame Celeste played the title role. " A new drama from the pen of Mr. Dion Bourcicault [sic), and with the title, 'Janet Pride,' was brought out last night at the Adelphi with ex- traordinary success. Nor is the piece constructed in the ordinary fashion. Thanks to the Parisian stage, we have become used to ' prologues,' in the new sense of the word, that is to say, not supplicatory verses, ap- pealing to the sympathies of the public in favour of trembling actors and still more timid authors, but introductory acts, supposed to take place a long time before the play par excellence begins, and setting forth certain mat- ters by which the said play is rendered more easy to be understood. ... To prologues in this sense we have, as we have said, grown accustomed ; but 'Janet Pride' has the remarkable honour of being introduced by two prologues, the first (in mathematical phraseology) being to the second as the second is to the three acts of the piece. . . . The first prologue takes place at Paris, in the year 1834. . . . There is somewhat of a dull gloominess in the earlier part of this prologue, but the end is rendered highly effective by the passionate grief of Madame Celeste, who, after she has parted with the child, flings her arms to the shutter in the most frantic despair, vainly striving to pluck back the offering when it is too late. . . . The statement in the playbill that this piece is ' original' must be taken cum grano salis, for the first prologue is, at any rate, borrowed from the well- CELESTE MADAME. 79 known French drama of ' Marie ! Jeanne,' in which Mdlle. Clarisse j Nurvy distinguished herself at the St. James's Theatre. Probably, too, | some Gallic paternity might be found for the other acts, and even if that is not the case, the incident of the watch ; too much resembles the old story of the ' Maid and the Magpie ' to be con- sidered the result of invention. But even though we set aside the claim to originality, the author is entitled to great praise for the skill with which he has woven several heterogeneous elements into one continuous plot, which increases in interest the more it is developed. . . . The piece is well acted in every part. We have already mentioned the force with which Madame Celeste represents the sufferings of the mother, and the one scene of the Foundling Hospital is certainly the most striking as far as this lady is concerned. But the daughter, at first active, bustling, and unromantic, and afterwards idealized by sorrow, is a good part, and the character is thoroughly depicted by Madame Celeste in all its various details."— Times, Feb. 6, 1855. On Wednesday, June 20, 1S55, first performance at the Adelphi Theatre of ' Helping Hands,' by Tom Taylor, Madame Celeste sustained the character of Mar- garet Hartmann. In the Christ- mas Pantomime of the same year (' Jack and the Beanstalk,') at the same theatre, she played Harle- quin. In 1858, Monday, January 18, she was the original Marie Leroux, first performance of Watts Phillips's ' Poor 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 EOr/ne, in the drama of that title, translated from M. Emilc de la Roche's play. " Last night Madame Celeste, who has entered upon an engagement at this theatre, made her first appear- ance in a new drama, bearing the semi-romantic, semi-scientific title of ' Marion de L'Orme ; or, the Cradle of Steam.' This piece, expressly written, it appears, for Madame Ce- leste by a French author, has never been acted on the French stage, but has been translated for the Lyceum by Mr. Falconer. Though divided into three acts, the story is of the slightest and thinnest material, while the action and dialogue are so con- sonant with the plot that the drama might be witnessed by the most ex- excitable person without the slightest fear for the result. It serves as a display for Madame Celeste's talent, but only much in the same way as a Sunday hired hack would serve as a display for Madame Ella'> riding ; with any actress not ranking equally high with the public in the principal character, we should question the success of ' Marion de L'Orme.' The plot is soon described. Solomon de Caus (Mr. Emery) is a mechanician, who has actually made some pre- liminary discoveries in the motive power of steam. He has a wife, who is paid great attention to by the villain of the story, Doctor Estignac, who uses his influence with Richelieu to have Solomon incarcerated in the Bicetre as a lunatic. The half-crazed mechanician has, however, a friend in Marion de L'Orme (Madame Celeste), who is always arriving at opportune moments, who exposes Estignac to Richelieu, showing the Cardinal that his supposed agent was really in the pay of his enemy Mazarin, and who finally procures the liberation of Solomon and the imprisonment of Estignac. Literally this is the entire story of what filled three acts, and consumed upwards of two hours in stage narration. To Madame Celeste too much praise cannot be awarded, and when we say that the whole weight of the piece rested on her, it may be imagined what a burden she had to bear, but she played with a So THE DRAMATIC LIST spirit, vivacity, and verve which carried all before them, and brightened up even this very heavy drama. She was greeted with the heartiest recep- tion, and loudly summoned before the curtain at the end of each act." — Daily A T ews, Jan. 4, 1859. In the following 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 Mon- day, January 30, i860, a play founded on Charles Dickens's ' Tale of Two Cities,' and sus- tained in it the character of Madame Defarge. On Monday, March 19, of the same year, at the Lyceum, she performed the part of the Abbe Vaudrenil (after- wards a favourite character with Madame Celeste) in a play of that title by the late Colonel Addison ; and on Monday, No- vember 12 of the same year, Adricnne de Beaapre, in a drama entitled 'Adrienne; or, the Secret of a Life.' " A very well constructed and effec- tive drama, in three acts, produced last night at the above theatre (the Lyceum), under the title of 'Adrienne; or, the Secret of a Life,' is likely, we should think, to prove the most successful piece which Madame Ce- leste has brought out since her acces- sion to managerial power. The in- cidents 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 through- out. 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, Nov. 13, i860. " The Lyceum is also fortunate in its new piece, called ' Adrienne.' It is only a melodrama, but it is also wholly a melodrama, well put together by Mr. Leslie, an old actor, well suited to Madame Celeste and the resources of her house, in which it is acted with a neatness that makes every situation tell in the best manner. There is a story that engages interest throughout, there is no wordiness, and if there be no originality, there is no pretension. The audience is com- pletely entertained, and the house now begins to fill as it should." — Examiner, Nov. 17, i860. On Monday, February 11, 1861, was produced at the Lyceum, ' The House on the Bridge of Notre Dame ' (translated from the French of MM. T. Barriere 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. "A version of one of the latest Parisian dramatic successes was pro- duced here (the Lyceum) on Monday, under the title of ' The House on the Bridge of Notre Dame,' adapted from the piece of the same title which has recently been played at the Ambigu C omique for nearly two hundred nights. It is a piece of the true French school, strong in interest, improbable but in- genious in plot, and abounding in effective situations. The chief inci- dents turn upon the supposed murder of a young nobleman, at the instance of an uncle, who considers himself the rightful heir to property to which his nephew has succeeded, and the as- sumption of the latter's position by a gipsy who resembles him exactly in person. Of course, in the end it turns out that the heir was not actually killed, but only wounded, and his life CELESTE, MADAME. 81 preserved by a lawyer's clerk, who is the comic character of the drama. The two parts are played by Madame Celeste with all that melodramatic force for which she is so celebrated, and the two most striking situations in the piece are, perhaps, those in which first being supposed to be killed as the nobleman, she suddenly reappears as the gipsy; and again in the last scene, where the gipsy dies on the stage and the heir suddenly reappears. The rapidity with which these changes were effected was extra- ordinary. Of the other personages there is no striking characteristic to be noticed. There is a heroine touch- ingly played by Miss Kate Saville, and a villain quietly, yet forcibly, depicted by Mr. George Vining, with Mr. Villiers as a villain of as deep a dye, but a lower grade ; and as a re- lief to the serious interest, the lawyer's clerk above mentioned — Mr. John Rouse. As a piece of its class, ' The House on the Bridge of Notre Dame ' may rank with many plays that have proved eminently successful ; but it is not stronger nor better than most of its predecessors. The stage arrangements are excellent, and there is some good new scenery, the most effective scene being the first of the third act, which represents an old house built on the bridge, which is really so constructed as to allow of simultaneous action taking place in its various apart- ments. On the fall of the curtain Madame Celeste was called for, and announced the new drama for repe- tition every evening." — Standard, Feb. 13, 1861. " Under the title of ' The House on the Bridge of Notre Dame,' a version was last night produced by M adame Ce- leste, of the celebrated Ambigudrama, from the pen of MM. Theodore Bar- riereand IIenrideKock,ahundred and eighty representations of which estab- lished its popularity with the Parisian public. The story is one of powerful interest, and the play itself is full of stirring dramatic situations, and is, moreover, very artistically constructed. In the adaptation, the five acts have been compressed into three, and seve- ral of the incidents have of necessity been brought somewhat too closely together ; a little judicious compres- sion will, however, impart closeness both to the dialogue and the develop- ment of the plot, and will increase, rather than diminish, the marked and striking interests in which the intrigue abounds. The class of melodrama to which ' The House on the Bridge of Notre Dame ' belongs is that of which the Courier of Lyons was no unfav- ourable specimen. The present work is highly elaborated in every respect, and the method in which the mystery is finally evolved out of the mess of crime surrounding it from beginning to end is thoroughly ingenious and effective. The office of adapter has been, upon the whole, sufficiently performed by Mr. Rophino Lacy ; and the drama is placed upon the stage with great care, and is generally acted with considerable skill ; the mechanical contrivances being devised with a dexterity that enhances mate- rially the merit of the chief features of the story The story .... is developed with great minuteness ; and the manner in which Madame Ce- leste effects her remarkable ' changes ' between Zambaro and Ernest de la Garde is extraordinary for rapidity and tact ; her acting, moreover, is ear- nest, artistic, and intelligent through- out, and was received with constant applause by a numerous audience." — Daily Telegraph, Feb. 12, 1861. In 1863 Madame Celeste em- barked on a lengthened foreign tour, and did not appear again on the London stage until 1868, in which year, on Easter Monday (April 1 3) 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 pro- fessional career to an end. In G 82 THE DRAMATIC LIST. May 1869, at the Princess's Theatre, she played Josephine Dubosc, first performance of Dion Boucicault's drama, ' Presumptive Evidence.' In the following year, on Saturday, October 22, 1870, she played 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 repre- sentation, it may safely be said that it can scarcely be told from the earliest. When the actress crossed the familiar bridge behind the log cabin, her ap- pearance was precisely that of former years, and neither voice, accent, or bearing dispelled the illusion created." — Athencsum, Oct. 29, 1870. 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 Vaudreuil and Miami. " Amidst the warmest wishes for her welfare that a very crowded, ex- ceedingly 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 apparently 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 designed to give employ- ment to this special talent. What Mdlle. (sic) Celeste could accomplish as an intelligent interpreter of the mysteries of the ballet was sufficiently manifested in her performance of the dumb girl Fenella in the opera of ' Masaniello,' her graceful evolutions as Zelica in the opera of ' Maid of Cashmere,' her earnestness of manner in the famous Covent Garden spectacle of ' The Revolt of the Harem,' and her lively action as the leader of the ' Danse des Folies ' in the opera of ' Gustavus the Third.' Dramatists, however, soon recognised the advantage of turning these capa- bilities to greater account ; and in such pieces as 'The Arab Boy,' 'The French Spy,' ' Prince Lee 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 inti- mately 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 dis- played ; 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 origin- ally given them their early popularity. Recalling these and many other such memories of a brightly-illuminated theatrical past, elder play-goers mingled on Saturday night with those of the present generation, and shared together sympathies, regrets, and con- gratulations. " That Madame Celeste now retires from us in full possession of all her powers was sufficiently evinced CHIPPENDALE, W. H. 83 by her admirable performance of the Abbe 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 experience of physical de- ficiencies 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 beneficiaire. 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 Telegraphy Dec. 19, 1870. Madame Celeste appeared sub- sequently at the Adelphi Theatre, in September 1872, for twelve nights ; in November 1873 f° r eleven nights ; and in October 1874 f° r 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. CHIPPENDALE, WILLI AM HENRY. Born in London, 1 80 1. Was educated to the stage from childhood, and played under the auspices of his father, some- time an actor of the Hay market Theatre, in various children's parts to several members of the Kemble family. Entered the dramatic pro- fession proper in 18 19, appearing at Montrose as David in 'The Rivals.' In the year following, Mr. Chippendale became a mem- ber of Mr. Alexander's company in Scotland, playing in Glasgow, Carlisle, Whitehaven, and other towns of his " circuit " up to the year 1S36. In that year, 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 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, pre- determined piece of acting. The pas- sion was in no degree exaggerated, nor did it seem to fall short of the natural expression. But the character did not secure that marked promin- ence among the dramatis persona which we have seen it assume with our greater English actors." — Athenceum, April 2, 1S53. " The performances last night com- menced with the comedy of ' The Rivals,' in which the following mem- bers of the old company appeared : — Mr. Howe, as Falkland ; Mrs. Buck- ingham, as Julia j .Miss Reynolds as Lydia Languish ; Mr. Rogers, as David; and Mr. Clarke as Fag. Mr. Chippendale, of the Park Theatre, New York, made his first appearance in London in the character of Sir Anthony Absolute, and, notwithstand- ing some peculiarities of diction, he bids fair to be a valuable accession to the stage in the department of 'old men's' business." — Times, March 29, 1853- 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 G 2 84 THE DRAMA TIC LIST. fulfilling, for a part of the time, the duties of stage manager. The following, among other leading parts played by Mr. Chippendale during his long engagement at the Hay market, are deserving of being mentioned, viz., Lord Betterton, in 'Elopements in High Life,' first performed at the Haymarket Theatre, Thursday, April 7, 1853 ; Sir Francis Gripe, in Mrs. Cent- livre's comedy, ' The Busy-body,' " 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 Honeybun, in ' The Contested Election,' by Tom Tay- lor, first performed at the Hay- market 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 Commissioner Colepepper. He played the part of Ingot, first performance at the Haymarket of ' David Garrick,' Saturday, April 30, 1864 ; and Mr. Fox Bromley, first perform- ance at the same theatre, Monday, April 2, 1866, of Westland Mars- ton'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. Chip- pendale played Lord Duberly. January 1867, first performance of Tom Taylor's comedy, ' A Lesson for Life,' he sustained 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 performance at the Haymarket Theatre of Mr. Tom Taylor's comedy, ' New Men and Old Acres,' Mr. Chippendale sus- tained 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 AtJicnceum of the en- suing week made the following remarks : " The best imperson- ation in the entire performance, is, however, the Sir Anthony of Mr. Chippendale. A little stiff- ness and formality which distin- guished Mr. Chippendale's early representations 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 re- presentation has the courtliness without which a character such as this is apt to grow unpleasant." Perhaps the most important and best appreciated imperson- ations 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 (September 1874-June 1875), Mr. Chippendale played the part of Polonius. Since that time he has appeared on various occasions at London and pro- vincial theatres. In August 1878, he engaged the Chippendale Comedy Company ' for a series of farewell performances in the pro- CLARKE, JOHN. 85 vinces of those plays in which his reputation was first made, " previous to his retirement from the stage." CHIPPENDALE, MARY J. {ne'e SNOWDON.) Born at Salis- bury. Entered the dramatic pro- fession in 1854 as member of a company of comedians perform- ing in a small circuit of towns in the west of England. After- wards joined the Theatre Royal, Dublin, and remained a member of the company there for two years. Made her professional debut 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, made her first appear- ance on the London stage at the Haymarket Theatre in the part of Mrs. Malaprop in 'The Ri- vals.' In 1866 Miss Snowdon was married to Mr. Chippendale of the same theatre. Mrs. Chip- pendale 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 subsequently (1878) joined the company of the Lyceum Theatre, where she per- formed the character of Martha (wife of Marcel) in a revival of ' Louis the Eleventh.' Two of the most important of Mrs. Chip- pendale's impersonations are Mrs. Candour (' The School for Scan- dal 'j and Mrs. Malaprop (' The Rivals '). CLARKE, JOHN. Made his first appearance on the London stage at Drury Lane Theatre October 7, 1852, in the part of Fathom in ' The Hunchback.' The same year he accepted an engagement at the Strand Theatre (then known as " Punch's Play- house "), and was connected with this theatre as a leading actor in burlesque and the domestic drama, its leading specialities, for some years. Among the more suc- cessful pieces in which Mr. Clarke has sustained a leading role during the first period of his long con- nection with the London stage the following may be mentioned, viz., ' Electra,' a burlesque by Frank Talfourd, first performed at the Haymarket Theatre in April 1859 ; ' The Very Latest Edition of the Lady of Lyons,' first per- formed at the Strand Theatre in 1859; a burlesque entitled 'The Maid and the Magpie,' first per- formed 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,' by Mr. H. J. Byron, performed at the same theatre in April 1861 ; ' Aladdin ; or, the Wonderful Scamp,' produced the same month ; ' Orange Blossoms,' by Mr. J. P. Wooler, performed at the same theatre in February 1862. To mention in detail the various characters in which Mr. Clarke appeared during his en- gagement 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 Wed- nesday, May 11, first performance 86 THE DRAMATIC LIST. of Mr. Boucicault's play entitled 'The Fox Chase,' Mr. Clarke played the part of Twining, alias t lie 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 ! Son- nambula ! 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 di Lammermoor in Mr. H. J. Byron's burlesque of that title, then first performed at the same theatre. On Saturday, Novem- ber 11, 1865, Mr. Clarke sustained the part of John Chodd, first per- formance of T. W. Robertson's comedy ' Society.' (See Ban- croft, Marie E.) On Saturday, September 15, 1866, at the Prince of Wales's Theatre, he undertook the character of Hugh Chalcot, first performance of T. W. Robert- son's comedy entitled ' Ours.' " Mr. J. Clarke appears to great advantage as Hugh Chalcot, a character affording no scope for the exuberant humour which is usually expected from this clever comedian, but sus- tained by him with an amount of artistic skill which is thoroughly appreciated by his audience." — Daily Telegraph, Sept. 19, 1866. On Monday, March 2, 1868, at the Olympic Theatre he sustained the part of Sarah Gamp in a dra- matic version of ' Martin Chuzzle- wit.' On Saturday, November 28 of the same year, on the occasion of the opening of the Globe The- atre, he played the part of 'Matthew Pincher, first performance of Byron's comedy ' Cyril's Success.' "The chief humour of the play 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 degenerate into a mere mannerist. His hard but dis- tinct 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 ' in- compatibility of ideas on the subject of cookery,' was one of the drollest in the play — the humour being heightened by the incomparable act- ing of Mrs. Stephens." — Daily News, Nov. 30, 1868. 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. "Mr. Clarke has rarely appeared to greater advantage than in the character of Mould, the humble, ill- treated, hen-pecked, sottish messenger in Murgatroyd's office, who occasion- ally plucks up a spirit, and defies the authority of his tyrant wife. His make-up alone is an effort far beyond the reach of inferior artists." — Daily Ntws, Oct. 25, 1869. On Monday, June 10, 1872,' at the Princess's Theatre, in a revival by Mr. Charles Fechter of ' Ham- let,' Mr. Clarke personated the First Grave Digger. On Satur- day, March 21, 1874, on the oc- casion 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, S queers. Mr. John Clarke has appeared at all the principal theatres in London, and has been very successful in the provinces. CLARKE, JOHN S. 87 CLARKE, JOHN S. Born in Baltimore, Maryland, United States of America, in 1834. Is of English 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 merchant in the Strand. 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, made his professional debut at the old Chestnut Street Theatre, Phila- delphia, in the part of Soto, in a revival of Cibber's play ' She Would and She Would Not.' Subsequently became leading co- median of the Front Street Theatre in that city ; and after- wards, 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 sub- sequently 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 first appearance on the London stage at the St. James's Theatre as Major Wellington de Boots (a very eccentric part, origi- nally sustained by Mr. Buckstone) in Stirling Coyne's comedietta, 1 Everybody's Friend,' altered to the title of 'A Widow Hunt.' Mr. Coyne had remodelled the play and strengthened the part especi- ally for Mr. Clarke. "Transatlantic reputations of actors and actresses, as of other artists, are exposed to a severe test when they are staked on this side the water. At home their fame is usually the result of many successes and of long and wide experience of power ; here the judgment of a new and strange public is challenged on a single performance, often not the most favourable to a display of the performer's real merits. Mr. J. S. Clarke, who last night appeared at the St. James's Theatre, enjoys, we are assured, a reputation in the United States, such as it would not be easy to account for by anything in his Major Wellington de Boots, in a slightly altered version of Mr. Stirling Coyne's popular comedy of ' Everybody's Friend,' brought out under the new title of the ' Widow Hunt.' The part was originally played by Mr. Buckstone, and the colouring given to it by him was quite rich enough in its way, no doubt, to satisfy the author and the public. But, for some reason or other, the part seems to have been selected in the United States as a good canvas for weaving together the broadest effects of stage caricature. We saw a Mr. Wolcot, an actor also of established New York reputation in the part at the Olympic, nearly two years ago, and, though his worn-out physique only enabled him to give an outline of his conception, this was grotesque to extravagance. Mr. Clarke, in his treatment of the part, seems to have followed in the tracks of Mr. Wolcot, only exaggerat- ing his exaggeration and out-Herod- ing his absurdities. The result is a caricature, not a character, funny and clever enough in its'way, no doubt, for those who hold that exaggeration is of the essence of low comedy, and that forcing laughs is the legitimate aim of the low comedian, but to our notions quite away from true histri- onic art. By the sound rule of that art we submit that it is the business — often the ungrateful business — of the low comedian to give nature too much that is unnatural in the matter pro- vided for him by the playwright, and that in the wildest play of fun and gro- 88 THE DRAMATIC LIST. tesque fancy, truth, probability, and consistency of effect, may be kept in view by the thorough dramatic artist. Mr. J. S. Clarke troubles himself little, apparently, about truth, proba- bility, or consistency, and is intent to ' charge ' his acting to the muzzle with absurdity, and to court laughter by worthy or unworthy means indiscrimi- nately. He gets his laughter, but, at "the same time, he forfeits his claim to be gravely judged as an artist. If he is an artist in the serious sense of the word — an actor who has the power of embodying humorous character by humorous, but not impossible strokes — he has yet to prove it in some other assumption than his Major dc Boots." — Times, Oct. 18, 1867. " Although originally sustained by Mr. Buckstone, the character was certainly not considered, at the period of its first introduction to the Hay- market about eight years ago, remark- able as being the central figure of the drama. In America, it has, however, grown up apparently into a figure of overshadowing magnitude, which, as in the case of Lord Dundreary in ' Our American Cousin,' has completely thrown the other personages into the shade The American come- dian (Mr. J. S. Clarke) who brings with him no accent which might not have been acquired within the sound of Bow Bells, has 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-ex- pressive features, abundantly employ- ing illustrative gesture, and filling up the action with a multitude of small details, which, if occasionally extrava- gant, are invariably funny, Mr. J. S. Clarke established the character last night in a higher position than it had hitherto held in these latitudes. The affected swagger, with the conscious- ness of cowardice, and the domineer- ing 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 confi- dently refer in evidence of his com- plete success, and the recall which followed the close of his performance was of that kind which denotes a genuine feeling of general satisfac- tion."— Daily Telegraph, Oct. 17, 1867. In February 1868, at the Prin- cess's Theatre, he played the part of Salem Saidder in a revival of the ' Octoroon.' Subsequently, in the same year, he appeared at various towns in the provinces, and afterwards returned to the Strand Theatre, where he played Young Gosling in a piece en- titled ' Fox versus Goose.' Mon- day, July 26, 1869, at this theatre, he appeared in a leading role (Babi)iglon Jones), in a comedy by John Brougham, entitled ' Among the Breakers.' " 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 mis- fortunes 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 merri- ment. 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." — Athenccum, July 31, 1869. Afterwards at the same theatre during the same year he played Toodles (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.' " The success of the comedy, which was produced for the first time in CLARKE, JOHN S. 89 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, Fawcett's successor in the part, as superior in that 'stiff solemnity and slowness of utterance,' appropriate to the obse- quious 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 recognise, even under the quaint wig and Georgian clerical costume, our old friends Wellington de Boots and Timothy Toodles ; but there are still abundance of touches in his perform- ance — like his sudden and serious contemplation of the old chandler's countenance to watch the effect of his magnificent Latin and Greek quota- tions — which are really artistic and new." — Daily News, Feb. 7, 1870. " Those who associate this mirth- ful little theatre with entertainments of the lightest class will be sur- prised 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 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. Pangloss, 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 not a dry pedant, but a genial swindler with pedantic embellishments, who has the greatest difficulty in concealing 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 de- manding an amendment, the embodied spirit of insinuation. On one occasion only is he thoroughly grave, and that is when he is compelled 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." — Times, Feb. 7, 1870. Mr. Clarke reappeared with considerable eclat in New York, April 17, 1870, and subsequently performed with much success dur- ing the same year at the various principal cities in the United States. In July 187 1 he returned to Eng- land, 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.' "After an absence in the United States of some months, Mr. J. S. Clarke has returned to England, and has once more taken up his quarters at the little theatre in which he first won his English reputation. Hence Mr. Craven's 'Meg's Diversions' has 9 o THE DRAMATIC LIST. been withdrawn to make way for a piece affording opportunities for the display of the peculiar talents of this eccentric but thoroughly original and amusing actor. The great success of ' The Heir-at-Law,' in which Mr. Clarke's Pangloss will be long remem- bered, has naturally 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 play- goers, 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 honourable superannuation. No one, however, who witnessed the performance of ' The Heir-at-Law ' at the Strand will be disposed 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. In this respect there is certainly nothing to complain of in these Strand revivals. Indeed, nothing is more striking than the strength of the com- pany at this theatre for the perform- ance of comedies of this kind. There seems, therefore, some reason to con- clude that the production of standard comedies of English literature will gradually become the special feature of the Strand programmes. Any way, ' The Heir-at-Law ' was exceed- ingly popular ; and the ' Poor Gentle- man,' which was performed for the first time on Saturday evening, gives abundant promise of a career no less successful. " Ollapod, it must be confessed, is a character neither so amusing in itself nor so completely worked out as the part of the obsequious 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, how- ever, are at least conceivable ; and it would be a great mistake to condemn them simply because they are artificial creations. The fact is, that our capa- city for enjoying the inventions of the novelist's or the dramatist's brain is by no means strictly limited to the pro- bable, much less to average types of men. Some of the most successful of stage characters — -Paul Pry and Lord Dundreary for example — are person- ages 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 re- mote from human traits. Thus the toadying and pliant ' bear-leader ' of old times is, after all, the foundation of Pangloss, as is the country apo- thecary of Colman's days, with his narrow views of life, his bland ser- vility and fussy patriotism, the founda- tion of Ollapod. The queer habits and sayings with which they are in- vested are the mannerisms of the author, whose thorough knowledge 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 per- forming 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 specta- tor 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 ad- mirers will understand, the same con- strained 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 eccen- tric apothecary. But all these things are very droll in themselves, and the CLARKE, JOHN S. 9i ungainly attitudes of the proprietor of the Galen's head when in his full regi- mentals — including the traditional large brass helmet — are irresistibly comic. It is hardly necessary to say that Mr. Clarke received from a crowded audience an enthusiastic welcome, and that his reappearance on the stage at any moment was the signal for renewed laughter." — Daily News, March 11, 1872. "The younger Colman's 'Poor Gentleman,' though it has not merged into utter oblivion, has not held the stage with the same tenacity as ' The Heir-at-Law.' In the ' Poor Gentle- man ' there is a predominance of that dismal sentimentalism to which the name 'clap- trap' is now becoming less and less appropriate. ' The Heir- at-Law,' not free from the same malady, abounds with that genial ' fun ' which can defy a century of wear and tear. At the Strand The- atre ' The Poor Gentleman ' has, nevertheless, been revived with im- mense success. Let it not be under- stood that this fact implies a reaction in favour of ' fine old comedy.' The school to which the younger Col- man's comedies belong is not very old, and not at all fine. The crowds who frequent the Strand Theatre go to see their well-established favourite, Mr. John S. Clarke, who has come back from the United States, after an absence of several months, and now reappears as Dr. Ollapod. What is Dr. Ollapod ? His name points to- wards the Peninsula, being evidently an abbreviation of the Spanish Olla- podrida. And no doubt the younger Colman had in his mind the Penin- sular luxury, which combines all sorts of strongly-flavoured materials, when he put on the stage a complex being who, in the first place, is a village apothecary, who is, in the second place, a military volunteer, not in the least resembling a modern rifleman, and who, in the third place, always acknowledges a repartee with the set phrase, 'Thank ye, good sir, I owe you one.' Whether anybody in actual life ever made use of this peculiar form of gratitude is a question for archaeologists. Certain it is that the power of using this ' retort courteous ' is the most valuable attribute of Dr. Ollapod. Now Mr. J. S. Clarke, reap- pearing at the Strand Theatre as this same military apothecary, gives a signal for unlimited laughter. He is one of those few artists that can command a 'guffaw.' There is not a living soul to whom the merely written Dr. Ollapod can appear as a recognizable entity. But with our humorous American's Ollapod it is another matter. Everybody understands the inexhaustible source of facial humour from which Mr. Clarke has drawn full measure of genial recreation. Dr. Ollapod does not afford him such free play as Dr. Pangloss, who holds a license for the most extravagant of absurdities ; but within limits he does his best. He radiates in the self- complacency which is the basis of his character, and the people who look upon him radiate likewise." — Times, March 15, 1872. On Thursday, June 27, 1872, at the Strand, he performed the part of Paul Pry in Poole's well-known 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 impersonation of Paul Pry, the hero of Poole's well-known comedy, has much in common with his Dr. Ollapod and Dr. Pangloss. In absolute extrava- gance of drollery Mr. Clarke ap- proaches nearer Piston perhaps than any subsequent interpreter of the character first named. THE DRAMATIC LIST. In November 1872, Mr. J. S. Clarke 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 appeared from time to time in London in the round of characters already speci- fied. In 1874 (April) he appeared at the Holborn Theatre as Phineas Pettiephogge in a five-act melo- drama by H. J. Byron, entitled ' The Thumbscrew.' In 1878 he assumed the lesseeship and di- rection of the Haymarket Theatre. CLAYTON, JOHN, a nom de theatre (John Alfred Clay- ton Calthrop). Born at Gos- berton, Lincolnshire, February 14, 1845. 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 come- dietta entitled ' Six Months Ago,' in which his acting was favour- ably commented on. The same month of 1S67, at the same the- atre, he played the part of Laudry Barbcau in ' The Grasshopper,' a dramatization of Madame Du- devant's story, ' La Petite Fadette.' The piece had already been pre- sented in America. " The character of Landry was briefly and vigorously interpreted by Mr. Clayton, an actor of considerable promise, who has already excited at- tention." — Athenceum, August 24, 1867. March 27, 1869, first perform- ance of T. W. Robertson's co- medy, ' Dreams,' he played the part of Earl Mount Forrestcourt. At the Gaiety Theatre in the July following, first performance of W. S. Gilbert's comedy, « An Old Score,' sustained the part of young Calthorpe. The same year, Mon- day, October 11, at the same theatre, first performance of ' A Life Chase' (by Messrs. Oxen- ford and H. Wigan) Mr. Clayton played Vaubert. In December of the same year, at the Gaiety, he was the original Joe Lcii/iaid, first performance of ' Uncle Dick's Darling.' In 1876, (Feb- ruary) at the Princess's, played Nigel in a revival of ' The King o' Scots'; (May) at the Court Theatre, in a dramatic version of ' Great Expectations,' the part of J aggers j and (November) the part of Mr. Jormell, first per- formance at the same theatre of H. T. Craven's comedy, 'Coals of Fire.' In July 1872, at the 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 nights, being the long- est " run " Sheridan's immortal co- medy has yet obtained. In a second adaptation of 'Marcel' (MM. Sandeau and Decourcelle) entitled ' Awaking,' first performed at the Gaiety Theatre, December 14, 1 87 2, Mr. Clayton sustained the leading role. " A new version of ' Marcel,' produced at the Gaiety Theatre on Saturday morning, on the occasion of Mr. John Clayton's benefit, has af- forded that gentleman an opportunity of appearing in the character of the unhappy father, whose gradual resto- ration to reason constitutes the theme of the piece. In noticing the version by Mr. Clement Scott, recently pro- duced at the Globe, we pointed out some of the reasons which appear to us to render it improbable that Messrs. Sandeau and Decourcelle's little drama will be found as acceptable to English as it has proved to French audiences. CLA YTON, JOHN. 93 After witnessing another performance of the same piece in a new rendering, and with a cast certainly not inferior to that of the Globe, we find no reason to modify the views already expressed. The fact is, that in ' Marcel ; or, Awaking,' as the latest adapter, Mr. Campbell Clarke, has thought fit to entitle it, the element of pain pre- dominates over that of moral beauty to a degree altogether opposed to fundamental principles of art. It is true that the foundation of the drama is a tender and pathetic story of domestic calamity ; but of this story the spectator only hears. What he sees is the monomaniacal father, and his attention is from first to last almost entirely directed to the manifestations of his disease. How to get the patient better by a course of well-intentioned falsehoods is the somewhat monotonous problem in which the minor characters are always absorbed ; but after all, the details of the sufferings of the crazy gentleman, who from his first appearance is never off the stage, are the only really pro- minent features of the performance. .... It appears that the authors regard the piece as presenting a ' psychological study,' a claim which is perhaps more than doubtful. This is, however, a matter of little import- ance, as a very good psychological study is not necessarily an effective play. The part of the father is repre- sented by Mr. Clayton with great power, and, we believe, with much fidelity to nature. His restless move- ments and his sleepless eyes are terribly suggestive of the confirmed monomaniac, and it is not the fault of the actor that he nevertheless drops asleep very easily when the exigencies of the story require him so to do. When ho glances furtively about him in quest of some fancied danger ; when he presses his palms upon his head ; when he utters loud cries of pain, or throws himself upon a couch, cover- ing his eyes to avoid some sight that he dreads ; when he bursts into accents of joy and relapses again into wild cries of despair, it is impossible that the audience should remain unmoved. But the whole performance appears to us to be based upon an erroneous principle, for which authors and actor are jointly responsible. The simple truth is, that excellent copies of nature may make very bad pictures. . . . It would be unjust, however, to Mr. Clayton not to notice some of the more delicate and really artistic points in his impersonation. Though his voice is 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 seems, unfortunately, unable to shake off some mannerisms — a peculiar rolling gait, for example — in many passages he fairly surmounts all dis- advantages. 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, are depicted by him with much subtlety and power ; but the most touching part of his performance is in the closing scene, when a simple exclama- tion 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. In preferring to retain this unaffected conclusion rather than to imitate the somewhat elaborate sentiment of the termination of the version at the Globe, the present adapter has, we think, shown a sound judgment.'' — Daily News, Dec. 17, 1872. In 1873, Saturday, September 27, revival at the Lyceum Theatre of ' Richelieu,' Mr. Irving in the title role, Mr. Clayton sustained the part of Louis XIII. The fol- lowing year (1874), Saturday, Feb- ruary 7, in a new drama produced on that date at the Lyceum Theatre, entitled ' Philip ' (Hamil- ton Aide), he played the character, Juan de Miraflore. Saturday, March 13, 1875, opening of the 94 THE DRAMA TIC LIST. Court Theatre under Air. Hare's management, in a new comedy by Mr. Charles Coghlan, entitled ' Lady Flora,' Mr. Clayton sus- tained the part of George de Chavannes. The same year, 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 cha- racter was so successful that he afterwards performed it in London and the provinces for a period of nearly two years. " 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 appre- ciating 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 ap- plication and rare industry, and has secured his success by one of those im- pulsive 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 playgoers in urging particular atten- tion to this new play, ' All 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 Mr. Clayton. But there are times when it appears to be the duty of the critic to abandon the dull office of chronicler, and to lead a cheerful chorus of congratula- tion. 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." — Daily 'Telegraph, Oct. 20, 1875. " 'All for Her ' is certainly the most powerfully written play which has been seen on the English stage for some years 'All for Her ' was well played in Holbom, but it is still better played in St. James's. It does not often fall to the lot of an actor to have such a part as that of Hugh Trevor assigned to him ; but, on the other hand, it is not everyone who can grasp his opportunity when it is before him. This Mr. Clayton has done. It would have been easy to make Trevor, the poor, reckless, good-for-nothing drunkard, a very repulsive person ; but this Mr. Clayton has not done. Philip, drunk or sober, is still a gentleman, and from first to" last this fact is kept before us with exceptional art. So 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 the only proof of his legitimacy, and the last great sacrifice at the close of the play, seem to us, while we fully recognise their nobility, hardly more than a man placed in Trevor's position would have done. We are pleased, too, to note another point, and no common one, in Mr. Clayton's acting. Such a part, demanding the exercise of physical as well as other powers, when played night after night, is terribly susceptible, as we have many proofs, 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 seems to us that Mr. Clayton has modified one or two little trifling excesses of voice and gesture which were apparent in the earlier repre- sentations."— Times, Jan. 13, 1876. Saturday, January 6, 1877, first performance at St. James's Theatre of the English version of ' The Danischeffs,' Mr. Clayton sustained the character of Osip. In 1878, January 12, first perform- ance at the Prince of Wales's of ' Diplomacy,' he played the part of Henry Beauclerc. CLEMENTS, F. 95 "The two great scenes in this play are the second and third acts. On these rested the fame of the French piece, which, in other respects, was considered to be occasionally too dif- fuse and slightly deficient in vitality. The first of these scenes, however, has acquired a distinction unusual even among the great traditions of the French stage, and the correspond- ing scene in the English piece may well 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 traitress and a spy. The friend learning too late the indiscretion of which he has been guilty, would re- tract his words, but he is forced to speak, and establishes what cannot but seem conclusive proof of the truth of what he has said. The husband refusing to believe, and yet scarcely daring to disbelieve, what he has heard, spares no effort to establish his wife's 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 for- giveness, and recrimination, alter- nately advanced and withheld, part to meet, they vow, no more. The closing act is occupied with the resto- ration 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 hirn. The means by which a happy conclusion is at- tained, though somewhat weak in art, and apt, perhaps, to strike the spec- tator as more ingenious than ingenu- ous, 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. Ban- croft, 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 pre- sented as it is by these three gentle- men, it brought down from all quar- ters 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 On Mr. Clayton's shoulders devolved, perhaps, the hard-* est 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 se- verity 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 perform- ance, 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 con- duct is, we suppose, more directly indicated by the text." — Times, Jan. 21, 1878. CLEMENTS, FRANK. Born in Aberdeen, July 8, 1844. Studied for the Church of Scotland at King's College, Aberdeen, for some time; but, finally, in 1861 left that University and entered the dramatic profession. In the same year appeared on the stage for the first time at the New Theatre, Birmingham, and after- wards entered upon engagements at various theatres in the pro- vinces. His first engagement as " leading actor " was at the The- atre Royal, Birmingham, where Mr. Clements remained during two years, appearing from time 9 6 THE DRAMA TIC LIST. to time in the following parts, viz., Macbeth, I ago, Claude. Melnotte, Master Walter, Romeo, Richard III, &c. Undertook in 1869 the management and leading business at the Theatre Royal, Nottingham, for one year. In 1870 returned to the Theatre Royal, Birmingham, as " leading actor," and remained a member of the company of that theatre until December 1873. In that month joined Mr. Sefton's travel- ling company to play leading parts in ' Pygmalion and Galatea ' and 1 The Palace of Truth.' In July 1874 made his first appearance in London at the Lyceum Theatre as Lord Moray in ' Charles I.' In March 1875 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 Claude was Mr. Frank Clements, who succeeded in creating a most favourable impression. To a good presence he adds the advantage of a pleasing and yet powerful voice, a graceful bearing, and a highly culti- vated and natural style." — Manchester Guardian. ' ' Mr. Clements played Macbeth with an intellectual power and dignity far above the average, and with an absence of staginess which cannot be too highly commended." — Liverpool Daily Post. Rejoined the Lyceum Company on its provincial tour in 1877. In 1878 in London sustained the part of Philip de Commutes in the revival of ' Louis XL' at the Lyceum Theatre. CLIFFORD, EDWIN. Born at King's Cliffe, Northamptonshire. Entered the dramatic profession in 1867. Accepted an engage- ment for three successive seasons at the Theatre Royal, Dundee, and subsequently passed into the company of Mr. Wilson Barrett. First appearance in London at the Surrey Theatre, September 24, 1876, in the character of Ishmael the Zingaro, in a romantic drama entitled ' The Shadow of Death.' " Mr. Clifford has a fine stage pre- sence, and his voice and distinct enunciation leave nothing to be de- sired. He is evidently a conscientious actor, and received a well-deserved amount of applause from a quiet and attentive audience." — Weekly Des- patch, Oct. 1, 1876. CLIFTON, FREDERIC. Born May 29, 1844. Entered the dramatic profession in 1861, mak- ing his first appearance at the Theatre Royal, Reading. After a varied experience in almost every line of theatrical business, accepted an engagement in 1865 as musical lecturer and enter- tainer at the Royal Polytechnic Institution. Subsequently fulfilled an engagement of a like character at the Crystal Palace. In 1868 appeared in London as the English original Krakwitz in Offenbach's ' Last of the Paladins.' Since then 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. Is at present (1878) en- gaged by Messrs. Gilbert and Sullivan at the Opdra Comique. Is the author of 'A Theory of Harmony,' published by Boosey and Co., and has composed the incidental music for several works. COLLETTE, CHARLES HENRY. Born in London, July CO MP TON, KATHERINE. 97 29, 1842. Was educated for the Army, and held a commission for seven years in the 3rd (Prince of Wales's) Dragoon Guards. Re- tired from the service in 1866, and two years afterwards (November 1868) he entered the dramatic profession. First appearance in London the same year at the Prince of Wales's Theatre in Ed- mund Yates's comedy, ' Tame Cats.' Among important imper- sonations sustained by Mr. Col- lette, subsequently, at this theatre, the following, in the " revivals " of the several plays to which each character relates, are deserving of being mentioned, tfiz., Colonel Berners, Sir Oliver Surface, Old Soiuerberry, Chillichutney, O'Sullivan (in 'Society'), Sir John Vesey, and Serjeant Jones (in 'Ours'). As Sir Patrick Liaidie, in a revival of Mr. Wilkie Collins's play of ' Man and Wile,' 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, Marylebone, Princess's, Opera Comique, and at the principal theatres in the provinces. Is the author of a farce entitled ' Crvp- toconchoidsyphonostomata,' the principal character in which {Plantagenet Smith) is a stage- creation of Mr. Collette's, and, it may be added, one in which he has secured well-merited popu- larity. COMPTON, KATHERINE mackenzie (katherine Mackenzie Critchett). Daughter of the well-known co- median, the late Henry Compton. Born in London. First appear- ance on any stage October 187.1, at the New Theatre Royal, Bris- tol, as Maria, in the ' School for Scandal.' 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. Oct. 18, 1875, under Mr. Sefton Parry's management, at the Theatre Royal, Hull, played the Dau- phin ('Louis XI.'), Mr. Charles Dillon in the title role. Continued at this theatre until February 1876. In July of the same year, at the Theatre Royal, Manchester, sus- tained the character of Emily Worthington in a revival of the comedy of 'The Poor Gentleman,' for her father's benefit. First ap- pearance in London at the Gaiety Theatre, May 2, 1877, as Julia (' The Rivals ), on the occasion of a benefit performance for Mrs. Chip- pendale. During the same year Miss Compton 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 Merritt). " Miss Compton thoroughly under- stood the character and was successful both in her love confession to her friend in the second act, and in the pretty boy and girl love scene at the end of the play." — Daily Telegraphy April 22, 1878. The part was played by Miss Compton until the termintaion of the season. CONWAY, H. B., a nam de theatre (H. B. Cuul.son). Born in 1850. Educated at Rossall School and the University of Berlin. Made his first appear- ance on the stage at the Olympic H 98 THE DRAMATIC LIST. Theatre in November 1872 in the part of Bernard, in Dubourg's play, ' Without Love.' Subse- quently sustained the part of David Copperfield in a revival of ' Little Em'ly.' In 1873, Septem- ber 27, in a revival of ' Richelieu' at the Lyceum Theatre, Mr. Con- way acted the part of Francois. At the same theatre, during sub- sequent 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 Ai'dd) ; 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. " The Romeo of Mr. Conway, whose juvenility might be considered far more favourable to his personal appearance in the character than to hopes of his rendering the part ade- quately, gained upon the audience as the play proceeded, and the actor fairly felt his ground as soon as some natural nervousness at venturing on such a bold effort was overcome. The youthfulness of his face and figure gave an interest to the imper- sonation seldom attained, and, con- sidering that the art of speaking blank verse is now but little cultivated among stage aspirants, his encounter with the textual difficulties of the cha- racter deserves the commemoration of a successful result." — Daily Telegraph, Jan. 19, 1876. " Mr. Conway's Romeo may be con- sidered the first effort in imaginative art of a young actor who has shown hitherto few qualifications beyond youth and good looks, with a modera- tion of style which, if not ascribable to timidity, is a sign of intelligence. As such it is a creditable impersona- tion. Mr. Conway's bearing is gal- lant, his speech is not wanting in passion, and his general rendering, except in the scene in the Friars cell — one of the most difficult in the drama — is effective." — Athenceutn, Jan. 22, 1876. At the Haymarket Theatre Mr. Conway has also at various times acted the following parts: — Orlando, in ' As You Like It ' ; Lucio, in ' Measure for Measure '; Lord Tinsel, in ' The Hunch- back ' ; Sebastian, in ' Twelfth Night,' in addition to various characters in less important pieces. " There was one performance, however, of marked excellence. This was the Lucio of Mr. H. B. Conway, who acted with such spirit and ease that he was enabled to brighten up the very scenes which most require careful handling. The success of Lucio was not alone due to a natural buoyancy of temperament, or to the mere physical advantage of youth. Mr. Conway understands the value of acting even in repose, as was observed in the scene where Isabella pleads for her brother's life. His anxious face throughout this interview materially assisted the situation and gave life to one of the best acted scenes in the play ; and in all the comedy passages with the Duke, Mr. Conway made his points as naturally and so genially that the audience followed the young Lucio with laughter and applause." — Daily Telegraph, April 3, 1876. The same year (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 CRAVEN, HENRY T. 99 for "juvenile lead." He has since that date appeared there as Julian Beauclcrc in ' Diplomacy.' C O U L S O N , H . B . See Conway, H. B. CRABBE, MRS. See HER- BERT, Louisa. CRAVEN, HENRY T. Dra- matist and actor. Bora in Lon- don, February 26, 1821. Entered the dramatic profession in 1840. Made his debut on the London stage in 1850 at Drury Lane The- atre, on which occasion he played Orlando in a revival of ' As You Like It,' Mrs. Nisbett 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 author, en- titled ' The Village Nightingale.' In 1854 Mr. Craven went to Aus- tralia, where he remained until 1859. In the year following he appeared at the St. James's The- atre 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 eveiy 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 simply turns upon a widow being entrapped into a marriage with one of six needy cavaliers, who, after the battle uf 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 varying 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, Feb. I, i860. Mr. Craven had decided upon retiring from the stage in this year ; but the death of Mr. Rob- son, 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, en- titled ' Milky White,' was pro- duced at the Strand, in which Mr. Craven himself undertook the role that he had intended for Mr. Robson. "The new two-act drama called 'Milky White,' which last night obtained a decided and deserved success at the Strand, is cast in the mould of those serio-comic pieces rendered by the acting of the late Mr. Robson so popular with the audiences of the Olympic. The author, Mr. H. T. Craven, has not only to be congratulated on the literary power and constructive skill with which he- has worked out an exceedingly original idea, but he has also to be compli- mented on the cleverness with which he has embodied the effective charac- ter who is the hero of the story so H 2 IOO THE DRAMATIC LIST. happily imagined. Already well known as a dramatist who has fur- nished the stage, in ' The Chimney Corner ' and the ' Post Boy,' with two excellent specimens of this class of composition, his histrionic achieve- ments have, in this country at least, scarcely been considered as promi- nently associated with his name. As an actor as well as an author Mr. Craven will henceforth find himself well remembered by the public. It would be difficult to name any come- dian 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 endangered by their utterance Mr. Craven has rendered 'Milky White' one of the most original and effective stage por- traitures of real life which has been ever included in the theatrical gallery." —Daily Telegraph, Sept. 29, 1864. "In 'Milky White' the author appeared as the exponent of his own creation. The character is decidedly original and was admirably supported; and we might ascribe to it the highest merit, but that, after all, the play is an actor's play and depends more on its stage points than its dramatic ones. .... The transitions of feeling were admirably indicated by Mr. Craven, who has not only thereby secured the success of his drama but established himself as an actor of whom the public will hope to see and hear more." — Athenaum, Oct. 8, 1864. This play had a great success, 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 Hill,' in which he sustained the part of Jack Salt. On October 17, 1866, he produced at the Royalty The- atre a new play entitled ' Meg's Diversion,' in which he appeared as Jasper. On Monday, No- vember 20, 1 87 1, at the Court Theatre, he produced ' Coals of Fire,' in which he sustained the character of Job Ricketts. Mr. Craven is a genuine humourist, 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 Mr. Craven in presenting, beneath a droll ex- terior underlying touches of subtle pathos. CRESWICK, WILLIAM. Born in 1813. 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. Nisbett's management. He played the part of Horace Meredith in a piece of Douglas Jerrold's called ' The Schoolfellow.' 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. Mars- ton were accustomed at times to perform Macbeth and Banquo 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 Street." Thus early did Mr. Creswick essay Shake- spearian character, in the presen- tation of which he became, in a few years, one of the most proficient of English actors. C RES WICK, WILLIAM. 101 He first appeared on the London stage, in Shakespearian drama, , July 25, 1846, at Sadler's Wells Theatre, during the third season j of Mr. S. Phelps"s management, in the part of Hoispur, Shake- speare's ' Henry IV.' "The appearance of this gentle- man (Mr. Creswick) on the London stage had excited considerable 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 full 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 d'c'ntt he is unquestionably an important acquisition." — Athenteum, Aug. 1, 1846. On the second occasion of Mr. Creswick's appearance at the same theatre he sustained the character of Master Walter, in ' The Hunch- back.' In 1847, Monday, April 26, at the Princess's Theatre, he per- formed the same part with re- markable success, on the night of Mrs. Butler's (Fanny Kemble) re- appearance 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 then 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 play- ing Claude Mel nolle (with Miss Helen Faucit) in the ' Lady of Lyons,' and subsequently True- worth, in ' The Love Chase.' Oct. 20, 1847, first performance of Westland Marston's drama, 'The Heart and the World,' at the Hay- market, Mr. Creswick sustained the character of Vivian Temple, Miss Helen Faucit acting the part of Florence Dehnar. 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, Dec. 14, 1848, at the Princess's Theatre, Mr. Creswick played Proteus, in a revival of ' The Two Gentle- men of Verona ' ; and subse- quently The Ghost in 'Hamlet,' and Cassio, and other import- ant 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 sole management of the Surrey Theatre, and on the opening night of his first season, Monday, September 17, sus- tained the character of Alasco, in Sheridan Knowles's ' Rose of Ar- ragon.' 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 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 is one of the best of his assumptions. It has many fine points, and is marked throughout l>y steady execution and clear characterization." — Athenautn, Oct. 19, 1849. I02 THE DRAMATIC LIST. On Monday, October 12 of the same year, Mr. Creswick played Ha inlet 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 sus- tained the part of La Roque. Among noteworthy plays produced by Mr. Creswick during his sole management, and in which he played a leading part, the follow- ing are entitled to mention, viz., a dramatization of ' David Copper- field,' first performed Wednesday, November 13, 1850; 'The Wo- man of Colour ; or, Slavery in Freedom,' first performed in No- vember, 1853 ; ' Dred ' (F. Phil- lips), 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 ' Da- mon and Pythias,' produced Feb- ruary 7, i860 (Mr. Creswick in the first-named character) ; a drama- tic version of George Eliot's ' Adam Bede,' first performed Feb- ruary 28, 1862, Mr. Creswick playing the title role ; and a drama in four acts, entitled ' The Four Stages of Life,' first performed in April of the same year. In Sep- tember 1862, Mr. Creswick re- tired from the sole management of the Surrey Theatre in favour of Mr. Shepherd, and for a time de- voted himself to " starring" in Lon- don and the provinces. In this way he became one of the established favourites of the Standard Theatre in London, always drawing a full house whenever his name was an- nounced on the bills. On Thurs- day, November 6, 1862, on the occasion of a farewell performance of Mr. S. Phelps, " previous to his retirement from the management of Sadler's Wells Theatre," Mr. Creswick played Cassias 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. In 1865 he ful- filled a successful " star " engage- ment 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 of the new man- agement, 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. The drama was a great success. The year following it was produced with the original cast at the Princess's Theatre. Since 1868, Mr. Cres- wick has fulfilled various engage- ments, and appeared in many " re- vivals" of Shakespeare's plays, and of the legitimate and poetic drama in London and the provinces. In 1 87 1 he made his first appearance on the stage in the United States in the part of Joe, in ' Nobody's Child.' In 1877 he accepted an engagement to appear in Australia, where (1878) he is now performing. CRITCHETT, KATHE- RINE MACKENZIE. See COMPTON, KATHERINE MAC- KENZIE. CRITCHETT, RICHARD CLAUDE. See CARTON, Richard Claude. CROWE, MRS. See Bate- man, Kate Josephine. DILLON, CHARLES. i°3 DALLAS, Mrs. E. Glvn, Isabel. S. DE FIVAS, SIDNEY. Glover, Augustus. See^ See DILLON, CHARLES. Born at Diss, Suffolk, in 1819. Prior to his appearance on the metro- politan stage had made a consider- able reputation as an actor in the legitimate drama in Dublin, M nchester, Liverpool, and Edin- burgh. First appearance in Lon- don, Monday, April 21, 1856, at Sadler's Wells Theatre, in the part of Belphegor, in the drama of that title. " Mr. Dillon has a good stage figure, of the middle height, with an expressive countenance and a flexible voice, which t nables 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, substituting 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 feel ings 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 teaxs."—Atheneeum, April 26, 1856. " Mr. Charles Dillon gives such evidence of the true material, and the impression he made on Monday night was of such a genuine kind, that even if his temperament is not remarkably sanguine, he has a right to expect that his debut — albeit taking place in remote Pentonville — will become a topic of conversation amongst all whose discourse turns upon the merits of plays and players. The piece selected was a version of ' Paillasse,' a drama written by MM. Marc Fournierand D'Ennery,forthe purpose of showing that a man may have a heart, although an acrobat by trade, and already rendered familiar to the London public by the acting of M. Frederic Lemaitre and Mr. Benjamin Webster. The problem proposed by the authors to be solved by the actor is the expression of the most intense feeling, without oblivion of the fact that the sufferer is a mere itinerant mountebank after all, trained among circumstances peculiar to an art no proficiency in which will attain any amount of social dignity. Now this problem — by no means an easy one — is, we must declare, solved by Mr. Charles Dillon in a manner most satisfactory, and it is not often that we see such rare effects of pathos pro- duced with such a thorough absence of stage trick. He came on as the vagabond tumbler — neither better nor worse — the street charlatan, whose only object in life is to pick up a few small coins, less by talent than by bombast and impudence. No attempt was made to refine the character, or to take from it one iota of its appro- priate coarseness, and it was only by imperceptible degrees that the despised Belphegor (as he is called) grew into an object of absorbing interest. The distresses which harass the man's soul when the wreck of his domestic hap- piness is threatened were indicated by natural touches, which commanded sympathy precisely because they did not seem to solicit it, and when the most destructive bolt had actually been hurled, and the mountebank de- prived of his wife and younger child, clasped his eldest offspring to his heart as the only lovable thing in the dreary world, there was an intensity of affectionate grief in the action that was the very perfection of pathos. The famous scene in which Paillasse attempts — starved in body and blighted in mind— to go through his io4 THE DRAMATIC LIST. tricks, in the presence of a giddy throng, who, thinking his sorrows as- sumed, merely deride them, was just on the same principle of accomplish- ing the highest elaboration without the least appearance of artifice. The buffoon was haggard and thin, not because he wanted to produce an effect, but because he had had nothing to eat ; his voice was broken, not that he might win applause, but because he was — so it seemed — really and truly miserable. We are apt to as- sociate with the provinces the notion of something extremely conventional — the adoption of set forms for every variety of human emotion ; but here, as if to dissipate our prejudices, was a most remarkable part, profoundly conceived, and followed into its minutest intricacies without the slightest deviation from nature. The various towns in which Mr. Dillon has gained his renown may consider their suffrages increased 50 per cent. in value by his debut on Monday night. The piece, which, although entitled ' Belphegor,' is not identical with the Adelphi version, being much more altered from the French original, was altogether most creditably done." — Tunes, April 22, 1856. In September of the same year Mr. Dillon entered upon the management of the Lyceum The- atre, and " opened " with a revival of ' Belphegor' (in which he played the title rdle), and a burlesque by Willam Brough, entitled 'Perdita ; or, the Royal Milkmaid,' in which Mr. J. L.Toole played A utolycus, Miss Marie Wilton Perdita, Miss Woolgar Florizel, and Mr. William Brough Polyxenes. Concerning the first-named performance the following criticism appeared : — " At present, the only means we have of judging of Mr. Dillon's merits are limited to the one part in which he originally attracted attention. But Belphegor at the Lyceum is a different matter from Belphegor at Sadler's Wells. The difference is not in Mr. Dillon, who continues to bestow the most praiseworthy diligence on the performance, but in the audience. To the people of Islington the domestic anguish of the poor mountebank seemed to open up a fresh chapter in human suffering. It was all new and strange, and terribly affecting to them ; and seizing impetuously upon every outbreak of emotion, they com- municated their own excitement to the actor, and so kept him at the height of his enthusiasm throughout. Now there is nothing of this kind at the Lyceum. The Strand audience, more reserved and critical, suspend their sympathy till Belphegor wrings it from them by reiterated appeals. They take nothing for granted. They let you understand plainly that they are fatally familiar with the piece, and that, superior to the passion of the scene, they are sitting in judgment upon the actor, and comparing him, point by point, with his predecessors. This is a great disadvantage to a per- former who has followed no model, and who stands in want of all the succour he can obtain from the sen- sibility of the audience. Mr. Dillon need have no apprehension of a com- parison with Lemaitre or Webster. There is nothing in common between them. If it were possible to conceive the idea of Mr. James Anderson sub- dued into perfect quietude, or of Mr. Rogers softened and made tender, some slight resemblance to them might be traced here and there, but it is only in an occasional expression flitting across the surface. Mr. Dillon's Belphegor is entitled to the praise of distinct originality ; indeed, it is so strongly impressed by the actor's in- dividuality 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 emphatically mark- ing the different phases through which it passes. There are great moral and physical changes wrought in Bel- phegor ; but they demand a versatility DILLON, CHARLES. 105 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 remember on the stage since the days of Miss Kelly, with whom what may be called the literal school of acting went out. Excellent, too, and no less meritorious in parts, although not so true or effec- tive as a whole, was the haggard exhibition of the conjurer and his son in the gardens, before the fine gentle- men of the ancien regime. Mr. Dillon, greatly to his credit, never gives way to the melodramatic temptations of a part abounding in sudden transitions of moods and passions. He preserves, in the depths of his wrongs and sor- rows, a gentleness as rare as it is piteous. This is a conspicuous virtue ; but virtues have their extremes, which are as 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. . . . Whether this version of Belphegor is the same as that which was produced by Mr. Webster we do not know, but it is deformed by similar errors of taste, in the attempt to embroider the French dialogue with English fun. The gentlemen of the ancien regime may have been addicted to coarse jokes, but there are two or three vulgarisms im- ported into their conversation by the translator, of which it is impossible to suppose them to have been guilty. It would be well to purge the piece of these base humours, and to sub- stitute the French name for the show- man's horse, instead of rendering it into literal English. Mr. Dillon calls his son Henri, and may, therefore, with propriety designate his horse Mouton. When he calls him Mutton in the midst of the pathetic narrative of his death, the audience feel that they ought to laugh, and a smothered titter runs through the house." — Saturday Review, Sept. 27, 1856. Thursday, October 16, 1856, at the same theatre, Mr. Charles Dillon sustained the character of DArtagnan, first performance of ' The Three Musketeers,' by West- land Marston, adapted from M. Dumas' novel ' Les Trois Mous- quetaires.' "The production of the 'King's Musketeers ' at this house has proved of the highest importance to the histrionic reputation of the manager, Mr. Dillon. His great success in Belphegor, in which he originally made his debut at Sadler's Wells, and which has remained in the Lyceum bills ever since the opening of the theatre, had so completely identified him in the public mind with the figure of the 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, is not a focus of general attraction, and the West-end connoisseurs, satis- fied with the merits of the provincial debutant in his first part, did not care to pursue their investigations by re- peated journeys in an unusual direc- tion. To these Mr. Dillon remained Paillasse, and nothing but Paillasse, till the middle of the present week ; and it was not surprising that, amid the theatrical gossip of the day, the question should have been asked, whether the gentleman who is cele- io6 THE DRAMATIC LIST. brated in Parliament as ' One-speech Hamilton,' had not found a histrionic ectype in a one-part actor. The cha- racter of Paillasse is, after all, of the most exceptional kind, and it is quite possible that an artist, by dint of hard study, might master its peculiarities without decided qualifications for what is called "general business." Now, by his impersonation of the young Gascon, D ' Artagnan, in the ' King's Musketeers,' Mr. Charles Dillon has utterly dispelled all fears that his talent would prove singular, in the least favourable sense of the word. There could not be in the range of humanity two personages more tho- roughly 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 feli- citously apprehended by Mr. Dillon. His D' Artagnan has about it the true spirit of a sanguine adventurer, 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 opportunity, not because he harbours ill-will against any three of his fellow-creatures, but because he is gratifying a natural disposition to pugnacity, and, more- over, 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 railway accident by which half-a-dozen lives are lost appears a most appalling occurrence, such a totally careless personage as a French soldier of the 17th century, who is quite as ready to shed his blood for ' fun ' as for duty, would almost seem a being beyond the limits of moral possi- bility. . . . That jovial fellows, whose entire attributes might be summed up in the compound adjec- tive 'devil-may-care,' were plentiful in Paris during the reigns of Richelieu and Mazarin, and that at that period duelling was regarded as a pleasant sport, are historical facts, proved be- yond the reach of a doubt. It is the great merit of Mr. Dillon that he makes such a character appear com- pletely 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 17th 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 like an 'itching palm,' makes up for the deficiency by the indubitable possession of an itching fist. The piece is a version of the ' Trois Mousquetaires,' based on the novel of that name by M. Alexandre Dumas, and brought out at the Theatre Historique in the course of that gentleman's management. The courage of the Gascon is made sub- servient to the purposes of a plot by the circumstance that he is the agent employed to recover for Anne of Austria the jewels which in an im- prudent moment she is supposed to have given to Villiers, Duke of Buck- ingham." — Times, Oct. 18, 1856. "The programme at the Lyceum has been at last varied by the pro- duction of the ' King's Musketeers,' DILLON, CHARLES. 107 a dramatised version of M. Dumas's well-known novel. It is scarcely necessary to state that the action takes place in the time of the Duke of Buckingham's embassy to the court of Louis XIII., and chielly relates to the difficulty in which Anne of Aus- tria involved herself by giving her jewels to the gallant Englishman. Its chief interest from a theatrical point of view arises from the fact that Mr. Dillon proves the versatility of his talent, by admirably acting a light, careless, good-natured Gascon, whose fortune is his sword, and who desires no other felicity than a frequent op- portunity of using it. In this joyous part, he displays the same natural spontaneity as in delineating the misery of Belphegor. Altogether, he seems to have hit on the sound principle, that the object of histrionic art is not to make a series of 'points,' but to realise an entire conception, and let the details be the logical result of the general view. In the accessories of scenery and costume Mr. Dillon shows due respect to the 'spirit of the age.'" — Spectator, Oct. 18, 1856. Monday, November 10, of the same year, at the Lyceum, he played Claude Melnotte in ' The Lady of Lyons.' "Last night Mr. Charles Dillon appeared in the part of Claude Mtl- notte in the ' Lady of Lyons.' This play, though wanting in most of the attnbutes of the genuine tragic muse, is so saturated with sentiment and stimulant in situation, that it is sure of being received with favour if the two principal figures be only repre- sented with average ability. This condition was certainly more than realised last night. Mr. Dillon is eminently a master of the emotions, and where strong feeling has to be called forih he seldom fails of exciting it. So entirely successful was he in developing all the sensibility of which the character of Melnotte is suscep- tible, that he was frequently called before the curtain during the progress of the play to receive the plaudits of the audience. Mr. Dillon's presence, however, is not favourable to an im- personation of the young ideal and artistic Melnotte, and this want of harmony jars upon the spectator as contrary to the idea of the author of the play, traditional usage, and the fitness of things." — Daily News, Nov. 12, 1856. Monday, December 1, 1856, re- vival of ' Othello ' at the Lyceum Theatre, Mr. Dillon played the title role. " The tragedy of ' Othello ' last Monday is likely to prove the com- mencement of a new era in Shake- spearian performances. From the actor to the mise en scene all the usual conventionalities of the stage were set at nought. The Othello was natural, not all declamatory, sometimes fami- liar, always domestic, and rather in- tensely passionate than vehemently demonstrative. The great scenes be- tween the Moor and his tempter were for the most part gone through in a sitting position ; and constant atten- tion was paid to every indication in the text of a deeper sentiment than appears on the surface of the pas- sionate dialogue. All was surprisingly fresh and original and much that was like a new revelation of the Shake- speare 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. Sometimes his pathos in its intensity became sublime. We trust that we shall receive from him many such natural and intelligent interpre- tations of Shakespearian character. . . . The new actor may regard him- self as fully accepted by the judicious portion of the public." — Athcineum, Dec. 6, 1856. " By selecting the tragedy of 'Othello' for his benefit last night, Mr. Dillon excited no small amount of curiosity among the London public. Ili-, great successes hitherto having been achieved in pieces of the ioS THE DRAMATIC LIST. ' drama ' kind, and having all been distinguished by evidences of great thought, the curiosity to know what he would do with one of the so-called ' great parts ' was natural enough. Whether he played well or ill, it was tolerably certain that he would give an Othello of his own, and would not reproduce any ordinary tradition. Magnificently dressed as he was, in a long tunic, the impression made by his first entrance was most favourable. There was a good, manly, honest look about the gentleman of colour, who was destined to be ' perplexed in the extreme,' as the story developed itself. But, nevertheless, we cannot say that he thoroughly settled his position with his audience till the commencement of the third act. The declamatory part of histrionic art seems to accord least of all with Mr. Dillon's idiosyncracy, 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 Iago progressed it became evi- dent 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 atten- tion with which he listened to un- pleasant 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 manifesta- tion of this 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 was ever anxious to look upon the revelations of Iago 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 con- cluding 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 prepara- tion for his own death. In the con- cluding speech every line had its due value ; and to those of the audience who had the earlier parts of the play in their remembrance, most striking was the contrast between the decla- mation of the actor, who had not yet identified himself with the cha- racter, and the elocution of the same actor when the feelings of Othello had become his own. From the be- ginning to the end of the tragedy Mr. Dillon made, as it were, a con- stant encroachment on die sympathies of his audience, and when the curtain had fallen his sway had become uni- versally acknowledged. It was impos- sible to misinterpret the hearty cheers that saluted the actor as he crossed the stage in response to general ac- clamations." — Times, Dec. 2, 1S56. At the Lyceum, on Monday, February 16, 1857, Mr. Dillon performed the part oi Lord Rev es- dale, first performance of West- land Marston's drama, ' A Life's Ransom '; and on Friday, the 13th of March following, Virginias, in the tragedy of that title. " ' Virginius ' was produced at this theatre last night ; the characters of Virginius and his daughter, by Mr. and Mrs. Charles Dillon. There was a full house, and the performance was highly successful. Mr. Dillon's Vir- ginius was, on the whole, a powerful piece of acting, and he deserved the applause which he received, especially in the great scene which closes the DILLON, CHARLES. 109 fourth act, where he produced an effect scarcely surpassed by any one who has appeared in the part. The agony of the fond father, driven by despair to the immolation of his child, was most pathetic, and deeply moved the feelings of the audience. The storm and delirious fury with which Virginias confronts the Decemvir in his prison was expressed with terrible power, and indeed in every passage where intense passion was demanded, Mr. Dillon's strength was equal to the occasion. But his high qualities were mingled with serious defects. In the more level parts of the dialogue he was too measured, too declamatory, too anxious, it would seem, not to lose a single point which could pos- sibly be made. Hence many scenes 'dragged their slow length along,' inducing weariness and impatience." — Daily News, March 14, 1857. On Friday, the 27th of the same month, he performed Hamlet for the first time in London. " From what has 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 emo- tional rather than the intellectual element in the Danish prince would be uppermost in his thoughts. To take up a speech as a thing external, and to display ingenuity by carrying it through infinite varieties of em- phasis and expression, would obvi- ously 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 cha- racter — 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 care- fully and conscientiously performed, it is not till the third that Mr. Dillon's peculiarity is revealed. The tender- ness with which he surveys < Iphelia 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 ap- pearance; 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 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 im- mense 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 part of the side and back scene becomes transparent, and the spectre is seen passing from be- hind 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. Through- out 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, even though Laertes does not allow him to display his fencing to the be^t advan- tage." — Times, March 23, 1S57. Mr. Dillon's first season at the Lyceum Theatre which cl sed April 2, 1857, proved a proiit- able one. On the last night of the season he played Richelieu. During the same month he ap- peared at Drury Lane in that character, and in the parts of Ollicllo and Hamlet. The follow- ing year (1858) he again rented the Lyceum Theatre, and on no THE DRAMATIC LIST. 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 laRousse. On Monday, February 1, of the same year, in a play by Westland Marston, then first performed, entitled ' A Hard Struggle,' he sustained the charac- ter of Reuben Holt. The same month Mr. Dillon played the parts of Rover (' Wild Oats ') and logo (' Othello'). On Thursday, February 25, 1858, he performed, for the first time in London, Mac- beth, Miss Helen Faucit sustaining the part of Lady Macbeth. "Mr. Dillon's Macbeth appears to us the best performance he has yet given in London. It is remarkably fresh and original ; it is moreover impulsive, and leans 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 cowara of the boards, who trembles at every step of his progress. Fate urges on the valiant Thane to 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 sur- mounted, 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. Throughout a superstitious frame of mind colours his conduct, and tinges his thoughts with the hues of imagina- tive sentiment. Thus regarded, the character abounds in variety, and phases of emotion Mr. Dillon may be congratulated on having achieved a signal success in this new Shakespearian assumption." — Athe- nceum, Feb. 27, 1858. "At the Lyceum Theatre a tem- porary engagement of Miss Helen Faucit led to a production of ' Mac- beth ' on Thursday. The performance of the tragedy was throughout marked by what may be called the genius of carefulness. Miss Faucit, as the Lady, elaborated every passage, as if deter- mined that not a particle should escape attention ; Mr. Dillon, at the expense of startling effectiveness, gave a steady, well-considered impersona- tion of Macbeth. Without any at- tempt at extraordinary scenic display the piece was very well done ; and was witnessed with great satisfaction by a numerous audience." — Spectator, Feb. 27, 1858. On Monday, March 22, 1858, Mr. Dillon performed, for the first time before the London public, Louis XL, on the occasion of a complimentary benefit given by the company to himself and Mrs. Charles Dillon. " All that the part required Mr. Dillon gave with the care, the elabora- tion, 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 embodi- ment that he can ably render the purely artificial drama." — Daily News, March 23, 1858. Fromi858to i860 Mr. Dillon was fulfilling various engagements as a " star " actor, in the provinces and elsewhere. Reappeared in Lon- don, Monday, February 6, i860, at Drury Lane Theatre, as Wil- liam Tell, in the tragedy of that title. "As an additional attraction to those of Mr. E. T. Smith's popular pantomime, which still continues to fill this house nightly, the energetic manager has concluded an engage- ment with Mr. Charles Dillon, an actor who, without possessing claims to a high or legitimate order of his- trionic talent, is, nevertheless, effective DRUMMOND, DOLORES. in in the modern school of drame requir- ing adroitness and tact rather than genius and knowledge. Mr. Dillon last night commenced a series of per- formances with the impersonation of William Tell, in the standard play of that name — a work the interest of which depends rather on the general appreciation of the well-known story, and the sentiments which pervade it, than on the way in which the former is worked out or the latter expressed. It would, perhaps, have been a proof of better judgment had Mr. Dillon revived a drama of more modern date, suited in a greater degree to his pecu- liarities of action and delivery. He was, however, favourably received by a numerous audience; and his enun- ciation of the patriotic sentiments which are abundantly contained in the dialogue elicited a fair share of approval. The subsidiary characters were distributed amongst the various members of Mr. E. T. Smith's dra- matic company, whose exertions were generally distinguished by industry and zeal rather than by ability of a nature demanding critical remark." — Daily Telegraph, Feb. 7, iSuo. 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 us. Mr. Dillon since his return has been practising in the provinces, and notices have from time to time reached us, all commending his acting of Lear as an extraordinary and grand example of histrionic art. We have now seen it ourselves, and can testify to its general excellence. " — Athenceum, Feb. 22, 1868. At the same theatre during this year he played a round of Shake- spearian characters. In the spring of 1869 Mr. Dillon fulfilled an engagement at Drury Lane, play- ing 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. Saturday, August 16, 1873, revival of Man- fred' at the Princess's Theatre, he appeared in the character role. Since the above date Mr. Dillon has played but seldom in London. On Saturday, September 28, 1878, he appeared at Drury Lane Theatre as Leontes in a revival of ' The Winter's Tale.' " The Leontes of Mr. Charles Dillon was a rather disappointing assump- tion, good in parts, but not so good as was reasonably expected from so well-proved an actor. Years ago a good deal was hoped from Mr. Dillon, who once set at defiance the traditions of a bad old school with admirable courage, and it is annoying to give up anticipations which seemed so well based." — Standard, Sept. 30, 1878. " Mr. Dillon's rage as the jealous Leontes was less artistic than his penitence in later scenes. His pro- longed absence from the more fas- tidious audiences has apparently told upon his style." — Times, Sept. 30, 1S78. 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 in- tention of practising art as a profession. Having taken a special interest in stage matters while in that country, was offered 112 THE DRAMATIC LIST. an opportunity of appearing at the Theatre Royal, Melbourne. First acted an important character, Desdemona, under the auspices of G. V. Brooke in Australia. Re- turned to England in 1874, and made her first appearance in London, November 1874. at the Standard Theatre in the part of Hermione (' Winter's Tale ') with gratifying success. In 1S76 (hav- ing fulfilled engagements in the interval) appeared at the Globe Theatre as Hortense in the play of 'Jo.' "Miss Dolores Drummond obtained deserved recognition for a fine piece of acting as Hortense. Her broken French was superb." — Sunday Times, Feb. 27, 1876. DUPLANY, CLAUDE M A R I U S . See M.ARIUS, Claude. EMERY, SAMUEL. ii3 EDGAR, MRS. riott, Alice. See Mar- emery, SAMUEL AN- DERSON. Born in 1814. Son of the late John Emery, a well- known comedian on the London stage in the second decade of the present century. Mr. Samuel Emery made his first appearance at a London theatre on the 17th of April 1 843, in the part of Giles, in a piece entitled ' Miller's Maid,' and first attained popularity as an actor during the Keeley regime of the Lyceum Theatre, 1844-7. He was the " original " of the following characters, viz., Jouas Chuzzlezuit, in Stirling's adapta- tion of Charles Dickens's novel, 'Martin Chuzzlewit ; Will 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 plays were first produced at the Lyceum The- atre, under the superintendence of Mr. and Mrs. Keeley, within the period above mentioned. Mr. Emery " created " the part of An- tony Latour, in Shirley Brooks's drama of ' The Creole,' first per- formed at the same 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 manage- ment, Mr. Emery was in the original cast of two of the most popular dramas produced there under Mr. A. Wigan's super- vision, 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, I 1855. " Of the weak father-in-law, who is ' not so much soft-headed as utterly destitute of will, Mr. Emery makes J one of those finished types of old age with which he has of late so often j surprised the public. In the art of ' making-up ' he is almost unrivalled." — Times, May 16, 1855. Mr. Emery was in the original cast of certain of Mr. Boucicault's plays on the occasion of their first performance in this country, of which, perhaps, ' The Octoroon,' ' 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 impersona- tions have been DanH Peggotty, in Andrew Halliday's version of Charles Dickens's story, ' David Copperfield,' dramatised under the title of ' Little Em'ly'; and Cap'n Cuttle, in Andrew Halli- day'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 The- atre, Saturday, October 9, 1869; the second, at the same theatre, in December 1873. ' Little Em'ly.'—" As may be conjectured from the title, the episode relating to the Peggotty family con- stitutes the serious portion of the play, the comic relief being derived from the humour of Mr. Micawber. OIJ Peg- gotty is consecmently the principal per- sonage, and his Muff, affectionate nature could not be better represented than by Mr. S. Emery, who seldom finds apart so completely suited to his talents." — Tunes, Oct. II, 1869. " That a drama which occupied nearly four hours in representation I H4 THE DRAMA TIC LIST. must possess some points of merit to secure the favourable reception it ex- perienced may be readily believed. The rough, homely pathos of Mr. S. Emery, as Daniel Peggotty, thoroughly aroused the sympathies of the audi- ence in association with the sad fate of Little Em'ly."— Daily Telegraph, Oct. II, 1869. " Mr. Emery embodied Peggotty with all the rough and yet tender manliness, with which Mr. Dickens has invested the character." — Daily News, Oct. 11, 1S69. ' Heart's Delight.' — "Mr. Halli- day has gone to work with the instinct which safely guided him when he put other novels on the stage, carefully se- lecting the portions of the book which can be made theatrically effective to the exclusion of the rest. If we may judge from his ' Readings, ' the part of ' Dom- bey and Son ' which Mr. Dickens him- self prized the most was that which related to little Paul, and never did he more plainly show his subtle taste as a ' Reader ' than when he described to a crowded audience the death of that interesting child. But children on the stage are sharp-edged tools, to be handled cautiously, and the briefest of hours would seem very long during the scenes when a youngster of ten kept the chief place on the boards. With this truth evidently impressed upon his mind, Mr. Halliday allows Paul to die before the curtain rises. He also sees that much is to be made of Captain Cttttle, and he is fortunate to find an artist who can so admirably represent that gallant seaman as Mr. S. Emery. A more perfect specimen of impersonation can scarcely be con- ceived. The man is cut out of the book, made up according to the pic- tures in the book, and bodily placed on the stage. Mr. Emery is not at home in every part, but when a bit of rough nature is to be exhibited he carcely an equal. As Peggotty in ' Little Em'ly' and as Captain Cuttle in the new piece, he does not merely act, but he becomes the person whom he represents." — Times, Dec. 20, 1873. "The Captain Cuttle of Mr. S. Emery, for instance, is one of those ad- mirable performances which so delight the playgoer and do such credit to the English stage. There is no need for the 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 rubi- cund face and the bald pate, the coarse canvas open shirt, and the hook in- stead 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 mas- terly a specimen of acting. It is not an actor walking upon the stage cleverly made up and assuming a nautical or sea-faring 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 in- vigorating 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 laugh- ing, with consummate skill he rushes off to the opposite extreme, 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 as- sume the requisite pathos. But true pathos is far more than a trick of voice. You see the grief coming upon the old fellow in spite of him- self. He is laughing to the last even EVERILL, FREDERICK. i ii in his tears ; but all at once the grief gets the mastery, and the half-gulp, half-hysterical sob of the artist com- mands the attention 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 gesture, is lost upon the audience. They tell us of the Captain Cuttle of Burton, an American actor, and speak of it in terms of unqualified praise. It must have been a masterly performance indeed to rival that of Mr. Emery, a genuine study and a rare contribu- tion to dramatic art." — Daily Tele- graph, Dec. 19, 1873. " With regard to the acting the palm must be awarded to Mr. Emery's Captain Cuttle. It may not be the ideal Ed'ard Cuttle, but the actor gives an intelligent exhibition of the character. In the last act where he reads the letter announcing Walter's safety, his emotion was truly and powerfully shown, and throughout the whole performance, Mr. Emery, who has a good deal to do, gave abundant evidence of his claim to the position of one of our leading character-actors." — Standard, Dec. 19, 1873. It has been remarked of Mr. Emery that, " he is full of genuine humour, and knows full well how and when tp give it due expres- sion. His delineations are most powerful whenever deep feeling and pathos are to be exhibited. He can display artistically, be- cause 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 Caffn Cuttle, in the play already alluded to. EVERILL, FREDERICK AUGUSTUS, Born in London, February 6, 1829. Made his first appearance on any stage at the Ryde (Isle of Wight) Theatre, July 12, 1852, in the part of Baron Steinfort in ' The Stranger.' Sub- sequently joined the company of the Southampton Theatre, where he acted for six seasons ; and, on October 1, 1859, accepted an engagement at the Theatre Royal, Manchester, with which establish- ment he was connected for a period of eleven years. During this pro- tracted term Mr. Everill appeared in many important characters, among which the following deserve mention for the general excellence of their presentation, viz., Falstaff (' Merry Wives of Windsor ') / Eaunce (' Two Gentlemen of Verona ')/ Dogberry ('' Much Ado about Nothing ') ; Gratiano (' Merchant of Venice')/ Polonius (' Hamlet')/ Mercutio ('Romeo and Juliet ')/ Desmaret (' Plot and Passion')/ Andrew Wylie ('A Bachelor of Arts')/ Old Gold- thumb (' Time W T orks Wonders '). Mr. Everill made his debut on the London stage, June 30, 1S70, as Felix Trimmer in Tom Parry's farce, ' A Cure for Love.' Of important original parts played by Mr. Everill during his connec- tion with the Haymarket Theatre, continuing to the present time (September 1878), Chrysal, in W. S. Gilbert's " fairy comedy " ' The Palace of Truth,' affords a satis- factory example. The play was first performed at the Haymarket, Saturday, November 19, 1S70. "Mr. Everill, we are glad to say, has at last made his mark in London. 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 lie was saying. .Many of the others made their action identical with their words." — Observer, Nov. 20, 1870. I 2 n6 THE DRAMA TIC LIST. FAIRS, JOHN. John. See Hare, FALCONER, EDMUND. Born in Dublin. Before appear- ing on the London stage 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, 181,6, produced at the Lyceum Theatre his first play of importance, entitled ' The Ca- got ; or, Heart for Heart,' in which Mr. Charles Dillon enacted the principal character, Raoul. "The dialogue is remarkable for noble sentiments ; a religious vein is also observable ; and the style is fre- quently poetic, though the verse is not always correct The situa- tions are strong, and the speeches are striking, either in sentiment or de- scription. The play was enthusiasti- cally received." — Atheneeum, Dec. 13, 1856. 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 1) he produced a piece en- titled 'A Husband for an Hour,' at the Haymarket Theatre. In 1858 he undertook the manage- ment 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 in- troduction of topics currently discussed in society, though not commonly on the stage. "Last night this house, after re- maining shut some four days or so, re-opened for the ' autumn season ' under the management of Mr. Edmund Falconer, author of ' The Cagot,' who had provided a new comedy, as a grand feature in the ceremony of in- auguration. 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 in- creased to delight at the second, and had mounted up to positive rapture by the conclusion of the third. The title of his fortunate work is ' Ex- tremes; or, Men of the Day,' and we rejoice to say that it is inaccurate 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 impos- sibility, 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 unpretend- ing virtue, and then to hear the man of unpretending virtue pay back the wicked gentlemen of fashion in their own coin. Refreshing, 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 d?-amatis personm would have undergone the fate of the renowned Kilkenny cats long before FALCONER, EDMUND. "7 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. Fal- coner), and his wile'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 viceversd. 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 fortune. Both are the noblest creatures in the world, but neither understands the other. Hence, when the six months have expired, and Miss Vavasour has signified her assent to the proposed marriage, Mr. Hawthorne formally declares his refusal. At last, however, the dis- interestedness of the lady is clearly demonstrated by her own offer to marry Hawthorne, when the fortune is clearly in her own hands. Though this plot is the thread by which the incidents of the play are connected together (somewhat loosely, it must be confessed) it is not treated with much consideration l>y the author, and at times we are on the point of forgetting the delicate relation between the hero and the heroine. Mr. Hawthorne's position as the lover of Lucy Vavasour is far less important than his office of moral philosopher and general satirist of modern abuses. Woe to the luck- less men of fashion, played by Messrs. Fitzjames and Charles, who dare, in the first act, to select this specimen of plebeian wit and wisdom as their butt : lor long are his sermons, and pungent are his sarcasms. They have wound up a clock which will not cease striking, and every stroke is applauded by the audience ; for theatrical ethics are always democratic, and the smooth-faced, humble-looking indivi- dual who attacks an aristocratic strong in whiskers is sure to have the public on his side. Most popular, too, are certain characters who have little or no connection with the plot, but who are drawn together by the reading of the will, like fish by the employment of ground bait. A very forcibly depicted Lancashire lady, who is ready to put down an adver- sary by a word or a blow, and is played with immense spirit by Mrs. Weston, causes the most intense en- joyment; her only rival in the affec- tions of the audience being her son, Robin, a country lad of the good old school, who dilates largely on the merits of dumplings and black-pud- dings, and a flunkey of the ' Jeames ' breed, who abounds in the affecta- tions proper to his order. Mr. Lmery, who acts the former, grasps at ad- miration by his exhibition of Lanca- shire shrewdness. Mr. Rogers, who figures as the latter, seeks to be de- spised as the representative of Cock- ney self-sufficiency. When town and country are placed in juxta-position on the stage, the sympathies of Lon- don are always on the rural side. 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 en- tirely due to the writing. The dia- logue is far too abundant, but the repartees are fresh and vigorous, and even the sermonising 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 de- fined, and are exactly of a kind to be perfectly intelligible to a large audi- ence." — Tunes, Aug. 27, 1858. In 1859 (Monday, January 3), at the Lyceum, in ' Marion de L'Orme,' translated from the French by Mr. Falconer, he played the part of Cardinal Richelieu. nS THE DRAMATIC LIST. "This piece, it appears, has been expressly written for Madame Celeste by a French author. It has never been acted on the French stage, but has been translated for the Lyceum by Mr. Falconer. Though divided into three acts, the story is of the slightest and thinnest material, while the action and dialogue are so consonant with the plot that the drama might be witnessed by the most excitable per- son without the slightest fear for the result. It serves as a display for Madame Celeste's talent, but only much in the same way as a Sunday hired hack would serve as a display for Madame Ella's riding. With any actress not ranking equally high with the public in the principal character, we should question the success of ' Marion de L'Orme.' The plot is soon described. Solomon de Caus is a mechanician, who has actually made some preliminary discoveries in the motive power of steam. He has a wife who is paid great attention to by the villain of the story, Dr. Estignac, who uses his influence with Richelieu to have Solomon incarcerated in the Bicetre as a lunatic. The half-crazed mechanician has, however, a friend in Marion de L'Orme, who is always arriving at opportune moments, and who exposes Estignac to Richelieu, showing the Cardinal that his supposed agent was really in the pay of his enemy Mazarin. Finally, the libera- tion of Solomon is procured, and Estignac is imprisoned. Literally this is the entire story of what filled three acts, and consumed upwards of two hours in stage narration." — Daily News, Jan. 4, 1859. The same year (Thursday, March 31) Mr. Falconer produced at the Lyceum his play of ' Fran- cesca,' in which he played the part of Gradinigo ; and (Wednes- day, 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 Hay- market, 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 ?' Monday, September 10, 1S60, first performance at the Adelphi Theatre of Dion Boucicault's ' Colleen Bawn,' Mr. Falconer played the part of Danny Man. " The Danny Man of Mr. Edmund Falconer was especially good, and significant of the judgment of the manager in engaging him expressly for the character. It is decidedly an impersonation." — Athetueum, Sept. 15, i860. " The servility of Danny Man, worshipping his master, and ready to commit any crime for the honour of the ' ould ' family, was portrayed with such marvellous truth and accu- racy by Mr. Falconer, that we could scarcely recognise the gentleman who has made several ineffective attempts in high comedy." — Daily Telegraph, Sept. II, i860. The same year Mr. Falconer produced 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 1861 Mr. Falconer once more entered upon the management of the Ly- ceum 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 0' 'Toole. " On Saturday evening this house FALCONER, EDMUND. 119 exhibited all the signs of a decided ' sensation.' Not only were the audience more numerous than usual, but that buzz of expectation went about which infallibly shows that something extraordinary is antici- pated. The cause of curiosity was the announcement of a new drama by Mr. Edmund Falconer, entitled ' Peep o' Day; or, Savourneen Deelish,' and said to have been provided with scenic decorations and ' effects ' of a most surprising kind. To the modern theatrical vocabulary the compound word ' sensation-drama,' has been added, denoting a piece in which is introduced some startling incident likely to become a topic of general conversation. Such an incident was Mr. Boucicault's famous ' header ' in ' The Colleen Bawn.' Something of the same sort was expected in Mr. Falconer's ' Peep o' Day.' . . . The success of the new piece, which is very great, depends far more upon two or three grand effects than on the general interest, and for this reason the author may be judiciously counselled to cut down, without scruple or hesitation, the dialogue spoken in the earlier acts. This dialogue, though written with more than average care, is often pon- derous, 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 himself, and the unfortunate Kathleen, sustained by Mrs. Bowers, the American lady, who, starting well in ' legitimate ' plays, now distinguishes herself as an excellent melodramatic actress. The great ' 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 interior of a quarry, with a break through which the water is visible, and over which a wooden bridge is thrown, has been most wonderfully painted and con- structed by Mr. Telbin, who has fully obtained that appearance of solid reality which is such a remarkable quality in modern scenic art. The bottom of the quarry, to which Kathleen is decoyed by means of a forged letter, purporting to come from her brother, is only accessible by means of the bridge, and this is cut down by the hired villain, Mullins, when he discovers that his victim has fallen into the snare, but cannot im- mediately lay his hand upon her, as the masses of rock afford places for temporary concealment. Harry Kavenagh, hearing of his sister's danger, has rushed to the spot, ac- companied by the faithful Barney ; but, the bridge gone, he can only stand on the edge of the quarry, and is on the point of seeing Kathleen murdered before his eyes. The pre- cipice at his feet affords no pathway, even for a skilful climber ; but, mad- dened by excitement, he seizes the summit of a tree, which has its root at the bottom of the chasm, and which, suddenly bending down, brings him to the place of action, when he kills Mullins, and thus preserves his sister, while Barney shouts with triumph on the top of the quarry. All this was admirably done, and on Saturday raised a shout of admiration that shook the theatre to its base. Such a thrilling incident, and such a specimen of scene painting, are not often to be witnessed The customary forms of applause were gone through with far more than wonted enthusiasm, and a ' long run ' may be predicted for ' Peep o' Day,' if the paternal sentiments of Mr. Falconer do not prevent him from shortening his own dialogue." — Times, Nov. 11, 1861. " The dialogue of the new drama has most of Mr. Falconer's peculiari- ties, and abounds in ethical writing ; but it is strangely interesting. As to the skill with which the plot is con- ducted, the fact that the audience felt a sustained interest in it for five hours is sufficient proof." — Atkenaum, Nov. 16, 1861. 120 THE DRAMATIC LIST. 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.' The same year, at the same theatre, he produced ' The O'Flahertys,' a farce, sus- taining himself the principal cha- racter. The following year (1865), Wednesday, May 3, at Drury Lane, was performed for the first time his drama of Love : s Ordeal,' in which he played the part of Maximilian Robespierre. Satur- day, November 25, of the same year, he produced at Drury Lane an adaptation of Mr. Lever's ' Charles O'Malley,' under the title ' Galway Go Brah ; or, Love, Fun, and Fighting,' and acted in the play the part of Mickey Free. In 1866 Mr. Falconer opened Her Majesty's Theatre for a brief dra- matic season, and on Saturday, No- vember 19, produced there a new drama written by himself, entitled ' Oonagh ; or, the Lovers of Lisna- mona,' in which he played Far- dorougha C Donovan. The play was a failure, and the theatre was closed on December 1 following. Mr. Falconer afterwards went to New York, where he produced the same play, with others of his authorship. In 1868 he had re- turned 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 role. Since that date Mr. Falconer has 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, 187 1. Mr. Falconer's later career has not been altogether so successful as his earlier. He has, however, appeared at intervals on the London stage since the withdrawal of the last-mentioned drama, but not in any original part of im- portance. FARREN, ELLEN. (MRS. R. Soutar.) Born in Lancashire. Daughter of Henry Farren, and granddaughter of William Farren the elder. Made her first ap- pearance 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 ap- peared 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 en- titled ' 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 open- ing of the Gaiety Theatre, under Mr. John Hollingshead's manage- ment, 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 1878), Miss Farren has played a principal part in the following, among other plays, viz., ' The Man of Quality ' {Miss Hoy- den) ; ' Dot,' Mr. Boucicault's ver- sion of 'The Cricket onthe Hearth' (Tilly S lowboy) ; ' Love for Love' MISS ELLEN FARREN FARREN, WILLIAM. 121 {Miss Price) ; ' Thespis ; or, the Gods grown Old,' by W. S. Gilbert {Mercury) ; ' Shilly-Shally,' by Anthony Trollope and Charles Reade (Polly Neefit) ; ' The Battle of Life,' a dramatic version of Charles Dickens's Christmas story of that title, arranged by Charles Dickens, Jim. (Clemency New- combe) ; and in the various bur- lesques : — ' Robert the Devil,' ' Princess of Trebizonde,' ' Little Faust,' &c. — produced under Mr. John Hollingshead's supervision within the period 1868-1878. FARREN, WILLIAM. Son of William Farren, sometimes called the elder Farren, a well- known comedian of the London stage, contemporary with Mac- ready. Previous to his entering the dramatic profession had ap- peared in London with some suc- cess as a singer at the so-called Ancient Concerts. At the outset of his stage career, performed at the Strand and Olympic Theatres under the name of Forrester, and as William Farren, Jun. In Jan- uary 185 1, Mr. William Farren, Jun., was a member of the com- pany of the last-named theatre ; and on Monday, 13th of that month, he sustained the part of Frederick Plum, 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, 1S52 ; and 'Sarah Blangi ' (adapted from the French, ' Sarah la Creole ') first performed there October 27, 1852. In 1853, on Mr. J. B. Buck- stone assuming the management of the Haymarket Theatre, Mr. William Farren became a mem- ber of his company. Easter Mon- day of that year he made his debut at the Haymarket as Captain Absolute, in ' The Rivals,' and for a great many years he took part there in the various revivals of national comedy for which Mr. Buckstone's management was spe- cially 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., ' Elope- ments 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 Un- equal 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 ' (Ed. Falconer), May 9, i860, &c, &c. At the Vaudeville Theatre, July 1872, revival of 'The School for Scandal,' Mr. Farren sustained the part of Sir Peter Teazle, and continued to appear in the cha- racter during the very successful run of the comedy. In 1875, Janu- ary 16, he played the part of Sir Geoffrey Ckampneys, first per- formance at the Vaudeville Theatre of H. J. Byron's comedy ' Our Boys,' and continued to play the same character at that theatre THE DRAMATIC LIST nightly without intermission until July 1878. FAUCI T, HELEN (MRS. Theodore Martin). Born in London, in 1817. Daughter of Mrs. Faucit, and sister of Harriet Faucit (Mrs. Bland), both of whom were actresses of considerable re- pute in London in the third decade of the present century. The first performances that Miss Helen Faucit gave in public were at the Theatre Royal, Richmond (Surrey), in 1833, in the characters of Juliet (' Romeo and Juliet '), Mariana (' The Wife '), and Mrs. Hallcr (' The Stranger'). "There was an ease, a grace, a propriety of action and demeanour, an apparent absence of study (and it should be only apparent), and withal a freshness about her general perform- ance of the part (Mrs. Haller) which charmed us"— Athenian, Nov. 9, I833- At the beginning of her career, Miss Helen Faucit may be said to have been a special protegee of two of the most distinguished actors of their day, Mr. Farren and Mr. Macready. To their effective schooling she was, un- doubtedly, in a measure indebted for that great success which very early distinguished her playing. She 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 Hunch- back.' "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 con- stantly 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."— Morning Chronicle, Jan. 6, 1836. The same year she acted at Covent Garden Theatre (having been engaged by Mr. Osbaldiston) the character of Belvidera in Otvvay's 'Venice Preserved,' and a leading part in an original play by Joanna Baillie, entitled ' The Separation.' This latter piece was unsuccessful. July 1S37, Helen Faucit was engaged by Macready to become 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,' &c, and in many of the Shakespearian revivals arranged there under Macready's superintendence, Miss Helen Faucit bore a conspicuous part. She was the original repre- sentative of the heroines of the most important of the late Lord Lytton's plays. January 4, 1837, Miss Faucit sustained the part of the Duchess de la Vallicre, first representation of the play of that title, by the late Lord Lytton. "Miss Faucit as the heroine occa- sionally produced strong effect by bursts of feeling, but her general tone was too emphatic and declamatory." —Morning Chronicle, January 5, 1837. , . " Acted Bragelone (La Valhere) well, with earnestness and freshness ; 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. May 1, 1837, Helen Faucit acted FAUCIT, HELEN. the part of the Countess of Car- lisle, in Robert Browning's play of ' Strafford,' at its first represen- tation at Covent Garden. " The character of his accuser Pyni was well sustained by Vandenhoff, but as it offered nothing peculiarly worthy of remark, we pass to that of the Countess of Carlisle, which was per- formed by Miss Helen Faucit in a manner in the highest degree cre- ditable to her talents." — Morning Chronicle, May 2, 1837. February 15, 1838, Miss Faucit enacted at Covent Garden Theatre the part of Pauline Deschapelles at the first performance of the 1 Lady of Lyons.' " Macready acted with spirit, and so did Miss Faucit, though she occa- sionally overdid her part .... The piece was eminently successful." — Times, Feb. 16, 1838. In 1842 she entered into an engagement with Macready to be a member of his company on his assuming the lesseeship of Drury Lane Theatre. On the 23rd of February of that year she played Sophronia, first per- formance of ' Gisippus ' (Gerald Griffin). In October of the same year she played Julia in ' The Rivals,' for the first time ; and later Angelica, in Congreve's 'Love for Love.' February 11, 1843, she performed 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 appre- ciation of the subtilties of the part, in the interval from the date of its first performance, may be estimated from the following criti- cism : " High as was our previous opinion of her (Miss Helen Faucit) our present estimate of her histrionic talent stands rather in contrast than comparison 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 heroine's pride is soon forgiven, and, for the rest, she is the sufferer, not the inflictor of wrong, and there- fore 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, per- haps, 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 deficien- cies 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." — Athenceum, Oct. 25, 1845. Thursday, March 7, 1839, at Covent Garden Theatre, Helen Faucit played at the first per- formance of ' Richelieu.' " Anderson and Miss Faucit as the lovers, Ward as IJouillon, Elton as the King, Phelps as a Capuchin Friar, and Howe as a page, are entitled to especial commendation : indeed, the acting throughout is good." — Athe- nceum, March 9, 1839. Tuesday, December 8, 1840. ' Money ' (by Lord Lytton) was first performed at the Haymarket Theatre. Miss Helen Faucit play- ing the character of Clara. " Miss Faucit had not much to do as Clara, but one speech, in which she excused herself for rejecting Evelyn in his poverty by recounting the life of her own father, who had i-4 THE DRAMA TIC LIST. suffered from adverse circumstances, was well and impressively delivered." — Times, Dec. 9, 1840. Among other plays in which Helen Faucit played, with Mac- ready, a leading part on the occa- sion of their first performance, may be mentioned Sheridan Knowles's ' Woman's Wit '; Lord Lytton's ' Sea Captain'; Talfourd's ' Glencoe ; ; Serle's ' Master Clarke '; Westland Marston's ' Patrician's Daughter'; Zouch Troughton's tragedy ' Nina Sforza.' A pro- logue by the late Charles Dickens was made a leading feature of the performance of ' The Patri- cian's Daughter.' It was written with admirable point and feel- ing, and was spoken by Mac- ready. Miss Helen Faucit per- formed the part of Mabel in the play. In 1845 she accompanied Macready to Paris, and at the Salle Ventadour (the theatre at that time usually devoted to Italian Opera) played in a series of English performances, which comprised ' Othello,' ' Hamlet,' ' Virginius,' Macbeth,' ' Werner,' ' King Lear.' " Acted Macbeth. The audience applauded Miss Faucit's sleeping scene much more than anything else in the whole play." — Macready 's Renwiiscences (New and Revised Edition), p. 560. January 16, 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. The same year, in March, 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 ex- pression to the unalloyed and sus- tained satisfaction which we have derived from your late performance at our national theatre. "We have each and all endeavoured to promote the cultivation of classic literature and the study of ancient Art in this our city ; and we feel that your noble representation of Antigone has greatly advanced these important objects, by creating a love and ad- miration of the beauty and grandeur of Ancient 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 have realised the genius, and em- bodied 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 tes- timonial to the virtues and talents of one whose tastes, education, and sur- passing powers have justly placed her at the summit of her profession. (Signed) George Petrie, R.H.A., V.P. R.LA., Chairman. John Anster, LL.p. 1 Secretaries> » John rrancis Waller ) Accompanying this testimonial was a splendid brooch of Irish gold, nearly four inches in dia- meter, 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 Dub- lin of the ' Iphigenia in Aulis ' of Euripides. In 1845, on the 6th of November, Miss Faucit sustained for the first time the part of Rosa- lind in 'As You Like It,' at the Haymarket Theatre. FAUCIT, HELEN. 125 "On Thursday Miss Faucit per- formed the part of Rosalind in the play of ' As You Like It,' and charmed us by the simplicity, the delicacy, the purity of the delineation. The character, like the play itself, is ideal, and therefore requires a spiri- tual ization in the performance, with- out which it is apt to become gross and sensual. It is not because she assumes, masculine 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 Hazlitt justly says, ' nursed in solitude, under the shade of melancholy boughs, the imagination grows soft and delicate, 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 repre- sented than in Miss Faucit's perform- ance'of Rosalind — the caprice of the part never more ethereally embodied." — Alkenauin, Nov. 8, 1845. After this year Miss Helen Faucit seldom played in London until 1852, when she made her reappearance at Drury Lane Theatre. During the intervening period, on August 25, 185 1, she had married Mr. Theodore Martin, an 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 and, we believe, appreciated by 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, and in a style so superior to all her former efforts in the character, as to challenge on this occasion more than ordinary critical attention. One attribute of her performance it was impossible to overlook — the purpose which per- vaded 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." — Athencsum, Jan. 31, 1852. Miss Faucit appeared at the Haymarket Theatre at intervals during the period 1853-5, in several of her more famous cha- racters, Pauline, Rosalind, &c. On Friday, July 6, 1855, for the first time in London (having often previously performed the part on the provincial stage), she ap- peared at the Haymarket Theatre as Iolantlie, in Mr. Theodore Martin's version of ' King Rene's Daughter.' " Miss Helen Faucit took a benefit at this theatre on Friday night, the result of which must have proved to the lady that the majority of the audience were not all unwilling to concur in an opinion tolerably well credited, that she stands at the head of living tragic actresses. Her at- tempt 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 Rene's Daughter,' which she chose for the first piece, is, as a dramatic composition, worthless. It is a trans- lation, or rather an adaptation, from the Swedish by Heinrik Ilerz. 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 126 THE DRAMA TIC LIST. thing than that of either of the actresses mentioned. The great de- fect 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 flinging 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 suc- cess ? She achieved what ought to have been an impossibility." — Daily News, July 9, 1855. The record of Miss Helen Fau- cit's performances, from the year 1855 to the date of her final disap- pearance from the stage, consists, for the most part, only of repe- titions of previous impersonations. These have passed the ordeal of criticism again and again, and are among the familiar facts of the play-going public. On Thursday, November 3, 1864, however, during Messrs. Fal- coner and Chatterton's manage- ment of Drury Lane Theatre, she played there the part of Lady Macbeth. " Miss Faucit appeared as Lady Macbeth, a character in which she is almost new to London, the direc- tion of her talents having generally led to the adoption of the gentler heroines created by Shakespeare. In these she has acquired a high reputa- tion ; but in severer parts she has yet to justify her pretensions. Time, however, has done much for Miss Faucit, and physically she is now better adapted for the stern charac- ters of the poetic drama than at any former period of her professional career. Her Lady Macbeth is an original conception, elaborately studied and carefully illustrated with sculpturesque attitudes, which are sometimes too painfully realised. In- tent on these expressions of deliberate thought, the actress is incapable of impulse, which accordingly is through- out 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 in which she stands read- ing the scroll that registers her hus- band's meeting with the Weird Sisters on the heath. It is gracefully marmorean, and gave the preliminary tone to the performance. The so- liloquy was delivered with great energy, and rose to a height of poetical declamation seldom attained. The interview with Macbeth was ren- dered 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." — Athenaum, Nov. 12, 1864. Without attempting categori- cally 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 per- formance of which she has most excelled as an actress — have been Juliet, Beatrice, Constance, Imo- geti, Portia, Lady Macbeth, and Rosalind. She followed Miss Vandenhoff (the original imper- sonator of the character in Eng- land) as the heroine in 'Anti- gone,' first produced with Men- delssohn's music at Covent Garden Theatre, January 2, 1845, a part in which Miss Faucit gained, as we FECHTER, CHARLES ALBERT. 127 have elsewhere remarked, well- merited honour. Her presentation of the character of Iolanthe 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 satisfactorily 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 : "Her expression of love is the most beautifully confiding, trust- ful, self-abandoning in its tone that I have ever witnessed in any actress. It is intensely fas- cinating." Miss Helen Faucit's last appearance on the London stage was in June, 1876, when she appeared at the Lyceum Theatre in ' King Rene's Daughter,' Mr. Henry Irving playing the part of Sir Tristram. FECHTER, CHARLES AL- BERT. Born in London, of mixed parentage — his father being a German, and his mother an Englishwoman. At a very early age Mr. Fechter's parents re- moved to France, and there he was brought up and educated. He made his ctibut on the stage at the Salle Moliere in Paris, and afterwards 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. Made his professional dt<- but as an English actor in London, — having already appeared some years before in French Plays at the St. James's Theatre — Satur- day, October 27, 1S60, at the Princess's Theatre, in the princi- pal role in Falconer's version of Victor Hugo's drama, ' Ruy Bias.' " A free version of ' Ruy Bias,' by Mr. Edmund Falconer, had been pre- pared for the occasion, M. Fechter of course representing that ideal lackey, who finds a livery such an incon- venient and disgusting obstacle to his love for a queen, and shoots up into the condition of an almost despotic Prime Minister under such circum- stances that the scene of his degrada- tion soon becomes more exquisitely painful than ever. As to the manner in which Mr. Fechter would speak English, the mind of the audience was soon at ease. 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. Rufs narrative of his sufferings and his love, and the small delicate touches by which 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 exe- cution would be in every way satis- factory. The second act (comprising two acts of the French piece) was an immense advance on the first. No- thing could be finer of its kind than Rufs 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 action were the words poured forth. There are not many actors who succeed even in ordinary love scenes, and few in could effect an exhibition of the idola- trous 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 unromanti' Let it be borne in mind, too, that there is something in the plot of 'Ruy bias' which is always oil the point of becoming ridi- culous to a public rather susceptible 128 THE DRAMATIC LIST. of the ludicrous than of the pathetic. The Spanish fashion of Rity's livery hazes over his menial capacity ; but, if the mind wanders a little from the visible clothes to the position they denote, imagination will with fatal ease powder the hair of Ruy, clap yellow plush on his person, and re- model his name into the more familiar 'Jeames' — and ' Jeames' making love to the Queen of Spain is not a sublime object. That M. Fechter should so readily have got over an obstacle which lies in the very essence of the piece, and that in the presence of a public little inclined to be taught by M. Victor Hugo that ' Jack is as good as his master,' of itself shows the respect with which he inspired his audience. The misery to which the virtuous impostor is exposed when his master suddenly reappears, and com- pels him to do petty menial offices, while he is still in the plenitude of his power — the terribly jarring conflict between the aspiring mind of the statesman and the bounden condition of the lackey — was represented with wondrous force and abundance of detail. 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 con- centration 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, M. 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." — Times, Uct. 29, i860. The following year (1S61), Monday, February 11, Mr. Fech- ter played the character of Don Ccesar de Bazan at the same theatre. "The part which M., or as he seems to prefer to be called Mr., Fechter is now playing nightly with success is that of Don Casar de Bazan 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,' 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 any 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 repertoire ; and moreover every one was successful in it, because, although requiring very great talent to embody it to perfec- tion, a moderate amount of stage knowledge and practice was enough to secure an effective, if not a satis- factory personation. Next to M. Frederick Lemaitre himself, the creator of the part, who frequently played it in London, at the St. James's, the most effective representation was that of Mr. Wallack, at the Princess's Theatre. Mr. Fechter's reading dif- fers greatly from both those of Mr. Wallack and M. Lemaitre. To characterize the three briefly, M. Lemaitre's may be called the humor- ous, Mr. Wallack's the melodramatic, and Mr. Fechter's the chivalric ver- sion. That is to say, M. Lemaitre brought forward more strongly the degradation into which Don Csesar had fallen, his indifference to his fate, and his acute sense of the ridiculous, with but few and faint glimmerings of the high-born Spanish nobleman, FECHTER, CHARLES ALBERT. 129 condescending even to heighten the absurdities of the part by the use of a mechanical feather, contrived so as to move at will. Mr. Wallack, who was not an actor of humour, gave a melodramatic phase of the part, dwell- ing more emphatically, and relying more for effect upon the conventional situations of the drama. Whilst Mr. Fechter presents to his audience a gentleman fallen, it is true, into low habits, and driven by circumstance to be ' acquainted with strange bed- fellows,' yet in his lowest degradation retaining a vivid recollection of his original position ; and though neither slurring over nor toning down so as to render ineffective the recklessness and careless habits into which a dis- sipated life has sunk him, mingling the tones of speech and the actions which depict Ins present state of life with gleams of better feeling and in- dications of a painful consciousness of his position. It will be seen that this reading enables him to give re- markable effect to the more serious situations which occur in the con- cluding scenes of the drama. Indeed, Mr. Fechter seems to view the charac- ter of Don Caesar as divided into two distinct portions, the line of demarca- tion being his unexpected escape from death through the instrumentality of the boy Lazarillo. In the former por- tion the worse, and in the latter the more noble tendencies of his character, prevail. To carry out this view efficiently requires no mean qualifica- tions in an actor, and it is no slight praise to say that Mr. Fechter does so. In rich and unctuous humour, in variety of detail, and in accumulating a number of small effects, and work- ing them up and fusing them into a consistent whole, he is certainly in- ferior to M. Lemattre, but everyone who lias not been fortunate enough to see that great actor will undoubtedly pronounce that Mr. Fechter does with tlie part all that is required. His performance, from beginning to end, must prove thoroughly satisfactory to the most critical spectator who views it apart from any previously- formed impressions. He touches but lightly the drunkenness of the first scene, is easily excited to a spirited line of behaviour, bears himself towards his adversary like a gentleman, at least in manner, and in the prison scene submits to his fate with a resignation that takes its colouring of reckless- ness from his natural and ingrained good - humoured habit of looking upon life altogether as a jest, whilst his tenderness towards the boy whose championship he had under- taken with such fatal results is most touchingly expressed, and his beha- viour to the veiled lady he marries is marked by gallantry and deference. The situation in which Don Caesar encounters the King was treated by Mr. Fechter in a manner quite dif- ferent to that of either of his pre- decessors above-named When the King has announced himself to be Don Caesar 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 him- self to be the King ; but Mr. Fechter seems to view his assumption of the King's name as almost a logical re- sult 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 treatment, if less effec- tive than Mr. Wallack's, and less consistent with the ruined Don C;esar of M. Lemaitre. In the concluding scene Mr. I echter 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 is missed, yet no effect is unduly thrust forward into notice ; 130 THE DRAMATIC LIST. every gesture and look and tone is allowed to bear its own force with the audience, and its significance is left to their appreciation, the whole evidently the result of great artistic perception, and of powers completely under control, the great art, after all, of concealing art predominating." — Standard, Feb. iS, 1861. In March, 1861, Mr. Fechter appeared for the first time in Eng- land as Hamlet. His interpreta- tion of the character excited great attention, and the performance was in every sense a remarkable success. "Mr. Fechter does not act; he is Hamlet The soliloquy was finely delivered without declamation, but with the most passionate feeling. In the scene with the Ghost there was none of the conventional routine. .... What we principally remarked in the first act was the intense and unmistakable sorrow that is displayed which 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 soliloquies 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 pro- longed.'' — Athenceum, March 23, 1 861. " Mr. Fechter' s performance of Ham- let should unquestionably be seen by everyone who takes an interest in the higher departments of histrionic art. At all events, it is a theatrical curi- osity. A Parisian artist, unrivalled in his own line, which is not that of French classical tragedy, essays the n ost arduous of Shakespearian cha- racters. 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 no- thing to do. lie goes straight from the book to the boards, and, though possibly he has received a few hints as to the general conduct of the busi- ness, 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 Hamlet's Scandinavian nationality by a profu- sion 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 Hamlet's nature has seemed most essential. The manner in which he throws out his answers, like one un- willingly 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 irony. Through the pre- dominance given to the meditative element the soliloquies acquire a very remarkable character. He has ela- borated 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 occu- pied with a play of the intellect. The birth of his thoughts is more visible than the influence of his emotions. The gentlemanlike side of Hamlet stands also high in the considerations of Mr. Fechter. Throughout the whole tragedy he is the very perfec- tion of courtesy, and this quality is especially shown in his scenes with the players. Those of our readers who have seen him in the ' Corsican brothers' will recollect the charming way with which, as the young Squire, he settled the disputes of his turbulent peasantry. He was evidently far above the others in the social scale, but his condescension was so easy that it was even more agreeable than equality. Something of the san.e kind may be observed in Mr. Fechter's FECHTER, CHARLES ALBERT. representation of Hamlet's conduct towards the itinerant comedians. He is a thoroughly polite Prince, and even when he is vexed by the interruptions of Polonius there is infinite courtesy in the gestures with which he motions him to silence. Indeed, all the 'gen- teel comedy ' which belongs to Ham- let 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 medi- tation, but must speak out 1 md 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 concep- tion it is impossible not to feel that passages to which we have been ha- bituated 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 full}- to understand every line set down for him are laud- able in the highest degree, and the slips which he makes arc so rare that they may simply be regarded as mo- numents 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 ges- tures are unlike those to which we have been accustomed on our own stage. Probably ' Shakespeare ' never has 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 Fnglish standard." — J'imes, MarJr 22, l86l. On Wednesday, October 23, 1 86 1, at the same theatre, he ap- peared in the character of Othello, for the first time in England. " When M. Fechter appeared in the character of Hamlet, his freedom from all the restraints of stage tradi- tions was, perhaps, more an object of interest than any of his peculiarities. Still, save among his confidential friends, there was no certain know- ledge whether this freedom was the result of accident or of deliberate choice. Not having been trained on the English stage, it was just possible that he might have gone his own way simply for want of a guide. But in Othello he takes a far more decided po- sition, and shows that he is a free man, not only in practice but in theory. On the first night of performance, Charles Fechter's acting edition of ' Othello ' was widely circulated, and the dedi- cation to Richard Lane, Esq., follow- ing the title page embodied the artist- editor's profession of faith. The world was thus informed of Mr. Fechter's conviction that ' Shake- speare's plays were certainly written to be acted, not recited' (a proposition more pregnant with meaning than is apparent at the first glance), and of the fact that his mode of treating Shakespeare was 'the fruit of nearly twenty years' unceasing labour of love for the scenic representation of the ( rreat Master.' Further, aspirants were urged 'to press forward, to sap the foundations of that worm-eaten and unwholesome prison, where dramatic art languishes m letters, and which is called Tradition? Having thus de- clared, not only that he is himself in le- pendent of tradition, hut that all his successors should destroy it as a 'worm-eaten and unwholesome pri- son,' M. Fechter elaborately pro- K 2 IT2 THE DRAMATIC LIST. pounds his own views of the manner in which Othello ought to be repre- sented. His instructions are conveyed, not in the form of essay or note, but by means of stage directions, far more copious than those manuscript regu- lations which are ordinarily to be found in our old prompter's books. The personages are not only informed on which side they are to make their entrances and exits, where they are to sit and where to stand, but the details of their movements are so closely de- scribed that the directions almost comprise an indication of thoughts and motives supplementary to the text. . . . w 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? While he denies the authority of every actor of Othello down to this year of grace, 1861, he lays down a rule for the future Othellos far more strin- gent 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 im- perial logic is to be found in this seeming inconsistency. The French- man has overthrown all the traditions of the Bourbons — ergo he is free. The artist who ignores the precedent of Kembles and Keans is free likewise. As for the Napoleons and Fechters, they are, of course, symbols of per- fect liberty That M. Fechter's Othcilo 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 provoke general discussion \\ ith regard to his own personation, we should say that, in M. Fechter's view, Othello is more affectionate than impassioned, and more logical than either. Far from being naturally suspicious, he does not grow uneasy till he has ample ground for annoy- ance, and, consistently with this belief, that he would not turn mad- jealous for a trifle, the character of the Courtesan Bianca, commonly omitted, is restored. Such an Othello as 1VL Fechter conceives would re- quire the evidence of Desdemona's 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 tenderness, 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 con- viction than by the love of novelty for its own sake As for the altera- tion of the catastrophe, which consists in making Othello drag Iago 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 uir- baned 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 ac- tuated 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 question 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 innovator like M. Fechter gives pe> pie something to talk about. The volume of Shakespeare is taken down from the library sheif, and whether the ma- jority agree or disagree with the new interpreter, the work of the great poet FECHTER, CHARLES ALBERT. 133 becomes a subject of serious con- sideration." — Saturday Review, Nov. 2, l86l. In 1863, Mr. Fechter entered upon the management of the Lyceum Theatre, and, on Satur- day, January 10, "opened" with ' The Duke's Motto' (altered from ' Le Bossu ' of Paul Feval, by John Brougham), and played the part of Henri de Lagardere. " It will probably be admitted 011 all bands tbat no actor in our time has given rise to appreciations more diverse than Mr. Fechter ; he fell in the midst of artistic circles like a shell, scatter- ing opinions right and left. Whilst, to some people he was a man of genius, an actor ot passion and imagination whose ' realism ' was an Aladdin's lamp that carried anew and delightful light into the treasure-caves of Shake- speare ; to others he was merely en- dowed with a certain grace of inge- nuity, and in his realism had simply a touch that showed us the outside of the cavern. To some he was the high priest who conducted the true worship of the poet ; to others, the audacious Pagan who robbed the shrine of all its sanctity. There can be little doubt that in both opinions there was a good deal of excess, though it would be rather a laborious matter to accom- plish their adjustment. One fact, however, can be seized as a common ground in this contention. If it is only by a certain, though it must be allowed, a very numerous refined class, that Mr. Fechter is accepted as an interpreter of Shakespeare, by all he is held pre-eminent in the drama of romantic and real life, and justly re- garded as a most accomplished ex- ponent of its various phases. If many deny him tragic passion, all allow him poetic sympathy, and feel how hap- pily he moves along the broad path of human emotion, even though they deny him the power to scale its heights or plunge into its ravines. Here all the qualities that most dis- tinguish him are allowed to find their fullest scope ; his grace, his ease, his picturesqueness, his life, his force, his elasticity, his vivid sense of character, his perfect mastery of detail — all the elements, in fact, that compose his wonderful reality, and which, if they are felt somewhat to limit the ideal world, are able to expand the actual into so much significance and beauty. .... The drama of the night was presented, under the title of the ' The Duke's Motto,' being an adaptation from ' Le Bossu,' the present novelty of the Porte St. Martin, which has now been attracting Paris for above a hundred nights. M. Fechter could scarcely have done better than in making this selection. ' Le Bossu ' is unquestionably one of the best pieces of its class that has been produced in Paris for some time. It is full of interest and variety, presents a vivid picture of a particular epoch ; and, in addition to the force of its general features, both scenic and dramatic, has the advantage of presenting a leading character which is admirably suited to Mr. Fechter. Mr. Brougham, who has adapted it, and has very properly adhered to the outline of M. Paul Feval's original, has in some instances weakened and in some considerably improved it The acting of this drama is very forcible throughout. Mr. Fechter finds in its hero a cha- racter that not merely brings out all his known ability, but which has the advantage 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 re- flects 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 sar- donic glances, was a contrast that came upon us with as much enjoy- ment 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 dia- bolical. That character will be num- bered among Mr. Fechter's best suc- cesses. We need not dwell on his '34 THE DRAMATIC LIST. acting of the Captain, whose loading features he so well contrasts, in the buoyant spirit displayed throughout hi^ adventures, and the generous ardour with which he responds to the love confession of Blanche. Mr. Fechter was received with great en- thusiasm on Ids first entrance, and was loudly called for at the close of every act as well as at the termination of the drama.'' — Daily Telegraph, Jan. 12, 1863. The same year, Saturday, Oc- tober 31, at the same theatre, he performed the character of Angelo, first performance of ' Bel Demonio ' (John Brougham). In 1864 Saturday, May 21) he "re- vived "' Hamlet ' at the Lyceum with great success. "The revival of ' Hamlet,' so long expected, took place at the Lyceum on Saturday, and a house crowded in every part was the result. That all the modem means that have been devisedfor the purpose of scenic effect would be employed on this occasion had been confidently anticipated, nor expectations d.sappointed. . . . Mr. Fechter, in his revival, has two objects in view. One of them is to give an antique Danish colouring to the whole piece ; the other is to pre- sent certain effective situations under a new aspect. The first of these ob- jects can only be proximately attained, for the story of ' Hamlet ' refers to a period so completely mythical that an investigation as te his proper dress would prove almost as satisfactory as a search for the pattern-book of Thor's tailor. . . . Mr. Fechter has pre- sented his audience with massive architecture of the Norman style, and the dresses of the mediaeval Danish period. Rosencrantz and (juildenstem are no longer attired in that conventional costume which is vaguely associated with the courtiers of Spain or Italy, but are dressed like Northern warriors— bluff fellows, with thick beards, coarse leggings, and cross gaiters — and the other personages are after the same model, Mr. Fechter of course retaining that peculiar black dress and blonde hair which became so famous at the Princess's. . . . We need not dwell at length on Mr. Fechter's im- personation of Hamlet. Its deficiency in traditional points must be accepted as the result of a general theory to be discussed a priori, and even those who find that it lacks physical force must recognise its highly intellectual cha- racter. The dreamy side of Hamlet's nature could not be more perfectly exhibited than by Mr. Fechter. . . . The p.ece altogether is equally played, but to name two characters that par- ticularly stand apart from the rest, we would select the Ophelia of Miss Kate Terry and the Gravedigger of Mr. H. Widdicomb. The natural un- affected pathos of the former in the mad scene, the comic self-sufficiency and perverted shrewdness of the latter while chopping bad logic by the grave, were admirable. . . . Mr. Fechter, with all his zeal against stage tradition, seems to have had no thought of restoring Fortinbras, and yet by the restoration Hamlet would gain a fine speech similar in purport to that in the second act." — limes, May 23, 1864. The same year, Saturday, Oc- tober 22, first performance of ' The King's Butterfly,' he played Tonfan. On January 21, 1865, stili at the Lyceum, Mr. Fechter produced a version of M. Frederic Lemaitre's ' L'Auberge 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 Bel- phegor, 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. " In regard to Mr. Fechter's repre- sentation of the character, we pro- nounce it to be a masterly piece of FECHTER, CHARLES ALBERT. »35 acting, replete with a variety of phases, and manifesting much profound (eel- ingS'—AtJietuBum, April 22, 1S65. During 1865 Mr. Fechter pro- duced two plays by Mr. Palgrave Simpson, viz , on Monday, No- vember 6, ' The Watch Cry,' adapted from the French drama ' Lazare le Patre ' ; and on Decem- ber 22 a new version of an old subject, under the title of the ' Master of Ravenswood.' In both Mr. Fechter sustained the leading role : in the first the part of Leone Sail' hit i ; in the second that of Edgar of Ravenswood. During 1 866 Mr. Fechter again " revived " 'Hamlet' at the Lyceum. In May of the same year he "revived" ' The Corsican Brothers,' in which (at the Theatre Historique in Paris) he was the original repre- sentative of the twin brothers, Louis and Fabien dei Franchi. "That Mr. Fechter, as the original representative of the twin brothers, has claims on critical appreciation is certain ; and it may be added that he need not fear the rivalry of the best of his successors. His impersonation is narked by superior refinement and the direct action of an intelligence that had conceived for itself the characters that it supported, independent of imi- tation ; an affirmation not to be made of any other representative of the parts. This advantage .Mr. Fechter is likely to retain ; for while he is more quiet in his style than any of his competitors, lie is, at the same time, decidedly more natural and interest- ing." — Atlniiuum, June 2, 1866. " One of the greatest 'sensations' of 185 1 — a year fruitful in novelties and excitement, was the production of a romantic drama at the Prin- cess's Theatre, entitled the 'Corsican Brothers.' This drama, adapted from the French of Alexander 1 Mimas 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 Shakespearian imperso- nations. Mr. Fechter was naturally anxious to appear before an English audience in the two characters — Fa- bian and Louis — which he had origi- nally represented at the Theatre His- torique 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. Yining took the Princess's he revived the 'Corsican Brother-.' in 1864, and played the two brothers himself in the old Princess's vers on, his Chateau Kenaud being Mr. \\ alter Lacv. Last night M. Fechter revived the play at the Lyceum, still keeping to the French version, excluding the famous sliding-trap, and making very little use of that popular ghost melody which we believe was composed for the drama by Mr. Stoepel The strength of Mr. Fechter's per- formance of the two Coisicans is shown most in the third and fourth acts ; the third act in which he is the gay and superstitious > oung hunter, and the fourth act in which he seeks revenge for his brother's death with concentrated earnestness. The Cha- teau kenaud is Mr. G. Jordan who wants repose for the part— a tho- roughly artificial one; and Mr. Her- mann Vezin, Mr. Emery, and Mr. II. Widdicomb, are of gieat service to the piece, the first as a gentlemanly I, P. 11011 Mongiron, the others as the two brawling Coisicans, Or- lando and Colonna," — Daily News, May 22, 1866. In 1867 (January) ' Rouge ct Noir,' by Henry Leslie, was per- formed for the first time at the I THE DRAMATIC LIST. Lyceum, Mr. Fechter sustaining in the play the character of Mau- WArbel. In the following September, Monday the 1 6th, he per ormed c 'laude Melnotte, in the • Lady of Lyons,' at the same theatre. In November he with- drew from the management of the Lyceum Theatre; and the next month (Thursday, December 26, 1S67) appeared at the Adelphi, first performance of Messrs. Charles Dickens and Wilkie Col- lins's play, ' No Thoroughfare,' in the part of Obenreizer. " In the fourth act the excitement of the play culminates. The first s^ene is laid in the room in the Swiss inn, where Ohcnrcizer 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 earnest- ness and skill, and while the softer iges of his love-making were as gracetul and tender as ever, he gave due emphasis to the darker side of the character." — Daily Telegraph, Dec. 27, 1867. It may be mentioned that a French version of this play, en- titled ' L'Abime,' was produced in 1868 in Paris; in this Mr, Fechter sustained the same cha- racter. Saturday, October 17, 1868, at the Adelphi, he played Edmond Dantes, 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, entitled ' Black and White.' Monday, November 29, of the same year, he commenced a series of twelve farewell performances at the Prin- cess's Theatre, previous to his departure for the L'nited States, which took place shortly after- wards. He remained in America until 1872, in which year, on Satur- day, March 2, he reappeared on the London stage at the Adelphi, in ' Ruy Bias ' ; and subsequently, Monday, June 2, at the Prin- cess's, as Hamlet. Since 1872 Mr. Fechter has resided in America. FERNANDEZ, JAMES. Born at St. Petersburg, Russia, May 28, 1835. Entered the dra- matic profession at the Queen's Theatre, Hull, October, 1853. Afterwards played at Stafford, Hanley, Lichfield, Isle of Man, Wolverhampton, Whitehaven, Rochdale, Blackburn, &c. First appearance in London at the Queen's Theatre, 1855. Subse- quently played at the Bower, Gre- cian, and Surrey Theattes ; re- maining at the last-named theatre (under the management of Messrs. Shepherd and Creswick) for six consecutive seasons, playing, in conjunction with Charles Calvert, principal "juvenile" parts; among the number Walter Hartrig/it, in the first dramatization of Wilkie Collins's ' Woman in White.' " Walter Har fright is played by a young actor named Fernandez, who, to good natural qualifications, adds a thorough knowledge of melodramatic business, and has every appearance of being a rising man,"— Times, Nov. 8. i860. FERNANDEZ, JAMES. '37 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 appeared at the Ly- ceum Theatre in a drama en- titled ' Narcisse.' (See Band- mann, Daniel E.) In 1S68 was leading actor at the Theatre Royal, Brighton. The following year ac- cepted a special engagement to play the King THE DRAMATIC LIST. "The Jacques of Mr. Gibson was quite worthy of the eulogy it received. I lis delivery of the celebrated ' seven ages ' was an elocutionary effort which re satisfied would astonish many of those who had not previously wit- nessed him in the ' legitimate.' " — ■Si otsman, 1869. In 1870 Mr. Gibson went on a six months' tour with Charles Dillon, playing Iago, Macduff, Petruckio, Gratiano, and lastly, at the Theatre Royal, Glasgow, the part of Bailie Nicol Jarvie to that actor's Rob Roy. The im- personation of the character by Mr. Gibson afterwards became one of his most genuine successes | on the stage. " The finished performance of Mr. Gibson as Bailie Nicol Jarvie is un- doubtedly the feature of the play. The Glasgow magistrate stands be- fore us at once as a shrewd careful man of business, with a keen eye to the main chance ; a personage feeling it incumbent on him to maintain ihe dignity of his office ; a friend full of self importance in his patronage of unfortunate Englishmen, and of his power to lay the Highland 'robber' last by the heels ; and all the time as the pawky Scotchman, full of humour and worldly wisdom. To tell how all this is depicted would require too much space ; but those who delight in good acting should see it for themselves." — Dundee Advertiser, 1 871. Was leading actor of the Glas- gow Theatre Royal in 1871. The following year accepted an en- gagement as leading actor at the Opera House, Aberdeen. In 1873 travelled as a dramatic reader in Scotland. In 1875 (having in the intervening period been incapaci- tated by severe illness) played various "starring" engagements in Scotch roles. In 1876 played Antigonus in a revival of 'A Winter's Tale ' at Alexandra The- atre, Liverpool. In 1877 again performed Scotch roles in leading towns in Scotland. In 1878 (April 6) first appearance in Lon- don at the Duke's Theatre in the character of Jock Howieson in the play of ' Cramond Brig.' GLOSSOP, MARIA ELIZA- BETH. See Harris, Maria. GLOVER, AUGUSTUS, a nom de theatre (SIDNEY De Fivas.) Born in Edinburgh, May 29, 1846. Youngest son of the late Victor de Fivas (formerly of Edin- burgh), M.A., LL.D., &c, author of many well-known French educational works. First appear- ance on the stage June 1864, at the New Royalty Theatre, as Bas- sanio (' Merchant of V r enice '). Played under the name of ' Gil- bert.' Afterwards became " stock leading-man " for several seasons at various provincial theatres. Was a member of Mr. Walter Montgomery's company when that gentleman opened the New Theatre Royal at Nottingham. Dec. 26, 187 1, at the New Theatre Royal, Bristol, played the part of Captain Bill Backashaw, in the pantomime of ' Dick Whittington and His Cat,' with much success. First appearance of note in Lon- don, September 21, 1872, at the Adelphi Theatre, as Wild Mur- toch, in a revival of ' The Green Bushes,' Madame Celeste playing Miami, her original part. (See Celeste, Madame.) " Wild Murtoch was never better played than by Mr. A. Glover, for his original representative, Mr. O. Smith, though an accepted ruffian was not an especial Irishman." — Times, Sept. 22, 1872. At the same theatre Mr. Glover played the following original parts, viz., Daniel Mandril in ' Mabel's Life' (H. J. Byron), Colonel Craf ton GLYN, ISABEL. 151 in ' Fritz ' (Andrew Halliday), Mr. Pollywiggle in ' A Yule Log ' (Benjamin Webster, junr.), Capt. Cartouche in ' A Waltz by Arditi ' (John Oxenford). Subsequently at the Princess's Theatre, played the part of Fix, the detective, during the performance of ' Round the World in 80 Days,' and at Covent Garden Theatre (1876), King Hokypokywankyfum, in the Christmas pantomime. GLYN, ISABEL. (Mrs. E. S. Dallas.) Born in Edin- burgh, 1823. Had played in a few rehearsals at Manchester pre- viously to her professional debut, which took place at the Olympic Theatre, London, Wednesday, January, 1848. Miss Glyn made her appearance, specifically, as a pupil of Charles Kemble, in the character of Lady Macbeth. " Miss Glynn is a brunette, rather tall, of a well-proportioned figure and expressive features. Her eyes are large and dark, and she has a pro- minent intellectual forehead. It was evident from her entrance that she was suffering from excessive nervous- ness. There was nevertheless in her early scenes a marked intention, not fully brought out. The voice faltered — at times all but failed, and the action was embarrassed. As the play progressed, however, the text was more strongly pronounced, and it was interesting to note the gradual in- crease of confidence from 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 con- tent at present to record that her style: is eminently natural and unaffected, and free from any tendency to rant or exaggeration." — Athetusum, Jan. 29, 1848. At the same theatre, on Wed- nesday, February 16 of the same year, she played Juliana in ' The Honeymoon ' ; and on Wednes- day, September 27, 1848, at Sad- ler's Wells Theatre, Volunmia to the Coriolanus of Mr. Samuel i'helps. In the following month, at Sadler's Wells, she played Hertnione ('A Winter's Tale'), and on December 13, Queen Katheri?ie. In 1842, 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 in- tensity, she seems filled with a deter- mination 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, Jan. 30, 1849. During the year at Sadler's Wells Miss Glyn appeared (with Mr. Samuel Phelps) in the follow- ing characters, viz., Margaret of Anjou ('Richard the Third'); Portia (' The Merchant of Venice ') ; Emilia (Othello) ; Isabella (' Measure for Measure ') ; and, after 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 Glyn, Cleo- patra. " In portraying the enchantress, Cleopatra, Miss Glyn had occasion to draw upon the entire resources of her art. The variety and fascination of the character she touched to admira- tion. The caprice, the grace, the pride of the character were exhibited with a power which exceeded expec- tation. It was evident that she had made a profound and industrious study of the part. The whole por- trait was thrown out with decision and force, and richly coloured. Those I?2 THE DRAMATIC LIST. parts in which dignity and anger were expressed such as the interview with the messenger after Antony's second marriage — were given with a vehem- ence and power corresponding to the language she had to deliver. But it was in the fifth aet, when preparing for her death, that the better phases of the character and the more refined r,i the action tested the fitness of the actress for this assumption. In- dignant majesty, compulsory resig- nation, heroic resolve, and tender memory, were all adequately pro- nounced. The death itself was a triumph." — Athenceum, Oct. 27, 1849. •During 1850 Miss Glyn's en- gagement at Sadler's Wells con- tinued, and she appeared there in the following characters, viz., Lady Macbeth, for the second time ; Isabella, in Southerners 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 this house (Sadler's Wells) is highly interesting, from the circumstance that it exhibits Miss Glyn in an entirely new light. Hith- erto she has been confined not only to tragedy, but to the sterner section of tragedy, and there was some reason to doubt that a lady who has once adopted the elevated manner of inter- pretation would be able to realise the vivacious Beatrice. The result of her attempt has surpassed even the most favourable expectations. Beatrice, as represented by Miss Glyn, is full of healthy hilarity, indicated by the play of the countenance and the nimble readiness of the movements ; but she does not overpower her hearers with those incessant bursts of laughter that sometimes become fatiguing. It is the distinctive feature of her interpre- tation that she thoroughly displays the mental peculiarities of the cha- racter without recourse to violent physical expedients. Her attack on Benedick at the ball, when she rallies him as the ' Prince's jester,' is a re- markable instance of discrimination. She throws out her words with more than ordinary force, making them hit harder and faster, as if aware that she has seized on a happy suggestive notion and is delighted with its capa- bilities." — Times, Oct. 7, 1850. On Wednesday, November 20, 1850, Miss Glyn played the title role in R. H. Home's version of ' The Duchess of Main.' " In the acting of the piece, the great feature is the very excellent performance of Miss Glyn ; and we would especially commend her treat- ment of the earlier portion of the drama. The forcible passages that afterwards occur may be said, in a way, to act themselves ; but the diffi- culties at starting required delicate discrimination. The Duchess is made to avow her passion to her steward, with a freedom that is almost repul- sive, and might be rendered exceed- ingly so by a coarse treatment. Miss Glyn, by giving the love scene the tone of haute comedie, veils the inde- licacy of the position by an air of polished badinage. This treatment also secures the advantage of contrast for the misery that follows, and re- lieves the general ghastliness of the ' play." — Spectator, Nov. 23, 1850. " Miss Glyn's performance of the Duchess is one of the most striking achievements of that rising actress. The scenes, intrinsically coarse, in which she makes love to her steward, were admirably softened by the playful spirit of coquetry which she infused into them. The soft passages of sor- row stole with mournful effect upon the naturally mirthful temperament, and when her wrongs aroused her alike to a sense of pain and dignity, her denunciations were terrific." — Times, Nov. 21, 1S50. On the occasion of her first " benefit," at Sadler's Wells The- atre, Tuesday, March 11, 1851, Miss Glyn played Katharine (' The GLYN, ISABEL. 153 Taming of the Shrew ') for the first time. During this year she made her first tour in the pro- vinces and achieved great success; | and in September 1851, for a brief period, entered upon a series of Shakespearian readings. De- cember 185 1, she made her first appearance at Drury Lane Theatre (under Mr. Bunn's management), appearing there on the 26th of that month as Bianca (' Fazio ') ; and subsequently, Friday, Jan. 16, 1852, as Julia in ' The Hunch- back.' " Miss Glyn's performance of Julia in the ' Hunchback,' which was acted last night, 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 character rather within the sphere of genteel comedy than to render it 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 me,' 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, ' Clifford, 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 distinctness of delivery is one of her great qualifications." — Times, Jan. 17, 1852. From 1852 to 1854 Miss Glyn rarely appeared on the stage. In the latter year, on Monday, Octo- ber 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. " The play of ' The King's Rival,' which has undergone as much excision as was requisite for its complete suc- cess, well deserves a word from us. . ... In one or two of the leading parts it is finely acted. Miss Glyn is admirable in Miss Stezvart. She acts it with a delicacy of appreciation that leaves nothing to be desired. She is the lady full of stateliness and virtue, all the more stately and the more virtuous for the scenes and people that surround her, whose pride is brought by degrees delicately marked to the point of sisterly em- brace even with a Nell Gwyn. The scene is really made affecting, and it is felt to be not at all dangerous, by the skill with which it is acted. Nell Gwyn herself, too, is one of the happiest drawn people in the play, as anyone would expect who remembered the Peg Wofnngton of 'Masks and Faces'; and how excel- lently is she acted by Mrs. Seymour, with frank, unaffected, cordial en- joyment. For the sake of this genuine acting of Mrs. Seymour and Miss Glyn, as well as for the interest of the story, and the thoroughly right spirit in which it has been worked out, ' The King's Rival ' is one of the pieces that no playgoer should leave unseen." — Examiner, Oct. 21, 1854. In 1 85 5 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 Cleopatra (' Antony and Cleopatra '), and continuing to act at the same theatre from time to time until 1857. "The lady (Miss Glyn) still retains the classical, dignified style of her later performances, making no effort '54 THE DRAMATIC LIST. to obtain applause, but commanding the deepest attention. Her acting is in fait 'a thing apart,' and wholly unlike that of any other artiste. Its continued appreciation by the audi- ni es of this neighbourhood (Shore- ditch) is perhaps the most noteworthy fact in the current history of the stage."— A tfie/ueum, Aug- 22, 1S57. In 1S59 Miss Glyn had returned to the avocation of a " reader " in public of Shakespeare's plays, her most successful selections being taken from ' Antony and Cleo- patra.' She followed this pursuit with unvarying success at inter- vals during the decade 1859-69. Miss Glyn appeared for a brief season at Sadler's Wells Theatre in 1859 in a "round" of Shake- spearian 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. "The triumph of the evening was the assumption by Miss Glyn of Cleo- patra. The witchery of the blandish- ments, the Asiatic undulations 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 are brought out with an accuracy of elo- cution and with a force of genius which leave no doubt on the mind that Miss Glyn is as great an actress as ever adorned the English stage." — Athenemm, May 18, 1867. The following year (1868), April and May, she accepted a brief en- gagement at the Standard The- atre, appearing there as Hermione, in ' A Winter's Tale,' among other characters. Since the last-men- tioned date Miss Glyn has rarely appeared on the boards of a theatre. She has principally de- voted herself to the instruction and preparation of pupils for the stage, and to the " readings" already noticed. The first of these given by her in America were delivered in the autumn of 1870, at Tremont Temple, Boston, and consisted of selections from ' Antony and Cleo- patra.' More recently (June, 1878), Miss Glyn has been reading from the same play in London. GOOD ALL, ISABELLA. Born in Liverpool, August 10, 185 1. First appeared on any stage at the Royal Amphitheatre, Liverpool, in ' The Middy Ashore.' Made her debut on the London stage April 15, 1866, at the Prince of Wales's Theatre as Coralie in 'A Winning Hazard.' Has ap- peared since at the following the- atres in London, viz., the Royalty, Alhambra, Strand, Holborn, Opera Comique, Hay market, 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. GO WARD, MISS. Keeley, Mrs. See GREEN, DOLORES DRUM- MOND. See Drummond, Do- lores. G R I M S T O N, MRS. W. HUNTER. See Kendal, Mrs. W. H. GRIMSTON, WILLIAM HUNTER. See Kendal, Mr. W. H. JOHN HARE. HARCOURT, CHARLES. 155 HAMILTON, HENRY. Born at Nunhead, Middlesex. Entered the dramatic profession in 1873, appearing first at the Theatre Royal, Edinburgh, under Mr. J. B. Howard's management. Subsequently joined the following travellingcompanies of comedians, viz.: Mr. Wilson Barrett's in August 1873 ; Mr. Craven Robert- son's so-called ' Caste ' company in November 1874 ; and in April 1876, in conjunction with Mr. H. M. Pitt, formed the so-called " Pitt and Hamilton Comedy-Drama Company." HARCOURT, CHARLES. Made his first appearance on the London stage March 30, 1863, at the St. James's Theatre, as Robert Audley in George Roberts's dra- matic version of Miss Brad- don's novel ' Lady Audley's Secret,' first performed at the same theatre Saturday February 28, 1863. Has appeared since in London with success in the following parts, viz., at Drury Lane Theatre, February 1866, as Baron Steinfort, in ' The Stranger ' ; at the same theatre, January 1867, as Frank Rochdale in a revival of ' John Bull ' ; at the same theatre, March 1868, as Count Henri de Villetanenve, first performance of Colonel A. B. Richard's drama, ' The Pri- soner of Toulon ': at the Royalty Theatre, September 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 performance of Richard Lee's play entitled ' Chivalry ' ; at the Haymarket Theatre, May 1876, as Claude Melnottej at the same theatre, in January 1877, as Pyg- malion, in a revival of Gilbert's ' Pygmalion and Galatea.' On Saturday, April 20, 1878, first per- formance at the Adelphi Theatre of F. C. Burnand's drama, ' Proof; or, a Celebrated Case,' adapted from the French ' Une Cause Celebre' of MM. Adolphe D'En- nery and Eugene Cormon, Mr. Harcourt played the part of Count d'Aubeterre. HARE, JOHN, a nom de theatre. (John Fairs.) Made his first appearance on the London stage at the Prince of Wales's Theatre September 25, 1865, m trie part of Short in a play entitled ' Naval Engagements.' At the same theatre on Saturday, Novem- ber 1 1, of the same year, sustained the part of Lord Ptarmigant, first performance in London of T. W. Robertson's comedy entitled 'So- ciety,' originally produced at the Theatre Royal, Manchester. " Next in importance is Lord Ptarmigant, a remarkably thin noble- man of unmistakably aristocratic appearance, who, less from weakness than from indolence, allows his wife to tyrannise over him till he finds that he has to defend a righteous cause, and then surprises the audience by a sudden display of authority. This ' bit of character ' is made up to the life by Mr. Hare." — Times, Nov. 14, 1865. " The acting throughout was admir- able. Mr. Sidney Bancroft who performed the hero, Mr. Hare who played the part of a 1 i - 1 1 < ■ -■ -. middle- aged lord, and Mr. Clarke who represented the vulgar-minded, self- r 5 6 THE DRAMATIC LIST. sufficient young man of property, were most artistic. Mr. Clarke is an old favourite, Mr. Bancroft has been with the present management since the opening of the theatre, and Mr. Hare is the latest addition to the company. It is a real pleasure to welcome such an actor as this last gentleman to the London stage." — Daily Neios, Nov. 13, 1865. On Saturday, September 15, 1 866, first performance at the Prince of Wales's Theatre of T. W. Robertson's comedy entitled ' Ours.' Mr. Hare undertook the part of Pritice Perovsky. The play was originally performed with great success at Liverpool. "Acted with remarkable care by the excellent company ot this theatre (the Prince of Wales's), the comedy has produced an effect which is most satisfactorily displayed in warm ap- plause and full and fashionable assem- blages Mr. Hare again dis- tinguishes himself as a most skilful delineator of character, and no more complete impersonation has been for some time seen than his embodiment of the Russian, Prince Perovsky, characterised by the highest polish and the utmost refinement of speech and manner." — Daily Telegraph, Sept. 19, 1866. On Saturday, April 6, 1867, first performance at the same theatre of T. W. Robertson's comedy en- titled ' Caste,' Mr. Hare played the part of Sam Gerridge. "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."- — Daily News, April 8, 1867. " 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. He hates the aristocracy in theory, but is ready to lick the shoe of a person of quality if anything is to be made by the degradation. That democratic clap-trap which is among 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 opportu- nity 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 idealized, nor are his uncouth appearance, or the vulgar terpsichorean feats which he performs under the influence of excessive joy accompanied by the pos- session 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. HARE, JOHN. 157 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. In the following year, on Satur- day, 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. "The Hon. Bruce Fatiquehere — here is another well-drawn part. 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 cha- racter, and the figure he presents with thin legs, imperturbable demean- our, and a dress which, though plain, borders on the ' slangy,' is entirely new to the stage." — Times, Feb. 17, 1868. On Saturday, January 16, 1869, first performance at the same the- atre of Mr. Robertson's comedy entitled ' School.' Mr. Hare played the part of Beau Farintosh. "In the character of Beau Farintosh Mr. Hare, who is certainly one of the most creative actors on the stage, added another portrait to his exten- sive gallery. In the last act where he appears as an old man, weaned, to some degree, of his foppery, his acting reminded the spectators perhaps too much of Lord Ptarmigant ; but as the highly artificial beau of the first three acts his performance is a stud) which would require much more space than we could command to do justice to it." — Daily A'ews, Jan. 18, 1869. "Whatever part Mr. Hare under- takes we may be quite assured the utmost amount of pains will be be- stowed on every detail ; and this most creditable characteristic of the actor is especially to be noticed in his latest assumption. Beau Farin- tosh, 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 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 unavoid- able feeble gait, and the blundering short-sightedness of which he seems to be so amusingly unconscious are admirably exhibited. An effective contrast is also produced when he no longer affects to conceal the years he has attained ; and when clasping his long-sought grandchild 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 accompanies this wholesome change favourably displays the power of the actor in a strong situation." — Daily Telegraphy Jan. 25, 1869. At the same theatre, on Satur- day, April 23, 1870, first perform- ance of Mr. Robertson's comedy entitled ' M.P.,' Mr. Hare acted the part of Dunscombe Dunscombe. "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 111 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, Robert- son's piece, is the scene of the sale by auction in Dunscombe Hall, which may have been suggested by the late R. Mardneau's impressive picture of i 5 8 THE DRAMATIC LIST. ' 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 inci- dent as his actors — Mr. Hare more particularly — for their perfect realiza- tion of the author's intention. We remember no more natural and touch- ing 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 actors con- cerned without a single exception. .... Mr. Hare's performance in conception and execution was the gem of the piece. Nothing so good is at this moment to be seen in Lon- don, 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, and that which follows when he listens to the voice of the auctioneer knocking down his ancestral pictures, rises to the highest rank of acting in contemporary comedy. Throughout his perform- ance illustrated admirably a truth very important to dramatists and actors, viz., how wide and unoccu- pied a field there is for effective im- personation, 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." — Times, April 25, 1870. 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 convinced. Without such a Sir Peter, who refines everything to a nicety, who remembers the tone and cha- racter 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 anyone, 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, remember- ing his own standard and outlook of the character, played it with evenness and finish, and like a refined and well-bred gentleman." — Daily Tele- graph, 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. Among the pieces in which he has performed since he assumed the management the following are entitled to mention, viz., ' A Quiet Rubber,' adapted from the French ' La Partie de Piquet ' ; ' A Scrap of Paper,' adapted from the French of M. Sardou, ' Les Pattes de Mouche'; and 'New Men and Old Acres' (revival). Perhaps the most successful play yet (Sep- HARRIS, AUGUSTUS. 159 tember 1878) produced by Mr. Hare at the Court Theatre has been Mr. W. G. Wills's ' Olivia,' founded on a leading incident in Oliver Goldsmith's ' Vicar of Wakefield.' In this piece, how- ever, Mr. Hare did not appear. The character of Dr. Primrose was sustained by Mr. Herman Vezin, and that of Olivia by Miss Ellen Terry. HARRIS, AUGUSTUS. Born in Paris. 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 Emile Erlanger and Co. as foreign correspondent. At his father's death he entered the dramatic profession, and accepted an en- gagement to play Malcolm in a revival of ' Macbeth ' at the The- atre Royal, Manchester, under the management of Mr. John Knowles (September 1873). From thence went to the Amphitheatre, Liver- pool, and played juvenile and light comedy parts with Mr. Barry Sullivan. During this engagement Mr. Mapleson engaged Mr. Harris as assistant stage-manager to his Italian Opera 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 Odeon Com- pany of Paris to appear in ' The Oanischeffs ' at the St. James's Theatre, and was complimented by the well-known Parisian stage- manager, M. Boudois, on the effective way this play was placed upon the London stage. This en- gagement was, on the whole, 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 intro- duced some novel effects in the same that were much appreciated. In 1877 he " created " the part of Henry Greenlanes in ' Pink Do- minos ' at the Criterion Theatre, playing the part every night during the long run of the piece. HARRIS, MARIA. (MARIA Elizabeth Glossop.) Born in London, January 13, 185 1. 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 pro- duced at the Princess's Theatre within the period 1861-63 ; and ' The Little Treasure,' in which she acted the part of Gertrude j ' The Widow Hunt,' in which she has appeared as Airs. Swan- down ; 'The Heir-at-Law,' in which she has played the part of Cicely Homespun ; 'The Rough Diamond,' in which she has acted the character of Margery j ' Paul Pry,' in which she has played Phojbe. Miss Harris hitherto has only appeared on the London stage. HAYNES, THOMAS PER- CIVAL. Born in London. Has been connected with the stage i6o THE DRAMATIC LIST. from boyhood. In 1871 was a member of a travelling company on the South Coast, and in that year first appeared at the Theatre Royal, Portsmouth. From 1871 to 1876 was engaged on tour with various companies. Sep- tember 10, 1S77, made his first appearance at the Princess's The- atre, London, as Nicholas Dove- tail (' Mischief Making'), and Tom Sprouter ('Guinea Gold'). In 1878 (June) engagement at the Princess's still continued. HEATH, CAROLINE. (Mrs. Wilson Barrett.) Made her professional debut at the Prin- cess's Theatre, Saturday, Sep- tember 18, 1 85 2 (having previously appeared as an amateur at the Royalty Theatre), in the character of Stella, the heroine of Mr. Dion Boucicault's drama, ' The Prima Donna.' Miss Heath's self-pos- session on the occasion is noted in contemporary journals as having been " remarkable." "Although we have not omitted one material fact in describing the story of the 'Prima Donna,' our de- scription 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 per- sonages of Stella, Margaret, and Rouble are all elaborately drawn, and gain additional colour from the very able manner in which they are acted. Stella is the matured woman, proud of her position, of a sensitive and passionate nature, but constantly regulated by a stern regard for duty. Miss Heath, who represented her, made her first appearance on any public stage, and she may be con- gratulated on the manner in which she accomplished a really difficult task. The position of Stella in the Milan scene is very delicate, the dis- covery that she has been ' cut out ' by her little innocent sister, although 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 in- telligence in a debutante. ... ' The Prima Donna ' was received with loud applause, and beyond its intrinsic merits, its production is highly in- teresting 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." — Tunes, Sept. 20, 1852. The piece was produced under the supervision of Mr. Charles Kean. Miss Heath remained a member of his company 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. Easter Monday, 1853, Miss Heath sustained 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 of Douglas Jerrold's drama, ' A Heart of Gold,' she sustained the character of the heroine, Maude Nutbrown. Of this play, following its per- formance, Douglas Jerrold him- self 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 all dramatic doings." The Atheiiceum (October 14, 1854), examining its merits, remarked : " As a literary production, the play is full of beauties .... we do not hesitate to pro- nounce it one of the most intel- HEATH, CAROLINE. 161 lectual plays— intellectual in con- ception and in spirit — in the moral as well as in the literary sense, that the English stage has added to its repertory for many a sea- son." " Like most of the authors dramas, this work is placed in an old-fashioned period, the manners of a century back seeming to give a 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. Maudes description of London, as seen from the summit of St. Paul's, is a choice bit of fanciful word-painting, in Mr. Jerrold's best style, aud a pretty series of conceits apropos of a foaming glass of ale, are put into the mouth of old Vewberry. For the rapid exchange of repartee two comic characters are devised, Michaelmas (Mr. Fisher) a waiter, and Molly Dindle (Miss Murrayi, a maidservant, who, though they have little to do with the plot, being con- stantly introduced, like the sweet- hearts 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 de- light at the recovery of Dymmond, when she sprang along the stage to spread the good news about the neighbourhood, and her eloquent de- nunciation of Pierce, were in the best spirit, and appealed irresistibly to the sympathies of the audience." — Times, Oct. 10, 1854. " The plot of the play is sufficiently simple, yet it did not seem to be very clearly made out, and we are not sure that we always apprehended the author's intention. The heroine, Maude Nutbrown, a country girl, the daughter of a substantial farmer, is by far the most interesting of the characters. She is very pleasantly drawn ; an engaging mixture of rustic simplicity, innocent sprightliness, af- fection, and truth There are several comic characters, but they are neither very lively in themselves nor are they connected with the subject of the piece. Perhaps if they were better acted they might create some amuse- ment ; but, as it was, they merely lengthened the piece (and it was a great deal too long) to no purpose. We cannot, indeed, speak highly of the acting of any of the characters, ex- cepting Mut, id, who had a very excel- lent representative in Miss Heath." — Daily News, Oct. 10, 1S54. "As a play, no work could be much less satisfactory than ' A Heart of Gold.' .... Better acting might, indeed, have given more effect to the performance ; for certainly, with the exception of Miss Heath, who played the heroine, the histrionic talent was of a middling kind ; but it could not have glossed over the intrinsic feeble- ness of the piece." — Spectator, Oct. 14, 1854. " Miss Heath, who played Maude, is a young lady of much beauty and some talent ; she has been trained in a good school, and bears the marks of Mrs. Kean's teaching in her style, her attitude and tones of voice ; but she has not yet learnt to grasp character when it is strongly drawn, as well as delicately shaded, and she lacks the brightness of spirits and the power of suffering wanted in a Maude Nut- brown. . . . Miss Heath was gay, but not gay enough. Her eyes wanted fire, and her tongue sparkle. Most of all, she seemed insensible of the I exquisite irony that rang through her I words." — Athenmum, Oct. 14, 1854. In May 1855, in a revival of I Shakespeare's 'Henry the Eighth,' I at the Princess's (Mr. and Mrs. Charles Kean in the leading cha- racters), Miss Heath played Anne Boleyn. In January 1858, she- played the part of Ophelia. M l62 THE DRAMA TIC LIST. " Those who object to Mr. Kean an an actor, and they are neither few nor powerless, would do well to see him m the character of Hamlet, which tragedy, after a lapse of two years, was revived on Tuesday at the Princess's. . . . The entire performance is as near perfection as possible, certainly unapproachable by any other actor now on the stage. Miss Heath's Ophelia 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 pro- mise. The house was crowded in every part by an attentive and en- thusiastic audience." — Daily News, Jan. 14, 1S58. Monday, April 17, 1858, in a " grand revival " of ' King Lear ' at the Princess's, she sustained the part of Cordelia. Removing to Sadler's Wells, on Saturday, Sep- tember 16, 1859, she appeared there for the first time as Juliet. " The Juliet of the evening was Miss Heath, well known at the Prin- cess'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-confidence that she could go through even so long a part as Juliet without hesitation or fear. Of course she was unequal ; but the traces of study were evident, especially in the elocution, which is at present artificial and without enough impulse, and the general outline was com- mendably accurate. The chief fault was in the conception, which might more fitly become the Greek Clytem- u istrathan 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 harmonized with the attitudes assumed. lieve and there the stage business was not in exact trim, and worst of all, in hef death scene, the deficiency was most apparent. The balcony one was steadily and correctly done ; nor was the great chamber scene in the fourth act void of power. The last, in fact, was too forcibly exhibited. . . . 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 op- portunities of completing her his- trionic education." — Athenccum, Sept. 17, 1859. The same month, at the same theatre, Miss Heath played Alary Thornberry, in a revival of 'John Bull.' In October of the ^ame year, first performance at Sadler's Wells Theatre of Mr. Tom Tay- lor's play, ' The Fool's Revenge,' Miss Heath sustained the cha- racter of Fiordelisa. " The ladies had but slight parts, but Miss Heath looked sweetly as Fiordelisa, and acted with all maidenly grace and delicacy." — Daily News, Oct. 19, 1859. When the late Mr. Augustus Har- ris 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 Victor Hugo's ' Ruy Bias' (Mr. Fechter in the title role), Saturday, October 27, i860. " The character of The Queen was extremely well delineated by Miss Heath. The rapt delight with which she listened to Ruy's declaration 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 com- plete abandonment to the situation, which is so necessary when the more overwhelming emotions are to be de- picted." — I'uues, Oct. 29, i860. HENRI, BLANCHE. 163 Afterwards Miss Heath devoted herself to " star" acting in the pro- vinces, appearing only at intervals on the metropolitan stage. Her most successful impersonations in London, between the last-men- tioned date (i860) and the present year (1878) have been The Witch of the Alps, in the revival of ' Man- fred ' at Drury Lane Theatre, in October, 1863 ; Princess Olimpia, first performance of Falconer's ' Night and Morn,' at the same theatre, January, 1864; Lady Isa- belle, at the Surrey Theatre, in ' East Lynne,'in June, 1867 ; Mar- garet Ramsay, first performance of Andrew Halliday's ' King o' Scots,' at Drury Lane, in Sep- tember 1868 ; and Jane Shore (Miss Heath became identified with the role, when the play was first acted in the provinces) in Mr. Wills's drama of that name, produced at the Princess's Theatre in 1877-8. HENDERSON, MRS. ALEXANDER. See THOMP- SON, Lydia. HENRI, BLANCHE MARIAN. Bornnear Ross, Here- fordshire. First appearance on any stage in 1870, at the Charing Cross Theatre, under the manage- ment of Miss Fowler. In May 1 87 1 joined the company of the Theatre Royal, Hay market, play- ing, among other characters, Ra- chel Grindrod, in Byron's play, ' An English Gentleman,' and Florence Tr en chard in 'Our American Cousin,' Mr. Sotln in sustaining the principal roles. Remained a member of the Hay- market company for four years. In 1875 Miss Henri accepted an engagement with the Vezin-Chip- pendale comedy company, of which Mrs. Vezin, Mr. Compton, and Mr. and Mrs. Chippendale were lead- ing members. During the pro- vincial tour that followed, Miss Henri played many important characters in the old comedies with much success, notably Lydia Languish, Lydia (' The Love Chase '), young Lady Lambert, Miss Neville, Grace Harkaway, &c, &c. In January, 1876, she returned to the Haymarket and played Lady Rochford, first per- formance of Tom Taylor's his- torical play of ' Anne Boleyn,' and afterwards proceeded on tour with Mr. J. S. Clarke's company, from the Haymarket. In March 1877, at the Royal Aquarium Theatre, Miss Henri played Estella (' Great Expectations '), and Mrs. Cuthburt (' Cyril's Success'). Oc- tober of the same year, at the Royal Court Theatre, she ap- peared at the first performance of Lord Lytton's posthumous drama, ' The House of Darnley,' and sub- sequently sustained the part of Mrs. Fitzherbert, first perform- ance 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 Mrs. .Merry weather, necessarily awakens more sympathy than the author seems to have intended." — Daily Nexus, Jan. 28, 1878. At the same theatre Miss Henri played Lilian Vavasour, in a re- vival of ' New Men and Old Acres.' In April 1878, having accepted an engagement from Mr. and Mrs. Bancroft, Miss Henri became a member of the company of the Prince of Wales's M 2 164 THE DRAMATIC LIST. Theatre, with which she still re- mains connected. HERBERT, LOUISA. (Mrs. Crabbe.) Made her first appearance on the London stage at the Strand Theatre in Septem- ber 1854, as Mar /a Darlington/m the farce entitled 'A Roland for an Oliver.' Miss Herbert's most im- portant successes on the metro- politan boards belong to the period of her connection with the St. James's Theatre. She was a mem- ber of Mr. A. Wigan's company when he assumed the management of that theatre in i860, and after- wards of the company of his suc- cessor, Mr. Frank Matthews. Subsequently Miss Herbert her- self undertook the management. Among the more noteworthy cha- racters sustained by her during the time she was performing at the St. James's Theatre, i860- 1866, the following are entitled to special mention. On Saturday, January 21, 1863, she played the leading role in a piece entitled ' The Merry Widow.' Saturday, Fe- bruary 28, 1863, she sustained the part of Lady Audley in George Roberts's dramatic version of Miss Braddon's novel ' Lady Audley's Secret,' then first per- formed. "The announcement that a dra- matic version of ' Lady Audley's Secret,' the great ' sensation novel ' of the day, was to be presented in a dramatic form on Saturday night attracted a crowded audience. We have been reminded in the course of the last few days that in theatres, as elsewhere, great expectations may be followed by bitter disappointments ; but on Saturday every anticipation, however sanguine, was fully realised. People liked the play, liked the acting, liked the scenery, and were most anxious to demonstrate their feelings. Nothing like concealment fed on the ' damask cheeks ' of that audience ; they called for everybody that could be called ; and when a ready opportunity for calling did not present itself they created one for the occasion. We were sometimes inclined to think that zeal overcame discretion, and that, although the general appro- bation was perfectly rational, the rapture excited by certain portions of the performance could not be so easily explained. However, there is no doubt that a great success has been achieved, and that it has been fairly earned by all persons concerned in the production and performance of the work. We need not describe the plot of the piece, when it is identical with the story of a novel which has already reached its ninth edition, and which, as well as ' Aurora Floyd,' everybody is supposed to have read. It will be sufficient to state that. Mr. George Roberts, the author of the drama, has worked with the sanction of Miss Braddon, the authoress of the book, and has succeeded in compress- ing within the limits of two very effective acts the harrowing incidents recorded in these volumes Apart from the interest of the story itself — which, as we have said, proves excellently adapted to the stage — there is this end attained by the pro- duction 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 per- formance 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, with a load of trouble on her mind, to which she does not give vei bal expression, and which reveals itself in a thousand mute indications of uneasiness. As Lady Audley, on the contrary, she has to do even more than she has to suffer, and terrible are the deeds she does. Her physical force is not always equal to her HERBERT, LOUISA. 165 intentions, but this inequality is over- | looked in the amount of intellectual power she bestows upon the imper- sonation. In the first act (terminating with the supposed death of George Talboys) her usually ladylike manner is pre-eminently serviceable to her, when she shows the efforts of the artful woman to cajole her second husband's family ; and the change from assumed blandness to savage determination, when she is driven to despair by the reappearance of her first husband, and she rids herself of the intruder by thrusting him into the well, is terribly striking. She seems the very incarnation of hard- ened, indomitable, handsome wicked- ness, wrought up to the unrestricted exercise of its energies. At the commencement of the second act her task is of another kind. A twelvemonth has elapsed since the mysterious disappearance of George Talboys, and the lady has to endure a ttte-a-tUte with Robert Audley, the young barrister, who is determined to find out what has become of his friend, and whose every remark shows that he suspects her of murder. Miss Herbert's representation of the affec- tation of indifference is exquisitely true. There is an evident exaggera- tion of liveliness, an inconsistent at- tention to the detads of her drawing, a hollow flippancy, which no one can take for reality, and the voice is affected by the frightful apprehen- sions which the accomplished coquette is striving to conceal. By this time the variety of the part is nearly ex- hausted, and in the last scene, where the guilt of Lady Audley is brought home to her, she has only to reassume tlie air of defiant badness with winch she has already met her first husband. Here it is only the power of Mins Herbert that prevents an anti-climax. But there is again a change, when defeated wickedness results in insanity, and the disappearance of all expres- sion 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 dramatiza- tion of Miss Braddon's novel of that title, from the pen of Mr. John Oxenford, Miss Herbert played the title role. "In the new and avowedly 'sen- sational ' drama produced at this theatre last evening under the title of ' Eleanor's Victory,' and founded on that popular novel by Miss Braddon indicated by the name, Miss Herbert has again possessed herself of a part in which her personal and professional qualifications have full scope for effective display The charac- ters surrounding the heroine, elabo- rately drawn in the original story, become but pale and colourless ab- stractions as they move languidly through the scenes of the drama. 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, com- municate a force to her denunciations, and a terrible reality to her emotions, which could not fail to impress the spectator. 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 illustra- tion, even so vividly given, of a stern tenacity of purpose ; but there could be no hesitation in recognising the thorough grasp of the character which Miss Herbert had acquired, nor the artistic completeness of the entire assu mption." — Daily Telegraph, May 30, 1865. During the season 1865-6 Miss Herbert played the following cha- racters at St. James's Theatre with great success, viz., Lady Teazle in a revival of ' The School 1 66 THE DRAMA TIC LIST. for Scandal'; Miss Hardcastle, in a revival of ' She Stoops to Conquer '; Beatrice, in ' Much Ado About Nothing '; Lydia Languish, in 'The Rivals'; Mrs. Oakley, in 'The Jealous Wife'; and Letitia Hardy in ' The Belle's Stratagem.' On Monday, Novem- ber 9, 1866, first performance in London, at the same theatre, of Dion Boucicault's drama en- titled ' Hunted Down,' Miss Her- bert sustained the part of Alary Leigh. "The feeling that is most strongly exhibited in Mary Leigh is her affec- tion to her children. That she may not be torn from these she will sub- mit to any sacrifice ; and when she is hunted down, and feels that her cha- racter is blighted, she will voluntarily leave them, that they may not be affected by her infamy. The ex- pression of this sentiment shows Miss Herbert's talent in a new light, and she is equally successful in its more pathetic and its more violent manifestations. On the skill with which she delineates the anguish pro- duced by a hidden grief we need not dwell, as the power of delineating this particular form of mental pain is among her best-known attributes. Here, however, its effect is increased by its contrast with Mary's happiness at the beginning of the piece, and the almost girlish playfulness with which she shows her fondness for her hus- band. This husband, too — John Leigh — is a capitally conceived character, of by no means a hackneyed kind. Thoroughly happy in his family, and in the successful practice of his art, the playmate of his children, and almost as much a child as themselves, John is determined that his felicity shall not be easily taken from him. In vain does evidence upon evidence against poor Mary force itself upon his attention ; John obstinately re- fuses to suspect anything wrong ; turns a deaf ear to the ugliest report, refuses to open the most compromising letter. Iago would have fled in blank despair from such a very hopeless Othello ; and it is the sin of Mary that she has not made a confidant of this excellent creature, who is played with much good humour by Mr. Walter Lacy. To some extent she makes amend for this sin by taking into her confidence John's aristocratic sister, Lady Glencarrig, who gener- ously shields and defends her as long as defence is possible. Rarely do we see a part better acted than is Lady Glencarrig by Miss Guillon Le Thiere, a lady whose name — apparently French — is entirely new to the Lon- don public. The look, the manner, the tone of the high-bred, high-prin- cipled woman of quality are admirably given ; and she is well contrasted with Mrs. Bolton Jones, a paltry little scandalmonger, who, having picked up poor Mary's secret, is resolved to trade upon it, and is most artistically endowed with real acidity and mock amiability by Mrs. Frank Matthews. Scudamore — the deliberate, designing villain — is a character that bears fewer marks of invention than any in the piece; but he completely serves the purpose of displaying the talent of Mr. Henry Irving, whose ability in depicting the prevalence of the most malignant feelings merely by dint of facial expression is very remarkable.' Clara, the wife of Scudamore, who performs the functions of a Deus ex mackind at the end of the piece, is much more of a marked character than such personages usually are. In all his evil schemes she is the accom- plice of her husband, but her devoted love for him, in spite of almost brutal treatment, renders her an object of interest, and her quiet suffering nature is perfectly appreciated by Miss Dyas. Nor should we omit to congratulate Miss Herbert in having in her com- pany two such clever children as Miss Charlton and Miss Lillie Lee. As the parental feeling is that by which, in this piece, the sympathies of the audience are mainly addressed, these little actors are brought more fre- quently on the stage than is usual HERBERT, WILLIAM. 167 with such juvenile performers, and it is unnecessary to state that children so employed often turn out to be 1 aifauts terribles,' 1 who make spec- tators laugh when they ought to make them cry. But the Misses Charlton and Lee do their work in a manner at once business-like and natural." — Times, Nov. 7, 1866. .... "Miss Herbert last night relied upon an unchanged programme, in the justifiable belief that those visitors who were likely to favour her with their presence might be possibly glad of a quiet retreat from the crowds attracted by the novelties elsewhere. Mr. Boucicault's drama of ' Hunted Down ; or, the Two Lives of Mary Leigh,' which for the last seven weeks has kept possession of the bill, was accordingly once more the means of moving the sympathies of the spec- tators, and the excellent acting of Miss Herbert as the persecuted heroine again enforced their earnest atten- tion, and commanded their frequent tributary plaudits. John Leigh, the artist, drawn in such bright colours by Mr. Walter Lacy ; and Rawdon Scudamore, the seltish scamp, who is the most natural of stage villains in the careful hands of Mr. Henry Irving, produced their wonted effect by ex- hibiting excellently-contrasted portrai- tures ; whdst Mrs. Frank Matthews as the spiteful meddler Mrs. Bolton Jones, and Miss Ada Uyas as the long-suilering victim to Rawdou"s brutality, sufficed to keep the audience wavering between smiles and tears." —Daily Telegraph, Dec. 27, 1866. In 1867 (April), at the St. James's Theatre, Miss Herbert played the heroine in ' Idalia,' then first performed ; and (Octo- ber) at the Adelphi Theatre the leading role in Watts Phillips's drama, 'Maud's Peril,' then first performed. In 1869 Miss Her- bert accepted an engagement at the St. James's Theatre, under Mrs. John Wood's management, and appeared in some of her best- known characters. Since her mar- riage Miss Herbert has retired from the stage. HERBERT, WILLIAM (a nom de theatre). Son of the late Colonel W. F. Eden, of the Madras Army. Born in India on November 18, 18.14. Was for some years in the British army, and served in H.M. 3^rd Foot, both at Home and in India. Entered the dramatic profession in April, 1870, and made his first appear- ance at the Charing Cross The- atre, under the management of Miss Fowler. In August of the same year was engaged by Mr. and Airs. Bancroft, at the Prince of W'ales's Theatre, and remained with them for four years, playing several important parts. Was the original Arnold Brinkwortli, in Wilkie Collins's drama, ' Man and Wife,' first performed at that theatre in February 1873. At the conclusion of engagement at the Prince of Wales's was engaged by Mrs. John Wood to support her on her provincial tour with Mr. Byron's comedy, ' The American Lady,' playing Harold 1'rivass, the part created by Mr. Byron in London. "As Harold Trivass Mr. W, Herl >ert achieved great success last night. He is master of his part, and the innocent and realistic manner in which he per- formed was immensely relished." — Leeds Daily News, Oct. 13, 1874, Was afterwards engaged by Mr.* Horace Wigan at the re- opening of the Holborn Theatre, and later on by Mr. Burnand, at the Opera Comiquc. At the Court Theatre played in the successful comedy, 'A Quiet Rubber,' and the character of Hector Placide in Boucicault's ' Led Astray.' In October 1876, appeared as a i6S THE DRAMATIC LIST. member of the company of the Haymarket Theatre, his most successful impersonations during this engagement being Prince Philamir r Palace of Truth '), and Tom Dexter (' Overland Route '). In June 1877, went with the Haymarket Company on Mr. J. IS. Buckstone's farewell tour of the provinces, which lasted six months. During this time Mr. Herbert appeared with success at all the principal towns in Eng- land, Scotland, and Wales, in the following leading characters, viz. Charles Surface, J 'outig Marlotv, Captain Absolute, Pygmalion (' Pygmalion and Galatea'), Prince Philamir, 'Tom Dexter, Dazzle, &c. On his return to London, in December, he fulfilled a short special engagement, under Miss Ada Cavendish's management, at the St. James's, playing the cha- racter 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 role of Percival Kansome. " Mr. Herbert fulfils the promise which he showed at the outset of his career, and has developed into one of the most gentlemanlike jeunes pre- miers that we have on the stage at the present moment. He has all the per- sonal advantages of Mr. Montague, with more capacity for the expression of serious feeling. Though his cha- racter is very imperfectly worked out by the author, he succeeds in present- ing us with a study in which no lack of finish can be detected." — Figaro, Jan. 1878. HERTZ, IDA. Born in Lon- don. First appearance on the stage, November 1870, at the Standard Theatre, London, in the part of Polly Flamborough in a dramatised version of "' The 1 Vicar of Wakefield.' Subsequently played at the same theatre various characters in support of Mr. Sothern, Mr. B. Webster, Mr. Creswick, and other leading "stars." Has been a member of two travelling companies of comedians, the so-called ' Two Roses ' and the ' Pygmalion and Galatea ' ; the first under Messrs. James and Thome's management, the second under Mr. Sefton Parry's. Has fulfilled engage- ments at the Theatre Royal, Hull, and at the Prince of Wales's Theatre, Birmingham. In July 1876, became a member of the company of the Prince of Wales's Theatre, London, under Mr. and Mrs. Bancroft's management, and is still (1878) playing there. HIBBERT, LOUISE. Born May 12, 1855, at Cordova, in Spain. Came to England at an early age, and having a predi- lection for a dramatic career, studied the rudiments of acting with Mr. Ryder. Appeared at various theatres in the provinces ; and, June 20, 1874, made her debut on the metropolitan stage, at the Queen's Theatre in the character of Juliet. " The chief object of interest in ' Romeo and Juliet ' was, of course, the Juliet of Miss Louise Hibbert, who, though not new to the stage, had never been seen in a responsible part. The impression she made upon her audience was most favourable. Her appearance is very charming. She enters thoroughly into the various emotions of the character, and evi- dencly seizes the meaning of every situation. Most satisfactory were the passages expressive of tenderness or devotion." — Times, June 22, 1S74. Afterwards accepted an engage- ment at the Gaiety Theatre, under Mr. John Hollingshead's manage- HILL, CAROLINE. 169 ment, to play Helena in 'A Mid- summer Night'sDream.' In August 1875 Miss Hibbert 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, Fan line {' Lady of Lyons '), Mrs. Beverley (' The Gamester'), &c. Returned to England and visited the provinces on a "starring" tour playing Beatrice, Rosalind, Lady Teazle, \ &c. Played the character of Lady \ Dedlock in the drama of ' Jo ' (founded on Dickens's ' Bleak House ') on the occasion of its first performance at the Globe Theatre In London. (See Lee, Jennie.) Accompanied Mrs. Stirling on a tourthrough Liverpool, Edinburgh, Glasgow, Dublin, &c, and acted in those cities the following impor- j tant parts, viz., Lydia Languish (' The Rivals '), Constance (' The Love Chase '), and Mabel Vane (' Masks and Faces '). October 1877 played a special engage- ment at the Theatre Royal, Bris- tol, appearing as Helen in Charles Reade's drama of ' The Scuttled Ship' with much success. In 1878 went on tour with George Honey to play the character of Belinda in \V. S. Gilbert's comedy entitled ' Engaged.' HILL, CAROLINE L. BROOK. Born at York. En- tered the dramatic profession when a child, playing such parts as Mamilius in 'The Winter's Tale,' Arthur in ' Km_, r John,' &c, at Sadler's Wells Theatre, during the last two years of the management of Mr. Samuel Phelps. Afterwards Miss Hill obtained an engagement at the Hay market Theatre, under Mr. J. 13. Buckstone. At this theatre she remained during a long period, playing "original" 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 en- titled to notice : ' 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. (See Kendal, Mrs. W. H.) Her very effective acting in the parts of Mirza (' Palace of Truth'), and Cynisca (' Pygmalion and Ga- latea '), contributed in no slight degree to the popularity which those plays subsequently attained in London. HONEY, GEORGE. Made his first appearance on the Lon- don stage at the Princess's The- atre in November 1848, as Pan in ' Midas.' At the outset of his professional career, he was re- garded not only as a comedian of much promise, but was also credited with no ordinary skill as an operatic vocalist. He ap- peared with considerable success in several of the English Operas produced under the joint manage- ment of Miss Louisa Pyne and Mr. Harrison at Covent Garden Theatre ; and in Macfarren's ' Robin Hood,' performed at Her Majesty's Theatre under the di- rection of the late E. T. Smith, Mr. Honey rendered valuable as- sistance both by his comic acting and excellent singing. Since the decline of English Opera in Eng- land Mr. Honey has devoted him- self to performing in comedy and extravaganza, in which he has been very generally popular. \JO THE DRAMATIC LIST. Among pieces that have obtained notice in which lie has appeared with more than ordinary success the following maybe enumerated : In ' Miriam's Crime,' first per- formed at the Strand Theatre, October 9, iS63,' ; as a discreditable limbof the law Mr. Honeyobtained much laughter by an exceedingly grotesque assumption of intoxica- tion " {Daily Telegraph, October 10, 1863). in William Brough's burlesque entitled ' Prince Ama- bel,' rirst 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 Phil- lips's drama ' The Huguenot Cap- tain,' he sustained the part of Annibal Locust. " Our old opera friend, Mr. Honey, has 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. " Mr. George Honey has the fullest opportunity afforded him for making his deep voice heard in a variety of bacchanalian snatches, which he sings as the bibulous and brutal Annibal Locust, a sergeant holding command in the Duke's guard.'' — Daily Tele- graph, July 5, i860. On Saturday, April 6, 1867, at the Prince of Wales's Theatre, first performance in London of Mr. T. W. Robertson's comedy entitled ' Caste,' Mr. Honey played the part of Eccles. (See Hare, John.). " Instead of the conventional clowns who are put in by slop-work dramatists to lighten the serious in- terest of their work, we have real characters who think, speak, and act like human heings, and yet are intensely amusing and interesting. The drunken father, evidently made up from Mr. George Cruikshank's pictures of ' The Bottle,' is admirably played by Mr. George Honey, who made his first appearance 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 hypo- critical maudlin grief in another, the toadying to wealth in another, the disgust and abuse when wealth re- fuses to deposit even a sovereign, the exits and the entrances of this charac- ter are things to be gratefully remem- bered by those whose melancholy duty it is to see all London plays and all London performers." — Daily Nexus, April 8, 1867. On the occasion of the opening of the Vaudeville Theatre under the management of Messrs. Mon- tague, Thorne, and James, Satur- day, April 16, 1870, in a comedy entitled ' For Love or Money,' he acted the part of Major Buncombe. In May 1875, in a revival at the Prince of Wales's Theatre of ' Money," he sustained the part of Graves. " A noticeable and welcome feature in the revival is the return of Mr. George Ploney, who resumes his part of Graves, one of the most genuine and unexaggerated examples of pure humour the modern stage has wit- nessed. 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 perfection 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 HORSMAN, CHARLES. 171 into each other's hands will afford entertainment to the most blase of playgoers. Each look and gesture is replete with significance, and so art- fully 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, like the rest, eagerly puts her hand in her pocket to find the money." — Standard, May 3'. 1875. " Cleverly played and highly fin- ished from first to last, the scene between Lady Franklin and Graves was irresistible. Not a trace of ex- aggeration, not a tinge of excess could here be detected, it was all in tune and in harmony. A key-note was given to this scene which has possibly escaped attention hitherto : ' The man,' says Lady Franklin, with her face beaming with smiles and good- nature, ' insists on being wretched, and I pity him so much that I am determined to make him happy. Ha ! Ha ! Ha ! He shall laugh, he shall sing, he shall dance, he shall Here he comes !' It would be difficult to convey the expression of Mrs. Ban- croft in this little speech. It was the proper prelude of that which was to follow. She made the melancholy Graves laugh, sing, and dance, but with such coquetry as has seldom been seen on the stage. There was :.o attempt to force any point, to lay undue emphasis on any line, or to call down applause by vulgar expedients. A look from Mrs. Bancroft was suf- ficient to do that which could only be caused by a stamp or a gesture from another. And the skill was infectious, for Mr. George Honey, who has played the scene over and over again with great success, never acted nearly so well. No better example could be found of the art of expression in acting. As the play went on, the artists held their audience in their power, and they were deservedly rewarded with a unanimous burst of applause." — Daily Telegraph, May 31, 1875. Of Mr. Honey's later imper- sonations one of the most popular is the part of Cheviot Hill in W. S. Gilbert's farcical comedy entitled ' Engaged.' Mr. Honey has appeared at various theatres in the United Spates with success. HORSMAN, CHARLES. Born at Welchpooi, Montgomery- shire, October 21, 1825. First recorded appearance on the stage at the Theatre Royal, Plymouth, in the year 1835, when he ap- peared as Albert to Mr. Mac- ready's William Tell. 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 entered the painting-room of Wil- liam Beverley — the father of the present well-known scenic artist — on the so-called ' Northern Cir- cuit,' 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 com- pany 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 association with the late G. V. Brooke ; and in 1847 Mr. Hors- man finally adopted a dramatic career, accepting an engagement with Mr. Simpson at the Theatre Royal, Birmingham, as " light comedian." Remaining at Bir- mingham and afterwards at Liver- pool for a considerable time, he 172 THE DRAMATIC LIST. subsequently visited the ' York and Worcester Circuits' ; and in 1851 made his first appearance in Lon- don at Punch's Playhouse (now the Strand Theatre), as Henry Thornton in ' Popping the Ques- tion.' After the season he was mainly engaged as "leading man" and " light comedian " at the Theatre Royal and Queen's The- atre, Manchester. In 1864 Mr. Horsman reappeared on the Lon- don stage, at Sadler's Wells, under Miss Marriott's management, as Sir Rupert, in ' Love.' The fol- lowing year at the LyceumTheatre, under Mr. Charles Fechter's man- agement, 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 performance of the dramatised version of ' Barnaby Rudge,' in the character of Blaek Hugh — a part which he played with con- siderable success. Was manager of the New Theatre Royal, Leeds, for a season. Has played various special engagements with Miss Neilson, Miss Bateman, Miss Kate Rogers, Mr. Barry Sullivan, and others. In 1875 joined the Messrs. Gunn as manager of the Gaiety Theatre and Theatre Royal, Dublin, an office which he fulfilled for two seasons, and re- signed in May 1877, owing to severe domestic affliction. Mr. Horsman has written various dra- matic works and pantomimes, and is the author of a volume of poems descriptive of incidents of Irish life. HORTON, PRISCILLA. See Rekh, Mrs. German. HOWE, HENRY, a nam de theatre. (HENRY HOWE HUT- CHINSON.) Born at Norwich, March 31, 1812. Made his pro- fessional debut, October, 1834, at the Victoria Theatre, London, in the part of Rashleigh Osbaldi- stone. Was engaged by Mr. Macready to join his company when he entered upon the man- agement of the Theatre Royal, Covent Garden, in 1837. Mr. Howe played in the numerous pieces, original and " revivals," produced there during that emi- nent tragedian's administration of its affairs. Was in the original cast of ' The Lady of Lyons,' first performed at Covent Garden, February 15, 1838; and of ' Riche- lieu,' played there for the first time March 7, 1839. {See Faucit, Helen.) Afterwards joined the company of the Haymarket The- atre, under Mr. Benjamin Webster's management. Mr. Howe has continued a member of its com- pany for a period of nearly forty years, without a break in the tngagement. Such a lengthened term of service to the interests and fortunes of one theatre is un- paralleled, we believe, in theatrical annals, and affords most gratify- ing testimony of Mr. Howe's abilities as a member of the dramatic profession He was per- forming nightly at the Haymarket Theatre during the engagement of the late Mr. Charles Mathews and of his wife (Madame Vestris), 1842-5 ; and he is still (1878) a leading actor of the same theatre. To 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 Haymaket dur- ing forty years. The following characters, selected from among those in which Mr. Howe first HOWE, HENRY. 173 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 Hay market, October 29, 1846 ; Ernest de Fon- blanche, in ' The Roused Lion ' (' Le Re"veil du Lion '), first per- formed at the same theatre, No- vember 15, 1847— Mrs. Keeley, Mr. B.Webster, and Mr. A.Wigan were in the cast, and the piece attained an extraordinary suc- cess; Lord Arden, in ' The Wife's Secret,' by Lovell, first performed 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 ap- peared in a new play, entitled ' Love's Martyrdom.' "A few errors of tact in the man- agement 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. '1 he concep- tion and management of the fourth act was unexceptionable, the writing was full of force and beauty, oppor- tunity 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 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 acclama- tion." — Examiner, June 16, 1855. In July, 1855, Mr. Howe took part in the revival of Mrs. Cent- livre's comedy, ' The Busybody,' at the Hay market, 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 sup- ported 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." — Atheneeum, Nov. 24, 1855. The following year (1856), Janu- ary 5th, Mr. Howe played A rcher in a " revival " of ' The Beaux' Stratagem'; and in September (4th) Jaques in a " revival " of 'As You Like It' — a perform- ance by Mr. Howe so meritorious as to deserve record in a con- temporary 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.' " Mr. Howe played Benedick very much better than we have seen it played by 'stars' who have been held up in all the glory of extra-sized typography for approbation." — Daily News, Sept. 8, 1857. 174 THE DRAMATIC LIST. "Mr. Howe shared the honour [of an ovation] and deserved it, for his Benedick was distinguished By many felicities of expression which com- manded 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." AthencBum, Sept. 12, 1857. In 1858 (May) he appeared as Joseph Surface in a revival of ' The School for Scandal.' During the succeeding twenty years Mr. Howe's name has seldom been absent from the " bills " of the Haymarket Theatre, either in the announcements 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 collec- tion. HUTCHINSON, HENRY HOWE. See Howe, Henry. HENRY IRVING. IRISH, FRED. WILLIAM. *75 IRISH, FRED. WILLIAM. Born in Leicester, 1S35. Entered the dramatic profession in 1853, appearing at the Theatre Royal, Leicester, as Marcellus in ' Ham- let.' After a short season there went to Derby, and from thence to Nottingham, Sheffield, Black- burn, and Belfast, where he se- cured his first engagement as principal low comedian. Re- mained in Liverpool for six years, acting principal low-comedy parts during this time, and then ac- cepted an engagement at New- castle-upon-Tyne, 1867-8. Acted a leading part on the occasion of the opening night of the New Tyne Theatre. 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.' Has since been engaged at the follow- ing London theatres : Alhambra, Lyceum, Q ueen ' s > Astley's, Char- ing Cross, Mirror, Princess's, Drury Lane, and Haymarkct, and also at the Crystal and Alexandra Palaces. At the Lyceum, under Mr. Bateman's management, April 1872, played the part of Sam in ' Raising the Wind.' "The Sam of Mr. F. W. Irish has a richness of colouring which brings traditions of Emery to mind." — Tuna, April 2, 1872. December 1874, undertook the part of the Widow Mustapha in ' Aladdin ' at the Charing Cross Theatre. " 1 lit the spirit of burlesque in the preset t instance is Mr. F. VV. Irish, who ] lays the Widow Muslap/ia v/ith- out an) imitation of the great original, Mr. James Rogers, and still with a decide! flow of unexaggerated and original humour." — Daily lelegraph, December 26, 1874. IRVING, JOHN HENRY BRODRIB. Born at Keinton, near Glastonbury, Somersetshire, February 6, 1836. Educated at a private school in London. Was originally intended for mercan- tile life, and passed some few months in the office of an East India merchant ; but having ex- hibited strong partiality for a dramatic career, early forsook commerce for the stage, with which he became professionally connected in 1856. 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, undertook the part of Cleomoies in a revival of ' The Winter's Tale.' Neither of these performances were altogether satisfactory, and subjected Mr. Irving to unfavourable criticism 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 " starring" tours had the advantage of acting with such admirable artists as .Miss Cushman, Miss Helen F.uicit, Messrs. Vandenhoff, Rob- son, Charles Mathews the younger, Benjamin Webster, and Wright. In 1859 Mr. Irving entered upon a brief engagement at the Prin- cess's Theatre, London, then under the management of the late 176 THE DRAMATIC LIST. Mr. Augustus Harris ; but this engagement being cancelled, he shortly afterwards became at- tached 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 recognised merit at the St. James's Theatre in London. On Saturday, October 6, of that year, he played, at this theatre, Doricourt in a revival of ' The Belle's Stratagem ' (Mrs. Cowley), " his mad scenes being truthfully conceived and most subtilely exe- cuted." [AthencBum, October 13, 1866). In the following Novem- ber, at the same theatre, first performance in London of Dion Boucicault's drama, ' Hunted Down,' he acted the part of Raw- don Scudamore with considerable success. " Scudamore, the deliberate, design- ing villain, is a character that bears fewer marks of invention than any in the piece, but he completely serves the purpose of displaying the talent of Mr. Henry Irving, whose ability in depicting the prevalence of the most malignant feelings, merely by dint of facial expression, is very re- markable." — Times, Nov. 7, 1866. In 1867 (Saturday, February 9th), still at the same theatre, he undertook 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 1 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 Bod Gassitt — '• a most ungrateful part, acted with scrupulous care and artistic taste." {Standard, Janu- ary g, 1868). At Drury Lane Theatre, August 5, 1869, Mr. Irving played Compton Kerr on the occasion of the first perform- ance of Boucicault's drama. ' For- mosa.' In 1870, Saturday, June 4, first performance, at the Vaude- ville Theatre, of Mr. Albery's play, ' Two Roses,' Mr. Irving per- formed the part of Digby Grant. "Mr. H. Irving' s impersonation of Digby Grant, Esq., is so original in conception and so masterly in exe- cution as to entitle the actor to take rank among the very best actors on the London stage. The selfish arro- gance, the stuck-up hauteur, the transparent hypocrisy, and the utter heartlessness of the character, made all the more odious from the assumption of sanctity, are depicted by Mr. Irving with exquisite truthfulness of detail, and admirable brilliancy and vigour of general effect. His make-up for the part is excellent, and his whole performance is spirited, characteristic and life-like." — Alorniug Post, June 6, rn 187 1 Mr. Irving accepted an engagement at the Lyceum Theatre under the management of the late H. L. Bateman ; and on Monday, September 1 1, " opened " there as Landry, in a piece entitled ' Fan- chette ; or, the Will o' the Wisp.' On Monday, October 23, of the same year, he appeared as Jingle in a dramatic version of ' Pick- wick,' by Mr. Albery. In the November following, ' The Bells,' a version by Mr. Leopold Lewis, of MM. Krckmann -Chatrian's ' Le Juif Polonais,' was first per- formed at the Lyceum Theatre. In this drama Mr. Irving under- took the character of Mathias. "It will be obvious to every reader that the efficiency of this singular play depends almost wholly upon the actor who represents Mathias IRVING, HEXRY. 177 Mr. Irving has thrown the whole force of his mind into the character, and works out bit by bit the con- cluding hours of a life passed in a constant effort to preserve a cheerful exterior, 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 know- ledge. 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 repre- sents 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 con- science is all triumphant, assisted by an imagination which violently brings together the anticipated terrors of a criminal court and the mesmeric feats he has recently witnessed. The strug- gles of the miserable culprit, convinced that all is lost, but desperately fight- ing 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 realising the horror of the situation, seems to hold the audience in sus- pense. 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." — Times, Nov. 25, 1871. "Mr. Henry Irving' s presentation of the hero is very powerful. M. Tallien, the original exponent of the part, was in the early scenes a bright, cheery man, giving way undi .mi to the agony of fear and self- accusation. Mr. Irving, on thi trary, carried from the first the brand of Cain upon his brow, lie was, moreover, much too youthful in ap- pearance for the character lie played. .... His acting, however, in the stronger situations, though ultra-rea- listic in its expression of suffering, had a ghastly power not easy to sur- pass. There is no question that the man who could give such a portraiture as Mr. Irving afforded of the conflict of emotion and passion has histrionic power of the rarest kind." — Athe- naum, Dec. 2, 1 87 1. On Monday, April 1, 1872, in a revival of the farce of ' Raising the Wind,' Mr. Irving played the character of Jeremy Diddler. The same year, Saturday, September 28, ' Charles the First,' by W. J. Wills, was first performed at the Lyceum, and Mr. Irving sustained the leading role. "Through 'Charles I.' runs a me- lancholy beauty which finds expres- sion 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 role. In intensity of suggestiveness his Charles I. will compare with his Mathias, while in breadth, dignity and harmonious colour it surpasses it Nothing more regal can be desired than his bearing, 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 ap- pearance of the king (he might be an incarnate portrait of Vandyke) down to each little detail of posture, every- thing is elaborated with conscientious care, and the result is a vivid creation of art" — Daily News, Sept. 30, 1872. " Let it be said at once that what Mr. Irving has to repres< nl be n sentS to absolute perfection ; that the farewell scene with the children is so all)', so agonizingly pathetic, so simply beautiful that it is hardly N i/3 THE DRAMATIC LIST. bearable ; and that the pictorial effect of the farewell to the wife is wonder- fully fine His beautiful, touch- ing, eloquent address to her, full of exquisitely subtle traits, might have been spoken had he been leaving her in perfect security, to the indulgence of the grief he covets, for whose con- tinuance, in softened form of sweet memory, he prays in words and tones which wring the heart Some of the finest of Mr. Irving's effects are in that scene [with Cromwell], the outlook of the brilliant, scornful, commanding eyes, the presage of their more frequent droop, the gesture never exaggerated, always easy, but wonderfully sudden, and speaking, like the flash before the thunder-roll, ere his words are uttered, the grand an S er > grandly subdued, the calm resumption of a tone of business and direction, the quiet attitude before the fire, the slow permissive bow of dismissal, the brushing aside of con- siderations of danger, the lion-spring of injured honour, the fierce bound to fight and punish— these are but a few of the points which delight and satisfy the audience." — Spectator, Oct. 5, 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. " 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 mo- tive of the part In the second act the anguish of his mind is in- tensified 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 accomplice, there is a positive relief for him and for ourselves. Then comes the terror, abject indeed for a while, with desperate, breathless rally, thick incoherent speech, failing limbs, ghastly face, dry 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 heart-rending 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 exhaus- tion ; 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." —Spectator, April 19, 1873- On the 27th September, 1873, 'Richelieu' was produced 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 de- fence of Julie de Mortemar when the minions of the king would snatch her from his arms, the weight of sacer- dotal authority with which he threatens to 'launch the curse of Rome,' his self-transformation 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 ' Richelieu ' is not a tragedy, it be- longs practically to the tragical cate- gory, as none can do justice to it but IRVING, HENRY. 179 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 con- spicuous by the waving of countless hats and handkerchiefs. Not bare approval but hearty sympathy was denoted by this extraordinary demon- stration ; and this sympathy nothing but genius and thorough self-abandon- ment on the part of the artist could have produced." — Times, Sept. 30, 1873- " Truly wonderful, and in the high- est degree encouraging, indeed, is it to note how this young actor, merely from the strength and light within him, with no beaten path of tradition to facilitate his early footsteps, no guiding hand of some famed master, no bril- liant models to dart inspiration and shorten study, has yet with almost unhesitating tread climbed the rugged steep of art and gained the upper heights, reaching the topmost sum- mits, as it were, at a leap Freed from the inalienable an of a first night, and instructed by its indispensable lessons, Mr. Irving now presents to the world a picture of the old Cardinal, vigorous and sharply marked as one of Retzsch's outlines, and though without over-elaboration, more minutely and carefully filled in with touches of truthful and telling colour and significance — not stu< 1. on for effect, as from afterthought, but woven into the texture of the past — than was ever the case with any other representation of the character we have seen, not excepting that of Macreadv himself." — Standard, Sept. 1S73. On Saturday, February 7, 1874, Mr. Irving played Philip in a romantic drama of that title from the pen of Mr. Hamilton Aide. In the autumn of the same year ' Hamlet ' was placed on the Lyceum stage, and created a cu- riosity to witness Mr. Irving's impersonation 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 that the Hamlet in the play-book has been realised 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 Better- ton, what by Kemble, what by Charles Young ; but their studies will avail them nothing towards 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 cjuestion 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 some- thing beyond his powers, but he is a kindly man urged to do a deed which, according to the lex talionis, may be righteous, but which is yet cruel There is a theory to the t that Hamlet, while assuming madness, is really somewhat insane. N 2 i8o THE DRAMATIC LIST. From this theory we entirely dissent, at the same time admitting that his sensitive nature subjects him to the highest degree of nervous excitement. Tins could not be more clearly ex- pressed than by Mr. Irving Most powerfully is the nervous con- dition 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 corresponded to the recklessness of the words. The storm of applause which followed this dis- play of genius denoted not only admi- ration but wonder." — Tunes, Nov. 2, 1874. Concerning this performance of ' Hamlet ' the Dublin University Magazine of September 1877, thus remarks upon the excite- ment its announcement pro- duced, and describes the first night of the play : " 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 Oc- tober 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, im- patience, and enthusiasm. The entire audience was an extra- ordinary assemblage, for the fact that Mr. Irving had set his repu- tation on a cast which was also to decide whether the times were indeed too degenerate for Shake- speare 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 ad- miration of the courage with which he was about to grapple with the most difficult and exacting of Shakespearian creations. But for a time the novelty of the concep- tion and the absolute independ- ence of familiar traditions bewil- dered the audience. This sad and self-distrustful Hamlet, who gave natural and constant expres- sion to his thoughts as they oc- curred to him, instead of deliver- ing 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 the scene with the Ghost, Mr. Irving cameoff 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 consumma- tion 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 Sep- tember ' Macbeth ' was revived, Mr. Irving sustaining the princi- pal role. "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 objection, might, how- ever, be vanquished in another part — might even be removed by further study and practice. Mr. Irving must IRVING, HEXRV. 1S1 learn, however, that his mannerisms have developed into evils so formi- dable, they will, if not checked, end by ruining his career. His slow pro- nunciation and his indescribable elon- gation of syllables bring the whole oc- casionally near burlesque. In one speech, that in which Macbeth speaks of the 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 sacri- ficed to vices of style which have strengthened with the actor's suc- cesses, 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." — Athcinatm, Oct. 2, 1875. "As far as Shakespeare's play shows him MacbetKs wonderful ima- gination stands wholly in his way, is the one permanent drag on his in- satiable greed of power There is no vision, no reverie in Macbeth 's appetite for power and revenge ; the mere access of his mood of reverie appears to awaken his whole moral and intellectual nature, and to make him see the satisfactions of his bloody desires as mere single threads in the complex web of consequences which he forecasts. . . . Now, how far does Mr. Irving reflect this characteristic in his acting? Sometimes most powerfully. In his soliloquy before the second scene with Lady Macbeth, and in that scene itself, his imagina- tion presents all the doubts, difficul- ties, all the dissuasive motives with a force which makes you realise how true it is that with him 'I dare not' waits upon ' I would.' .... Then after the murder Mr. Irving rises again to the full height of the imagi- native horror of himself which pos- sesses Macbeth. It is hardly possible that any one who has ever seen should ever forget the tenor with which lie describes the voice that said, ' Sleep no more ! Macbeth doth murder sleep !' It was the incarnation of despair, of the despair of a mental and spiritual hell. There was not a tone of rant in it ; it was the hollow, ghastly, hope-bereft experience of a blood-stained soul And again, as all the critics have noticed, in the last scene of all, where he is driven to bay, the fierce animal courage of the man comes out with splendid power, in a moment when violent action drives away all the imaginative terrors of his haunted life." — Spectator, Oct. 2, 1875. " 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 pas- sions of the human soul in a great crisis of 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 conventional details. We believe it has always been customary in the dagger scene to confront the audience looking up- wards, as if the imaginary weapon were hovering in the air somewhere between the performer and the audi- ence. Mr. Irving, on the contrary, sees the dagger at a much !■ 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 con- scious of the spell that is around and aboul him, could not trust himself to ' clutch ' the airy weapon save in words The touches of tender- 1 1 1 < 1 of regretful remorse, which add greatly to the beauty of these latter scenes, seemed indeed to miss some of their effei I ; but the final combat and death struggle has pro- bably never been equalled for pictu- IS2 THE DRAMATIC LIST. resque force and intensity." — Daily X ws, Sept. 27, 1S75. In February 1876, 'Othello' was revived at the Lyceum with Mr. Irving as the Moor. Pro- bably, this has been the least successful of Mr. Irving's imper- sonations, and was the subject of much unfavourable comment in the public press. It was conceded, however, that there were powerful passages in Mr. Irving's acting of the part, 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 army to fight a battle of Waterloo every day. From Hamlet Mr. Irving proceeded, ill-advisedly as, at the time, we thought, to Mac- beth, and our anticipations were before long justified by the public verdict. With still greater want of judgment, we fear,, has he now at- tempted 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 altogether 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 ludicrous, and altogether unintelligible. This latter fault is, indeed, most unhappily prominent throughout the perform- ance. It has been said, and well said, that the great masterpieces of Shake- speare, 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 pro- nunciation, for wheh, in all humility, we confess ourselves totally unable to conceive any authority. In his de- scription 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 ears 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 with 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 — and 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 Iago first begins to pour the ' mixture rank ' into his too open ear, both in Mr. Irving's face and in his attitude, and very nearly in his voice, the first faint flushings ot the dawn of jealousy are not unskil- fully marked. Yet the dawn broadens into no perfect day, but rather into an indescribable chaos of painful and inharmonious elements. In the tor- rent, tempest, and whirlwind of this passion there is no temperance, and so no smoothness. We can well re- member, 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 IRVING, HENRY. 183 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 plea- santer, to have written in a more i 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, Feb. 17, 1S76. In April of the same year, I ' Queen Mary,' an historical play in live 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. In the autumn of 1876 Mr. Irving played Hamlet in the provinces, and his interpreta- tion of the character was every- where welcomed with acclamation. It was estimated that, during his stay at Manchester, nearly eigh- teen thousand persons visited the theatre at which he performed. In Scotland and Ireland his reception was no less gratifying. On No- vember 29 an address was pre- sented 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 interpreta- tion, revealed new depths of mean ing in Hamlet, and aroused in the minds of all a fresh interest in our highest poetry .... Acting such as yours ennobles and ele- vates the stage, and serves to restore it to its true function as a potent instrument for intellec- tual and moral culture. Through- out your too-brief engagement our stage has been a school of true art, a purifier of the passions, and a nurse of heroic sentiments ; you have even succeeded in commend- ing it to the favour of a portion of society, large and justly influen- tial, 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, Shake- speare's ' Richard the Third ' was placed on the Lyceum stage, Mr. Irving as Richard, Duke of Gloucester. ' ' 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, bril- liant, 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 ungainli- ness of form and feature, but also such smaller singularities as the fre- quent twitching of the hands — a phy- sical denotement of the restless spirit within The grim, sardonic humour of the poet, which has al- ways been an element of enjoyment with the populace, is distinctly marked in the present impersonation, though not so distinctly 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 un- conscious meditative 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 prede- cessors in the part, represents Richard making love less with the bluntness of a soldier than with the tenderness 1 8 4 THE DRAMA TIC LIST. and impressment of an impassioned suitor The scornful exultation with which, contemplating his triumph and finding in it a subject for ego- tistical 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 casts upon the ' parlous ' young prince, whose doom he fore- shadows in the ominous reflection, ' So wise, they say, and so young, ne'er live long,' bespeaks the true character of the usurper more elo- quently than could the most poignant words. . . . The apparition scene in the fourth act is exceedingly impres- sive, and in his representation of the mental anguish which Richard en- dures from the visitation of the sha- dows Mr. Irving depicts the terrors of a guilty conscience in appalling colours.'' — Morning Tost, Jan. 30, 1877. " Of Mr. living's acting in the first three acts it would be difficult to speak too highly. In the excessively trying portion of the first scene, where he makes the Lady Anne ac- cept him as a suitor, almost in spite of herself, he was quite master of the situation, and the varying changes of his face as he watches the effect of each successive speech were master- pieces of intelligent acting. So, too, when, on the departure of Lady Anne for Crosby Place, he bursts into harsh, triumphant laughter, and bids the bearers take King Henry's corpse to Whitefriars. Throughout the second and third acts Mr. Irving maintained, and even heightened, the favourable impression he created in the first ; the scene in the third act where, after much persuasion, he accepts the crown, being perhaps the most won- derful piece of double-acting the pre- sent writer had ever seen upon the stage. In the fourth act, as we have said, the character changes ; every- thing that craft could devise has been successfully carried out, and the end gained. In this act there is a most striking resemblance to the fourth act of Mr. Irving's Macbeth — the same feverish restlessless and distrust, and the same haggard, strained look. In our opinion there is nothing finer in the play than the scene in this act where, amidst all the excitement of war and presage of defeat, Richard's old sardonic humour flashes out for the last time, as he persuades Eliza- beth to promise her daughter to him. . . . The last scene, though perhaps somewhat overstrained, seems but a fitting close to such a life. . . . Per- haps the finest point made by Mr. Irving in the whole play is the glare of baffled hate and malignity which he fixes on Richmond, as he gnaws his adversary's sword. Altogether, we must conclude that this is the most sustained and perfect of all Mr. Irving's interpretations of Shakespeare, though, for obvious reasons, it is not such an attractive one as the Hamlet." — Spectator, Feb. 6, 1877. 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. Chanes 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 under- stood, extremely severe, but they are managed by Mr. Irving with con- summate 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 plea- santly at ease with his friends ; the former a swaggering ruffian, clumsy and abrupt in action, husky and coarse in voice. The most remark- able feature in the assumption is the final scene in the first floor of a cabaret overlooking the place of exe- cution. Dubosc is inflamed by drink, excitement, and the prospect of the sight he is to see, into a state of IRVING, HEXRY. 185 absolute madness ; his attack on Foui- nard is simply an outbreak of the savageiy 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 be- hind 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 demeanour which en- ables him thus to change his identity, to say nothing of dress, in such a space of time." — Standard, May 20, 1877. In 1878 (March 9) Mr. Irving appeared for the first time as Louis the Eleventh, in aversion of M. Casimir Delavigne's play of that title by Boucicault. "The part might very well have been written for Mr. Irving, who has seldom presented a performance with which there was less opportunity of finding fault. In saying this we do not mean that in Louis XI. Mr. Irving has reached a height which he has not attained before. On the contrary the character affords no kind of op- portunity 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 of Louis XL never rises to grandeur ; it rests on a dead level of hypocrisy, meanness, 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 LouWi 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 in- tangible and mysterious fascination which makes it possible t<> reconcile the low tone of his speeches and deeds with the gift for government which he must have had Mr. living's appearance was a first sign of the study which he had bestowed on the part. He had managed some- how 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 cha- racter His worming out of Marie's secret knowledge of the iden- tity of Nemours with Rethel was intensely true to nature, and his delight at finding Nemours within his grasp was most effectively contrasted 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 promin- ence As a piece of complete mastery of the science of acting in gesture and expression, Mr. living's recognition of Nemours' threatening figure, which he sees as he sinks down into his chair, was especially remarkable. The convulsive but re- strained grasping of the chair, the look of numb 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-in- sane reaction of violence at the end of the act." — Saturday Review^ March 16, 1878. On Saturday, June 8, 1878, a new English version of ' I >e :r Fliegende Hollander,' by Messrs. Wills and Percy Fitzgerald, under the title of ' Vanderdecken,' was produced at the Lyceum Theatre, Mr. Irving sustaining the Leading rSle. " Mr. Irving's appearance was splendidly picturesque and impres : sive, his aspect in the stronger so being absolutely lurid. 1 1 i - perform- ance is, however, wanting in varii ty, and is marred by the peculiarities which in 'Louis XL' he appeared t<> 1 86 THE DRAMATIC LIST. have shaken off. If the play succeeds it must be on the strength of its weirflness and the admirable scenery supplied it. Mr. Irving's performance will certainly not rank with his best efforts.'' — Athenaum, June 15, 1878. " We regret to have to say that so far as the performance awakened feelings of pleasure the praise was due more to the arts of the scene painters and stage carpenters and to the general pictorial effect of all the arrangements of the stage than to any very conspicuous merit in the acting of the play. Mr. Irving's old eccen- tricities of elocution have unhappily returned on this occasion in an ex- aggerated form. His style of delivery throughout the play belongs rather to the pulpit than the stage. A solemn formality, which presents some resem- blance to the conventional tones in which the ghost of Hamlet's father is accustomed to recount the secrets of his prison-house, characterises his utterances from his first appearance to the fall of the curtain. The myste- rious Hollander's moods of mind have certainly more than one phase — for he is now coldly repelling the advances of curious strangers, now making love to Thekla, now defying a rival, now describing scenes of un- earthly beauty, now issuing com- mands to his mysterious crew, now indulging in mystic reverie. But there is no like change — no change at all, indeed, in the constant rise and fall of Mr. Irving's voice. The effect is, perhaps, supernatural, for it is unquestionably not natural ; but, un- fortunately, it is fatiguing to the audience ; not so fatiguing, however, as are the involuntary efforts of the attentive listener to discover why Mr. Irving emphasises words of no special importance, even to the extent some- times of two or three such words in a single line of heroic verse ; or why he iionally assigns an unusual quan- tity to one syllable ; or why he utters dental letters with such unnecessary effort that the word 'mortal,' for example, might be represented by the form ' mort-tul.' No doubt these peculiarities would be less observed in a play depending more upon action and less on spoken words ; but it is still distressing to find a performer of great and original powers so wanting in some of the first requisites of impres- sive acting." — Daily News, June 10, 1878. In the following month the man- agement of the Lyceum Theatre revived Mr. Albery's adaptation of ' Pickwick,' designed to illus- trate the character and career of A If red Jingle. Mr. I rving had ap- peared in this character before, as has been already noticed, but the setting was a new one. The im- personation, 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. IRWIN, KATHLEEN. Born at Exeter. Was specially educated for the stage. In singing she was a pupil of Mr. Joseph Wood (the husband of Miss Baton) and of Signor Lago, of the Royal Italian Opera. Entered the dramatic profession at Newcastle in 1868, playing there a round of charac- ters with considerable success. Was engaged for the opening of the Charing Cross Theatre. First appearance in London, June 19, 1869, at that theatre, as Patty Mayberry in the operetta ' Coming of Age.' Appeared also on the same occasion as Ferdinand in Cheltnam's comedy of Edendale ' and as Adalgisa in Gilbert's bur- lesque of ' Norma.' " In the acquisition of such a valu- able member of the company as Miss Kathleen Irwin there is strong reason for congratulating the new manage- ment. The decided intelligence, the IRWIN, KATHLEEX. i S 7 quick dramatic instincts, the com- prehensive acquirements, and the bright natural vivacity of this very youthful actress hardly needed three pieces to prove ; but in each of them the most unequivocal proofs of ability were afforded." — Daily Telegraph, June 21, 1S69. Since 1869 Miss Irwin has ful- filled important engagements at the Vaudeville, Drury Lane, Globe, Prince of Wales's, and Haymar- ket Theatres, in London ; has several times accompanied Mr. Toole on his provincial tours, playing leading characters in all his pieces ; and is a member of the so-called ' Caste 'company. Among other principal parts Miss Irwin has played the following at various theatres in the provinces, viz. : May Edwards ; Marguerite (' Turn of the Tide ') ; Eittle Don Giovanni ; Aladdin; Mary Belton ('Uncle Dick's Darling ')/ Maria (' Twelfth Night ')y Ophelia; Polly ( ; Beggars' Opera '); Phoebe (' Paul Pry '); and Little EmHy in the play of that name. " Miss Kathleen Irwin, a young lady new to Edinburgh, but who lias proved herself a lav unite elsewhere, personates Em' ly with grace and modesty, with tenderness and feeling. A better picture than she presents in the first act, of the pretty blue-eyed niece of the Yarmouth fisherman, free, guileless, and innocent of sus- picion, could not well be given. And in the third act, where the wanderer returns to the home which she has always thought of with love, but only to encounter the dark frowns of Rosa Dartle, Miss Irwin's acting is highly effective." — Scotsman, Oct. 29, 1S70. To the above the following may also be added : Diana Vernon (' Rob Roy ')/ Clair ette (' Madame Angot ')y Esther and Polly Eccles (' Caste ') ; Mary Astley 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 accom- panied Mr. Buckstone on his fare- well tour through the provinces, playing leading parts in ' The Rivals,' ' Pygmalion and Galatea,' &c. " Her conception of that beautiful being, Galatea, was pure, sweet, and singularly simple. She produced delightful effects by her style both of action and speech, and was rewarded by the amplest and heartiest appre- ciation." — Glasgow Herald, 1877. i88 THE DRAMATIC LIST. JAMES, DAVID (a nom de theatre). Made his first appear- ance on the London stage at the Princess's Theatre during the management of Mr. Charles Kean in a subordinate part. Was after- wards engaged at the Royalty Theatre, where in Burnand's bur- lesque ' Ixion ; or, the Man at the Wheel,' he played the part of Mercury. Mr. James subse- quently joined the company of the Strand Theatre, of which he re- mained a member for nearly six years. Among pieces in which he was more than ordinarily suc- cessful during this engagement the following may be mentioned, viz., ' One Tree Hill ' (H. T. Cra- ven), produced April 1S65, in which Mr. James played the part of Tom Foxer ; an operatic ex- travaganza by Burnand entitled ' Windsor Castle,' first performed June 5, 1865, in which he played the part of l¥i 11 So titers, the Court jester ; the same author's bur- lesque of ' L'Africaine,' produced November 18, 1865, in which Mr. James was Nehtskaj ' The Heir- at-Law,' revival in February 1870, in which he sustained the part of Zekiel Homespun. "Generally the piece is very well cast. Mr. David James, whose name is commonly associated with the wildest burlesque, plays Zekiel Home- spun in a quiet natural manner, which at once brushes from the mind all remembrance of the vigorous dancer of 'breakdowns.' In some places he might be more forcible, but his pathos is unexceptionable throughout." — Times, Feb. 7, 1870. " Mr. David James, as Zekiel Homespun, achieved a sort of sur- prise 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 discovery 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 ; but it is to be regretted that the actor mars the general etfect of his perform- ance by making this virtuous country- man speak throughout the play in a sort of subdued sob, which, though due, we believe, to his having lost his parents at some previous stage of his existence, is neither natural nor pleasing." — Daily News, Feb. 7, 1870. In conjunction with Messrs. Montague and Thorne, Mr. James entered upon the management of the Vaudeville Theatre in 1870. On Saturday, April 16, 1870, 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.' During his connection 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 Trout 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- Jiueli, in ' The Road to Ruin,' revived in 1873 ; Sir Ball Brace, in a comedy by James Albery, entitled ' Pride,' first performed April 1874; and Ferkyti Middle- JAMES, DAVID. 189 wick, in H. J. Byron's comedy, ' Our Boys,' produced at the Vau- deville Theatre Saturday, January 16, 1875, and not yet (October, 1878) removed from the playbills — the most extraordinary run ever attained by a play. "It will at once be seen that the usual excitement caused by the repre- sentation of Mr. Byron's comedy must have been due far more to the writing than to the intrinsic value of the play. We can detect in the story but faint interest, and but a weak backbone. The story scarcely commences before the third act, which contains the shadow of a good dramatic idea, but is spoiled by the repetition of the same incident, and by the forced introduction of rather a disagreeable episode ; the conversation which springs out of the discovery of the bonnet is one which no two young ladies would commence with their lovers, nor are fathers any more likely to discuss the point in this fashion with their sons. But on all these points an audience, spell-bound by Mr. Byron's incomparable joking, is quite indifferent. Let us laugh, they say, and we care for nothing else. Never mind your plots and views on art, and theories about construction ami probability, so long as we can laugh. It is so rare we can get a good laugh nowadays, that your criticism seems cold and cruel. What does it matter if characters are strained and motives are far-fetched, if old men are made ridiculous by winding up a pathetic and earnest speech with such a sentence as ' That's my ulti- pomatum .' ' The sentence, ulti- pomatum and all, was received with a shout of approval ; and whether the play be called comedy, farce, bur- lesque, caricature, or entertainment, it is impossible to deny that the approval of the whole house was shown in a very marked and decided manner, b) sympathy with the author and his work, and by calling for him again and again. At the same lime it must be distinctly remembered that there will be seen in this play some thoroughly excellent all-round acting, and in at least two instances perform- ances of very high and distinguished merit. " The Perky n Middhivick of Mr. David James, and the lodging-house servant of Miss Cicely Richards would be unworthily treated by merely a passing 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 portrayed — though his pathetic utterances are not natu- rally 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, intonation, and dress we perceive Perky n Middlezcick, the butterman. Clever lines were never more admirably spoken, and caricature seldom con- veyed 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 vul- garity of the ex-tradesman when he finds himself on the same social plat- form 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 determination 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 tho- roughly characteristic and intelligent ■1) of acting. One more cha- racter has been added to the list of ;es achieved by Mr. David in l\rkyn Middlewick, the retired butterman." — Daily TeUgraph t Jan. 18, 1875. 190 THE DRAMATIC LIST. JEFFERSON, JOSEPH. Born in Philadelphia, February 20, 1829. Is descended of an old theatrical family, his grandfather, Joseph Jefferson, having been, as a comedian, a special favourite at the Chestnut Street Theatre in that city in the first years of the present century. 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 Plutn- jner in the domestic drama of more recent years. Mr. Jefferson is best known, however, in England for his inimitable impersona- tion of the hero of Washing- ton Irving's sketch ' Rip Van Winkle,' a character in which Mr. Jefferson first appeared on the London stage on Monday, September 4, 1865, at the Adelphi Theatre. 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 in- cluded the late Mr. Yates — whose representation of Rip in old age is mentioned in contemporary jour- nals 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. Boucicault of the later dramatic version of Washington Irving's story. 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 the cha- racter 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 gar- ments. 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 circumstances, 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 per- petual 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 pre- sence of his boon companions, we perceive that there is nothing very harrowing in his terror, and that his dislike 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, im- partial observers, who see such very good-humoured vice placed in juxta- position to such very cross virtue, can- not help siding with the former. Let it not be supposed, however, that Rip is JEFFERSON, JOSEPH. 191 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 at- tribute the completeness of the trans- formation to the effect of Hudson's infernal beverage than suggest a cor- rection of the seeming exaggeration. . . . The aged Rip 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. Think- ing 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." — Times, Sept. 6, 1865. " Mr. Boucicault, like his prede- cessors, has simply taken the main idea of the story and engrafted a plot upon it. All the ' business ' and 'points' which Mr. Jefferson has tried, and has not found wanting in two continents, have been retained, and the dramatist has, therefore, worked to some extent in subjection to the actor. No mortal skill could make what might fairly be called a strong play out of such materials, but everything that great dramatic in- stinct, good taste, and knowledge of • the public and of the actors could do for a piece has been done for ' Rip Van Winkle.' The poetry of the original story has been preserved, and the sentiment of the drama is pleasant and wholesome. The scenes in which Rip is brought in contact with his little daughter and her youthful lover Hendrick in the first act are very delicately written ; the second act is somewhat weak, being little more than a pantomimic tableau ; and the third act gives Mr. Jefferson abundant opportunity of showing his varied powers as a thoughtful, elaborate, natural, and sustained actor. Mr. Jefferson has had a very wide range of characters in America. He is said to be a very satisfactory representa- tive of the leading parts in the old legitimate English comedies, and the fame of his Salem Scudder, in Mr. Boucicault's ' Octoroon,' and of his Asa Trenchard, in ' Our American Cousin ' — the Lord Dundreary piece — has already reached this country. His embodiment of Rip Van Winkle is full of admirable points, from the time when he has his doubts about a paper given him to sign by a de- signing neighbour, and gets little Hendrick to read it, to the moment when he comes back from the moun- tains and gradually awakens to a knowledge of changes in his village and his friends. His pathetic power and command of expression are un- mistakable, and his humour, if not juicy, is of a dry and fine quality." — Daily Xe:cs, Sept. 5, 1865. " If we state that every possible detail of character that could be pro- duced under the circumstances sup- posed 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 do doubt that Mr. Jefferson will for some time to come remain the leading object in the eyes of the playgoing 192 THE DRAMATIC LIST. 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." — Saturday Review, Sept. 23, 1865. " The drama in this (the third) act is at its poorest, but Mr. Jefferson is 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 opportunity of representing the old man's bewilder- ment. 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 deli- cately true. It is doubtful whether, in such a drama, more could be done by the best effort of genius to re- present the Rip Van Winkle of whom Washington Irving tells. It is cer- tain 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 con- spicuous." — Examiner, Sept. 23, 1S65. Since Mr. Jefferson's first ap- pearance in London as Rip Van Winkle he has appeared only in this character during his periodical visits to England, excepting in 1877, when, at the Haymarket Theatre, in June, he played Mr. Golightly, in ' Lend me Five Shillings,' and Sir Hugh de Brass, in 'A Regular Fix.' JOHNSTONE, JAMES. Born in London, 18 17. First appear- ance on any stage in the year 1837, at Pym's private theatre, in the character of Iago. First appear- ance in public at Folkestone, as Sir Philip Blandford. First ap- pearance in London, August 1847, at the Marylebone Theatre, then under the management of Mrs. Warner, as Polixenes in ' A Winter's Tale.' Has since ap- peared "in all the principal the- atres of England, Scotland, and Ireland." JOSEPHS, FANNY (a nom de theatre). Entered the dramatic profession at a very early age, under the tutorage of her father, who held a position at the Dublin Theatre. Made her debut on the London stage Saturday, Septem- ber 8, i860, at Sadler's Wells Theatre, in the part of Celia in a revival of ' As You Like It.' After- wards at the same theatre played Perdita in a revival of ' The 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. Saturday, October 6, she played the part of Lord Woodbie, first , performance of Boucicault's drama ' Flying Scud.' In 1868 she en- tered upon the management 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.' MISS FANNY JOSEPHS. JOSEPHS, FANNY. 193 "Special mention should be de- cidedly reserved for the Lady Sneer- well 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. Barriere, entitled ' The Gascon ; or, Love and Loyalty.' On Satur- day, March 31, 1877, first per- formance at the Criterion Theatre of • The Pink Dominos,' adapted from the French of MM. Henne- quin and Delacour (' Les Dominos Roses ') she played the part of Lady Marie Wagstaff. Miss Josephs is still (October 1878) appearing in the same character at the same theatre. o J 94 THE DRAMATIC LIST. KEAN, MRS. CHARLES [nie Ellen Tree). Born in 1805. Relict of the late Charles Kean. First appeared in public at the Theatre Royal Covent Garden in the character of Olivia in Shake- speare's play of 'Twelfth Night.' Having fulfilled various engage- ments subsequently at Edinburgh and Bath, in 1826 was engaged at Drury Lane Theatre, and made her first appearance there as Violante in ' The Wonder.' In 1829, at Covent Garden Theatre, sustained the part of Lady Town- ley in the ' Provoked Husband.' 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, &c. Between 1836 and 1839 visited the United States of America. Was an actress of considerable repute previous to her marriage with the late Charles Kean, which took place on Janu- ary 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, 'Ham- let,' 'Macbeth,' 'The Stranger,' 'The Lady of Lyons,' 'The Gamester,' &c. " Mrs. Charles Kean is the most gentle and affecting representative of Mrs. Beverley on the stage, and she sets the ladies sobbing for sympathy with her sorrows." — Athenceum, April 16, 1S42. Saturday, June 4, 1842, first per- formance 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 feeling. Her parting with her husband, her terrible scene with Almagro, and that blush- ing passage in her scene with her brother, where she reveals the out- rage that had been committed upon her by Almagro, were alike distin- guished by the purity and pathos of their delivery." — Atlas, June II, 1842. " Mrs. C. Kean, as The Rose of Arragon excites less interest for the character than could be desired ; but the fault rests more with the author than with the actress, for he has sacrificed it to stage situation. What Mrs. Kean has to do she does well and effectively." — Athena-urn, June 11, 1842. During the seasons 1842-3, 1 843-4 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 pro- duced 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 The- atre— Sir Walter Amyott, Mr. C. Kean; Lady Eveline Amyott, Mrs. C. Kean ; Jabez Sneed, Mr. Benjamin Webster ; Maud, Mrs. Keeley ; Lord Arden, Mr. Howe. ' ' Lady Eveline, the wife, is played to perfection by Mrs. Charles Kean. She makes the character exquisitely gentle and feminine, rising on occa- sion to haughtiness of conscious right, KEAN, MRS. CHARLES. 195 and looking with abhorrent indigna- tion at the imputation of wrong. It was by the admirable 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 hus- band, the honest fearlessness with which, in one of the critical situations of the piece, she looks unshrinkingly into her husband's face, is beautifully conceived, and when, towards the end, she is plainly accused of in- fidelity, the change in her counten- ance, and the deliberate manner in which she says — " 'I did not think I could so nearly hate thee.' is exceedingly fine. It should be ob- served 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 disclosure 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." — Tunes, Jan. 18, 1848. " 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 confid- ence, though weighed down with the burthen of an unwilling 'secret' ; but almost sublime in the tearful and im- passioned vindication of her truth in the closing scenes of the drama. A more exquisite and touching perform- ance than this is not to be found in the records of the stage."— Morning Herald, Jan. 18, 1848. Commenting upon Mrs. Kean's performance at the Haymarkct 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 idealised ; but still nature." On November 1 1 of the same year, at the same theatre, she played Viola in a " re- vival " 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 sweet- ness 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, Nov. 18, 1848. On Wednesday, June 20, 1849, she played at the Haymarket the character of Katharine Lorn, first performance of Westland Mars- ton's tragedy ' Strathmore.' This piece was a considerable success. The following year, in conjunction with Mr. Keeley, Mr. Charles Kean entered upon the manage- ment of the Princess's Theatre, and on the opening night of his first season there produced Shake- speare's ' Twelfth Night,' and a farce entitled ' Platonic Attach- ment.' In the first-named comedy the caste included the following admirable players : Mr. Keeley, Sir Andrew Aguechcck ; Mr. Harley, the Clown; Mr. Ryder, Antonio j 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 repre- sentations at the Princess's Theatre, produced under Mr. Kean's superintendence, which, in O 2 196 THE DRAMATIC LIST the completeness and magnifi- cence of their display, have never been excelled in the history of the English 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 distri- bution of light and shade, mixed gaiety and sadness, naivete 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 pas- sion of her delivery, make her irresistible in characters of the kind. Her power in all these re- spects was never more perfectly exhibited than on the present occasion." On Monday, Sept. 30, 1850, she played the part of Ophelia at the Princess's Theatre. ' ' The character of Ophelia receives a new value in the hands of Mrs. Kean, who first played it at the Hay- market. The vacancy of madness is most delicately blended with glim- merings of reason, indicated by the varied tones and glances with which she addresses the several personages around her, and the songs are given with the nicest regard to dramatic expression." — Times, Oct. I, 1850. " The Ophelia of Mrs. Charles Kean was a beautiful performance. Her acting in the scene with the King, Gertrude, and Hamlet, after Ophelia is bereft of reason, was touching in the extreme ; and her exquisitely plain- tive singing of the airs, when distribut- ing herbs and flowers to her friends, made a strong impression on the audience." — Observer, Oct. 6, 1850. On Saturday, November 9, of the same year, ' The Templar ' of A. R. Slous was produced, meet- ing with an extraordinary success. Mrs. Charles Kean sustained the part of Isoline. " In presenting the piece to the public, the managers have shown the most determined spirit The acting evinces a corresponding spirit, every individual seeming determined to do his best. Mrs. Charles Kean, as the heroine, has a part which taxes all her rapid intelligence and corporeal energy. Distress, now in its most sentimental form, now in its most physical manifestations, has to be represented, and she goes through it all with unwearied energy, ready to appeal to the feelings by a silent iook, or to brave the perils of a terrific pass."— Times, Nov. 11, 1850. " Isoline is no more than a fifty- times-repeated heroine of melodrama, who crosses broken bridges and has distressing dreams. Actors of pre- tension in such parts are not fairly subject to criticism, and it is enough simply to record the fact that the father and daughter were played by Mr. and Mrs. Kean." — Examiner, Nov. 16, 1850. During the season Mrs. Kean played Lady Percy (' Henry the Fourth'); Violante ('The Won- der'); Rosalind (' As You Like It '), " one of the most original of her performances. In buoyancy, vivacity, and sweetness it can' scarcely be surpassed." Ini85i, Monday, 17th March, she played the heroine in John Oxenford's drama 'Pauline,' then first per- formed in London at the Prin- cess's Theatre ; and on Wednes- day, 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 Con- stance in ' King John,' which was produced at the Princess's, on a scale of magnificence never before surpassed, either by Mac- ready or Phelps, and with a pro- fusion of accessories that even in those days of special attention to KEAN, MRS. CHARLES. 197 mise en scene was pronounced to be unexampled. " Altogether, great care and ar- tistic 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 complete- ness extends to Mrs. Kean's Constance. She has a more complete manage- ment 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 requisitions of mental energy."— Spectator, Feb. 14, 1852. " 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 indigna- tion at the French for their desertion of her cause, was finely discriminated. Her wrath had hitherto been ve- hement, but here it grew calm with intensity and slow of utterance ; it was rage accompanied with con- tempt. 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." — Times, Feb. 10, 1852. The same year two new pieces were produced at the Princess's Theatre, in which Mrs. Kean sus- tained a principal role, viz., ' The Trial of Love ' (Lovell), on June 7, 1852 ; and ' Anne Blake ' (West- land Marston) in October, 1852; Saturday, January 12, 1853, was performed Douglas Jerrold's play ' St. Cupid,' first represented on the stage at Windsor Castle, be- fore Her Majesty the Queen, the Prince Consort, and royal house- hold. Mrs. Kean played her original character, Dorothy Budd. " 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 manage- ment 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 dra- matic work ? . . . . Hence originated his good qualities and his defects. The power of repartee has been de- veloped in him to a degree that claims unmixed admiration, the author hav- ing so used it as to have formed a distinctive style of his own, almost as peculiar as that of Mr. Thomas Car- lyle ; 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 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 pen- dant 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 for- tune and family, who assumes the disguise of an usher to make an im- pression on the daughter of a suburban schoolmaster. In both the leading female characters is one of those com- binations of sentiment and repartee 193 THE DRAMATIC LIST. which no one can personate better than Mrs. Charles Kean, who so well understands 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." — Spectator, Jan. 29, 1853. " We have seldom heard a piece more carefully or more elegantly written. . . . The literary features of the play, in short, are of a high and delicate cast. Its main deficiencies are those of dramatic construction — the rock on which our best dramatists so often split, and which, without doubt, prevents many of our most accomplished novelists from develop- ing their ideas upon the stage. . . . 'St. Cupid' was excellently acted. Mrs. Kean gave Dorothy with a natural piquancy and a naive fresh- ness of girlish manner which were fully appreciated by the house. Her sly innuendoes were admirably launched, and the pathetic passages given with great feeling and sweetness of ex- pression." — Morning Chronicle, Jan. 24, 1853. 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. "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 deter- mined by which he is attracted and hurried on to the assassination. Mrs. Kean adopts the latter reading. She employs great action and energy in the temptation scenes, displays much agitation during the banquet, and in the somnolent soliloquies affects atti- tudes that are picturesque and im- posing. In the embodiment of this impersonation she is remarkably suc- cessful ; not at all deficient, as might have been expected, in the requisite physical force. This qualification she seems to have lately acquired by obvious histrionic training and she has brought it under perfect command." Atheineum, Feb. 19, 1853. "The acting of the tragedy is perhaps less a subject of curiosity than the decorations, inasmuch as Macbeth and his lady were favourite characters with Mr. and Mrs. Charles Kean shortly before they opened the Princess's Theatre. But, unless our memory very greatly deceives us, it seems to us that Mrs. Charles Kean has adopted a version of Lady Mac- beth 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 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 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 attention of the guests from Macbeth's aberrations, was singularly impressive The sleep-walking scene, calm and digni- fied, an incarnation of agony, was admirably played, and, what is a great point in this scene, was admirably looked." — Times, Feb. 15, 1853. On Monday, June 13, 1853, Lord Byron's Assyrian tragedy of ' Sardanapalus ' was produced at the Princess's. Nothing so gor- geous, striking and characteristic was ever before put on the boards. It is stated to have cost the man- agement not less than three thou- sand pounds in its production. Mrs. C. Kean sustained the part of Myrrha. " Lord Byron's ' Sardanapalus ' has been used by Mr. Charles Kean as a vehicle for presenting to the public a KEAN, MRS. CHARLES. 199 series of tableaux based on the re- searches of Mr. Layard The three scenes are, however, of the most costly and elaborate kind, and the public, who would not have gone to see the play as a tragic production, will, in all probability, be tempted to it as a sort of Panorama of Assyria." — Examiner, June 18, 1853. " The magnificent spectacle of the week is the 4 Sardanapalus ' of Lord Byron, produced at the Princess's Theatre. But does not this possess merit enough to be entitled a ' fine play ' as well as the ' Lady Tartuffe ' of Madame Girardin ? We evade this question by answering that it is not as a fine play that ' Sardanapalus ' appeals to the inhabitants of this me- tropolis The tragedy goes for nothing; but the hall of Nimrod, with its strangely costumed guests and its big Assyrian man-lions, will draw all the world to Oxford Street The scenery is superb ; and the art of grouping has probably never been carried to such perfection, so as to contribute to the idea of immensity while dealing with a limited space. Mr. Charles Kean has modelled his play- bill on that of Macbeth, and keeps up the tone of elaborate explanation and instruction with all solemnity." — Spectator, June 18, 1853. " We need not dwell at length on the effect of the tragedy as distin- guished from the mise en scene. The whole exhibition was triumphantly successful, but the lines of the poet produced a comparatively slight effect. Mrs. Charles Kean, who played the noble character of Myrrha, exactly knew what to make of it, namely, the principal figure of a magnificent antique picture. Amid the crowd of barbaric splendour she is still the Greek, and every one of her attitudes, whether of tenderness or command, has all the plastic beauty of an excel- lent statue The whole affair is one tremendous picture, which, in its way is unrivalled." — Times, June 14, 1853. In May 1855, after an absence \ of many months from the stage I owing to ill-health, Mrs. Charles Kean reappeared on the stage of the Princess's Theatre as Queen Katharine, in a revival of Shake- speare's ' Henry the Eighth,' pro- duced with a degree of elaboration in its accessories and illustrations never before exceeded in the pre- sentation of this play. " A Frenchman illustrating by com- parison the difference between the rheumatism and the gout as mani- fested to the senses, said that if a man put his finger into a vice and screwed the machine until he could bear the pain no longer, that was the rhu- matism ; if he now gave the vice one turn more, that would be the gout. We may borrow from this acute discrimi- nation an analogical expression for the glories of ' Henry VIII.' at the Princess's Theatre. Get up a play as gorgeously as possible, that will be ' Sardanapalus ' ; then get it up more gorgeously still, that will be ' Henry VIII.' .... Mrs. C. Kean was the object of especial interest on the night of the production (Wednesday), as it was the occasion of her return to the stage after an absence of eighteen months. The shouts and bouquets that greeted her at first belonged, in a great measure, to the recovered invalid ; but her finished rendering of the Queen's death was a triumph of the artist that needed no extra- neous circumstance to produce a general feeling of admiration. All the ladies of the company, who were not engaged in more important cha- racters, attended her as 'ladies in waiting ' to signify their respect and adhesion. As this arrangement was the result of a voluntary proposition on the part of the actresses, it must be regarded as a most graceful com- pliment. Mr. Walter Lacy's repre- sentation of Henry VIII. had, with the dress, an historical reality about it which was in keeping with the general tone of the revival." — Spectator, May 19. i«55- "We will run the ri-k of being 200 THE DRAMA TIC LIST. charged with exaggeration by declar- ing in most unequivocal terms that the i 'lay 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 suf- frages Altogether, it was a grand occasion at the Princess's. Mrs. Charles Kean, who had been absent for nearly eighteen months, reap- peared as Queen 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 re- markable production. Such a revival demands a careful study to appreciate its various excellencies ; we now merely wish to convey the fact of an extraordinary success."— Times, May 17, 1855. 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. Chas. Kean is thus reverted to : — " ' Pomp,' says Dr. Johnson, drib- bling out his little meed of praise, ' is not the only merit of this play ; the meek sorrows and virtuous distress of A'atharinehave 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 Katha- rine is one of the great features of this revival, and her delineation of the ' meek sorrows ' and ' virtuous dis- tress ' 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 re- ceives 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 Katharine have so completely aroused the dignified element of her nature, that the gentle constituent is almost forgotten, and she must be fol- lowed to her own apartment in the palace, where she enjoys a compa- rative 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 displayed 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 meek, is still an Arragonese, may be tempered down by physical debility into invalid pet- tishness ; 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 KEAN, MRS. CHARLES. 201 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, moreover, one failing which is peculiar to the scene, and that is the sentiment of re- ligious resignation. Mrs. Charles Kean makes this sentiment especially valuable in completing the effect pro- duced 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 pic- ture of a saint's 'ecstacy.'" — Times, May 21, 1855. On April 28, 1856, ' The Win- ter'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 anti- quities ; 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 sus- tained the part of Hermione. '"The Winter's Tale,' produced at the Princess's Theatre with extra- ordinary magnificence of decoration, has revived the question of the artistic legitimateness of those gorgeous ac- cessories with which Mr. Kean has more than once decked out the Shake- spearian dramas. Tin- point is by no means settled, as some critics seem to think, by the consideration that Shakespeare himself could never have, in fact, contemplated such a repre- sentation of his play. If any test at all can be applied, it must be fur- nished by the dramatist's own con- ception 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 Per- dita, 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 ' The Winter's Tale ' are occupied with the causeless jealousy of Leontes, and the suffering resig- nation of Her7nione. 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, however, 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 pro- duced to a crowded audience. This revival was, if possible, more imposing, and even a greater suc- cess than its predecessors had been. " Long before the per- formance had readied its termi- nation the opinion was murmured through the stalls that all past 202 THE DRAMATIC LIST. 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 bv the mere force of her "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 listening to the gardener's con- jectures 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 com- mitted 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 com- pletely broken up with heartrending sorrow, that, although the pageantry of the play is over, this scene is one of the most effective of the whole performance. 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 suc- ceeding decoration closes upon her." — Times, March 16, 1857. Towards the close of Mr. Kean's management of the Princess's Theatre, in March 1859, "natu- rally 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. " We come to the Clio, that is, the Chorus of Mrs. Charles Kean. What with the dignified beauty of her ap- pearance, and the classical character of her drapery, the command of her gestures, she completely fills the stage, though she is alone upon the boards. And her performance may be so far compared to Mr. Kean's Henry that she, like him, infuses character where mere declamation appears to be set down. The Chorus is not only inspired by zeal for Henry's cause, and anxious to awaken a feel- ing of patriotism in the audience, but she is also the apologist for the de- fects that may arise in the execution of the play, and would stand in a familiar position with her hearers, not altogether dissimilar to that occa- sionally held by a comic actor. She is grandly statuesque, but her func- tions are something like those of the, showman, and the tact with which Mrs. Kean passes from the sublimely artificial to the familiarly natural is marvellous. Her Chorus is an origi- nal creation." — Times, March 31, 1859- On Monday, August 29, 1859, the last of the famous Shakes- pearian revivals of Mr. Charles Kean's administration of the Prin- cess's Theatre took place. It had continued for nine years, and during that time Mrs. Kean had necessarily shared with her hus- band 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 KEAN, AIRS. CHARLES. 203 of these were being performed the management had given employ- ment, and consequently weekly payment, to nearly five hundred and fifty persons. Each impor- tant 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 prepara- tion. " It would," 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 comparative independence with regard to speculative disappoint- ment. 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 accom- plishments, contributed, in no small degree, to render her hus- band's period of management emi- nently 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 Janu- ary 22, 1868. * ^200 was considered a large nightly receipt, and ^250 an extra- ordinary one. KEELEY, MRS. (nie MlSS Go ward.) Born at Ipswich, in 1806. Relict of the late Robert Keeley, the popular comedian, who died in 1869. Made her professional debut at the Lyceum Theatre in 1825, as Rosina in the opera of that name. Mr. J. R. Planche", in his ' Recol- lections ' (Vol. i., p. 81), writing of the production in London of Weber's ' Oberon,' remarks : " A young lady, who subsequently became one of the most popular actresses in my recollection, 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 be entrusted with anything. That young lady was Miss Goward, now Mrs. Keeley, and to her was assigned the exquisite Mermaid's song in ihejina/e." In 1832 Mrs. Keeley was engaged at the Theatre Royal Covent Garden, appearing there in such pieces as ' The Tartar Witch and the Pedlar Boy'; ' The Clutterbucks; or, the Railroad of Love,' &c. In 1833 (March) at that theatre she played a sub- ordinate part in Poole's farce, ' A Nabob for an Hour,' with sufficient energy as to merit the following notice from a contem- porary journal : "One joyous, bub- bling, triumphant rush of Mrs. Keeley upon the stage to announce Mr.Frampton to her mistress is ad- mirable." In 1834 she acted at the old Adelphi Theatre for a season the comic female role 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 mSerle's drama, ' The Shadow on the Wall.' loi THE DRAMATIC LIST. "Mrs. Keeley's acting was of a very high order indeed 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." — Athenczum, May 2, 1835. 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. Buckstone, 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 melodra- matic attempt, ' The Castilian Noble and the Contrabandista.' When Mr. Chas. Mathews joined Madame Vestris in the manage- ment of the Olympic Theatre, Mrs. Keeley went with him for a brief season, and appeared there in October 1837, in apiece written by Mr. Chas. Mathews, entitled ' Truth.' Returning to the Adelphi in November 1828, 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 Buck- stone's drama of ' Jack Shepherd.' In 1841, Mrs. Keeley was "mak- ing merry the visitors at the new Strand Theatre," then recently opened. In January 1842, she took part in the performances, inaugurating the Macready man- agement 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 sus- tained the part of Poll Pallmall in Douglas 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 estima- tion. In March 1842 at Drury Lane she played Therese in ' The Students of Bonn.' " We may add, that Mrs. Keeley and Mrs. C. Jones act capitally. There is high art in the farce of the former ; the ease, volubility and dryness of Dejazet without Dejazet's effrontery." — Athenceiim, April 2, 1842. The second season of Ma- cready's management of Drury Lane Theatre, Mrs. Keeley ap- peared as Audrey in a " revival " of 'As You Like It.' In 1844, Mrs. Keeley and her husband entered upon the management of the Lyceum Theatre, which, under their regime, became famous for dramatic parodies and bur- lesques, written, for the most part, by Charles Dance and J. R. Blanche". 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. Saturday, De- cember 20, 1845, Mrs. Keeley played Mrs. Pecrybingle in ' The Cricket on the Hearth,' drama- tised at the request of Charles Dickens, by Albert Smith, with express reference to the Lyceum company. The following year KEELEY, MRS. 205 at Christmas a dramatisation 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 his- trionic art which almost reconcile an audience to every fault in the scenes that give occasion to their exhibition. The part of Clemency Newcome was the life, the soul, the salvation of the new drama. The actress was un- wearied in her exertions. Her cos- tume was picturesque, her action and by-play were everywhere appropriate, her tones were full of feeling, honesty and earnestness. There was the ec- centric, hard-working, faithful little body — an unmistakable identity !" — Athenaum, Dec. 26, 1846. In August 1847, Mrs. Keeley retired from the management of the Lyceum Theatre, and ac- cepted an engagement under Mr. Webster at the Haymarket. Mon- day, November 15, 1847, she ap- peared there as Mdlle. Suzanne Grasset de Villedieu in ' The Roused Lion,' a comic drama, adapted from the French, ' Le ReVeil du Lion.' The extraor- dinary success of this piece was, in the main, attributable to the acting of Mr. B. Webster and Mrs. Keeley, January 17, 1848, first performance at that theatre of ' The Wife's Secret ' (Lovell), Mr. and Mrs. Charles Keanin the principal parts, Mrs. Keeley played the waiting-maid Maud with great excellence. {See Kean, Mrs. Charles.) "That admirable actress, Mrs. Keeley, plays a lady's maid forced into puritanism by the manners of the time, yet dropping the garb of sanc- tity 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 trilling part one of the most interesting in the piece." — Times, Jan. 18, 1848. In 1849, during the engage- ment of the Keans at the Hay- market, Mrs. Keeley played, among other characters, Nerissa ('Merchant of Venice'); Jane (' Wild Oats ^ Rachel (' The Rent Day '), &c. Thursday, May 9, 1850, first performance of Douglas Jerrold's comedy, ' The Catspaw,' she sustained the part of Rose- mary, 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 l'Horloger,' by Madame Girardin. " The little farce of ' Betty Martin,' though its action depends on the smallest possible motive, is remark- able for one of the most perfect his- trionic exhibitions that could be found upon the modern stage. Betty Martin is a housemaid in the service of Major Miltiades Mo- hawk, an irascible gentleman who has lately taken unto himself a young and charming 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. Some- body arrives during the interview with the clockmaker, who is accord- ingly 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 2o5 THE DRAMA TIC LIST. pleased at being relieved from his I 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 truthful- ness. The agonised 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 ner- vously ready to check any revelation of the dreadful deed ; she empties the sugar-basin into the tea-pot, and com- mits 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 tremendous. 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. "A little piece converted into a great one by the force of Mrs. Keeley's really great acting. Such a picture of intense terror as this actress ex- hibited on her first burst on to the stage has scarcely ever been witnessed in tragedy illustrated even by the highest talent." — Athenceum, March 17, 1855. 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, 1 A Cure for the Heartache,' she sustained the part of Frank Oat- lands. "The boldest effort is the imper- sonation of Frank Oatlands by Mrs. Keeley, who not only speaks the rustic dialect, but makes of herself the thorough boy, strong in affection and quick of resentment. This model of rural virtue has generally been a full-grown man, and doubtless the author of the piece would have been greatly astonished had he seen a lady come forward aj the representative of bluff, unsophisticated honesty. But Mrs. Keeley showed herself thoroughly equal to the difficulties of the position, and by manner and appearance gave a juvenile interpretation to the text, which is quite as correct as any other, and which she sustained with perfect consistency throughout." — Times, March 3, 1857. 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 appeared on the boards ex- cept on benefit occasions, in aid of some deserving player. Her last appearance of the kind was at the ' Testimonial Benefit ' to Mrs. Alfred Mellon {nee Miss Woolgar), on May 15, 1878, at Drury Lane Theatre. KELLY, MRS. CHARLES. See Terry, Ellen. KEMBLE, ADELAIDE. (Mrs. Sartoris.) Bom. 1816- 17. Daughter of the late Mr. Charles Kemble, and niece of Mrs. Siddons. Was educated, principally, with a view of enter- ing the musical profession as a public singer, and without any preconceived intention of appear- ing on the stage. Sang at the York Musical Festival in 1834, having previously made a debut at a concert in London. Neither KEMBLE, ADELAIDE. 207 of these earliest public appear- ances seem to have been alto- gether successful. Subsequently 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. Subsequently sang in opera at various Italian cities, notably Trieste, Padua, and Milan (at La Scala), and in 1841 returned to London with a considerable repu- tation. " 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 expression which we found in it three years ago has since then been thoroughly deve- loped. In short it is a voice for a large stage, and the highest order of parts." — Athenaum, July 3, 1841. First appearance on the Eng- lish stage November 2, 1841, at the Theatre Royal, Covent Garden, under the management of Madame Vestris and Mr. Charles Mathews. Played the title role in Blanche's revised English version of Bellini's opera 1 Norma.' " The audience that was collected last night to witness the debut 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 handkerchiefs, one wel- coming sound was uttered by hun- dreds 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 public 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 Italian ; 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 little more than a clever imitation of Grisi." — Times, Nov. 3, 1841. "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 im- personation of A T orma is the 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." — Morning Chronicle, Nov. 3, 1841. "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 the furore she created was 203 THE DRAMA TIC LIST 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."— -Dramatic Reminiscences of G. Vandenhoff (London Ed.), p. 51. 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), Ade- laide 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 sustained the part of Susanna in ' The Marriage of Figaro,' then, for the first time, completely ren- dered in English, in a manner that set at rest all cavil as to the soundness of her musical attain- ments. The performance from first to last was a great success. April 2, 1842, she appeared also at the same theatre, as Amino, in ' La Sonnambula.' " The new Amina has conceived the untaught, simple, trusting peasant girl, whose whole life is in her love, as none of her contemporaries within the sphere of our recollection have done. Her conception, too, is worked out with all the vocal skill which she so thoroughly commands." — Athe- ?iau?>i, April 9, 1842. During the same season (1842) Adelaide Kemble appeared in two other operas, viz., ' Semiramide ' and ' II Matrimonio Segreto,' and finally retired from the stage, De- cember 1842. The season 1842 had not been, altogether, a financial success ; but Miss Adelaide Kemble helped in no small measure to make it one 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 feel- ing with which, it is said, the green-room resounded when this generous action was communi- cated to the performers, must have been worth all the plaudits that greeted Miss Kemble before the curtain— intensely gratifying and emphatic as these had invari- ably been. She married, early in 1843, Mr. Edward John Sartoris, some time M.P. for Caermarthen- shire. 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 per- formed the characters of Norma, Elena Uberti, Susanna, Amina, Semiramide, and Carolina, in the operas already mentioned. Be- fore her appearance, with the one exception of ' Artaxerxes,' no reci- tative opera had ever succeeded 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, Schrceder, and Grisi, Adelaide Kemble was able to maintain her own high place on the operatic stage, KEMBLE, FANNY. 209 whether as a singer or an ac- tress ; but measured against her English predecessors she stood alone and supreme, as the one union of high dramatic and musical power that the annals of the English stage of her day can record. KEMBLE, FRANCES ANN ; better known as FANNY KEMBLE. (Mrs. Fanny Butler.) Born in London, 1809. Elder daughter of the late Charles Kemble, and niece of Mrs. Sid- dons. First appearance on any stage, Monday, October 5, 1829, at the Theatre Royal, Covent Garden, then under the manage- ment of her father. Made her debut in the character of Juliet ('Romeo and Juliet')- Her per- formance 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 em- barrassment of the new and over- whelming task she had undertaken. She ran to her mother's arms* with a sort of instinctive impulse, but almost immediately recovered her composure. From that time, although there was occasionally something like timidity in her manner, there was not the slightest portion of awkwardness or even of that want of self-posse on which might have been well pardoned in so young an actress. Her first scene with Komeo was very delicately and intelligently acted. In the gar- den scene she gave the exquisite poetry of the pari with a most inno- cent gracefulnc^, and acted quite as well as she spoke. The scene with the Nurse was full of delightful sim- plicity. In the scenes winch ensue * Mrs. Charles Kemble was acting the character of Lady Caput, 1 on this occasion, after several years' absence from the stage. Miss Kemble rose with the part. . . . Upon the whole we do not remember to have seen a more triumphant debut. 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 qualifications which instruction could not create, although it can bring them to per- fection." — Times, Oct. 6, 1829. ' Romeo and J uliet ' was played to crowded houses (with Miss Fanny Kemble in the leading role) three times weekly until December 9, when Otway's ' Venice Preserved ' was produced. Miss Kemble played the part of Belvidera. il Belvidera, as our readers are aware, does not enter until near the close of the first act, and she is first heard speaking without. The mo- ment 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 .Mis. Siddons uttered this line, and the fearful action with which that majestic woman accompanied it. Miss Fanny Kemble could not venture in her in- experience so near the boundary of the sublime ; but, nevertheless, her manner was most striking and im- ive, and she rushed from the stage with a terrific energy of action that has never In 1 11 equalled in bold- aess and piciuresqueness from the time of Mrs. Siddons to the present hour." — Morning Chronicle, Dec. 10, 1829. In January 1830, she .appeared as Euphrasia in 'The Grecian I )aughter.' "Miss Kemble's performance of Euphrasia has confirmed more fully :io THE DRAMATIC LIST. even than her acting in Behndera the precise opinion we 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 injudiciously bestowed. We concur in the opinion which we find general that her Euphrasia in ' The Grecian Daughter ' is her chef- d'auvre." — Athenaum, Jan. 23, 1830. having been a most one for the management. The season closed May 1830, prosperous In the following season Miss Kemble played the following characters among others : Mrs. Haller, Lady Townley, Calista (' The Fair Penitent r ),Mrs. Beverley, Juliana ('The Honeymoon,'), Lady Mac- beth, and one or two other Shakespearian parts. The year 1832 was a remarkable one in the annals of the Kemble administra- tion of Covent Garden Theatre. On Thursday, March 15, was pro- duced there ' Francis I.,' a tragedy written by Miss Fanny Kemble herself ; 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 inter- vening 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 Savor, satisfactory. It lacked a general interest, mainly owing to the unalloyed wickedness of nearly all the principal characters. Criti- cising the work as a literary effort, the A thenceum took leave to doubt that it would be permanently suc- cessful. It lacked concentration. "There are effective situations and clever scenes, but they have no con- necting 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, full of ' By my fay,' and ' Sith you say,' and ' Wend yi ur way,' and ' Go to, go to !' and ' Marry 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 characterised the work, because it is the true mark of poetical feeling? — Athenaum, March 17, 1832. Of Sheridan Knowles's produc- tion, the same journal has some- thing of far greater moment to say. ' The Hunchback ' is a most de- lightful production — " every way a most delightful production ; good in plot, dramatic in compo- sition, 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." As to Miss Fanny Kemble's creation of the part of Julia, we subjoin the fol- lowing excerpt : — "Of Miss Fanny Kemble it gives us real gratification to speak in terms of unqualified commendation. She has never appeared to so much ad- vantage. We followed her through- out with constantly increasing satis- faction, and may truly affirm that a more perfect piece of acting has sel- dom 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 KEMBLE, FANNY. 211 nature — it was difficult to imagine that she uttered any w ords 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." — Athe- Jitciim, April 7, 1832. During the comparatively short period (three years) that Fanny Kemble remained a member of her father's company, she revived the English national attachment to the stage, and achieved for the falling fortunes of Covent Garden what the genius of the elder Kean enabled him to do for Drury Lane. In the autumn of 1832, Miss Fanny Kemble, with her father, visited America. She made her hist appearance on the American stage, September 18, 1832, 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 insti- gation. In 1847, Mrs. Butler returned to England, and after thirteen years' absence from the stage she made her reappear- ance at the Theatre Royal, Man- chester, 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 com- patriots 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 en- trance the excitement was immense. Round after round of applause, cheer after cheer welcomed her to this her first audience after so long an ab- sence. Her first efforts showed how keenly she felt the warmth of her reception Her voice has lost none of its exquisite music, her atti- tudes and action are still as graceful and picturesque She showed that she had in the retirement of private life lost none of her intelli- gence, none of that fine poetic spirit with which her remembrance is linked." — Manchester Courier, Feb. 17, 1847. During the engagement that fol- lowed, she appeared in a round of her favourite characters, Juliana (' The Honeymoon,') Lady Mac- beth, Juliet, Queen Katharine, &c. In May of the same year she reappeared at the Princess's The- atre, 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 Rooms, which, although well attended, did not attract the critical attention of the press. October 1849, snc S avc ner ^ rst Shakespearian reading (from ' King John ') in America, at Sansom Street Hall, Philadel- phia. After this date she re- sumed her maiden name and retired to Lennox, Mass., U.S.A., where she resided for nearh twenty years. In 1868, Miss Fanny Kemble reappeared as a reader at Steinway Hall, New York. In 1873 snc went t0 reside near Philadelphia ; and in 1877-8 again returned to England. Miss Kemble is the author of the following works: "Francis I." P 2 212 THE DRAMATIC LIST. (a tragedy) ; " Journal of a Resi- dence in America" (1835) ; "The Heir of Seville" (1837) ; "A Year of Consolation" (1847) ; " Mary Stuart," translated from the Ger- man of Schiller; "Mademoiselle de Belle Isle," a paraphrase in prose of Dumas' work ; " Resi- dence on a Georgian Plantation in 1838-9," published in 1863. " In the late Justice Halibur- ton's ' Letter-Bag of the Great Western,' giving life-like portraits of individuals, their manners, style, feelings and expression, will be found ' The Journal of an Ac- tress,' in which the cleverness and audacity, refinement and coarse- ness, 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." {Athenccum, Sep- tember 2, 1865.) KEMBLE, HENRY. Born June 1, 1848. Son of Captain Henry Kemble (son of Charles Kemble, the eminent tragedian). Was for a period of two years in the Civil Service of the Crown. Resigned his official appointment, and entered the dramatic profes- sion in 1867. Made his first ap- pearance on the stage at the Theatre Royal, Dublin, on the 7th of October of that year. From 1867 to 1869 was a member of the company of the above-named the- atre ; from 1 869 to 1 87 1 of the company of the Theatre Royal, Edinburgh ; and from 187 1 to 1873 °f tne company of the Theatre Royal, Glasgow; the line of " business " ordinarily under- taken by him being " first old [ men and character parts." Dur- ing the probationary period of his professional career Mr. Kemble appeared with success at the Theatres Royal, Newcastle-on- Tyne and Scarborough. Made his debut 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 tne same theatre, played the following parts, viz., Cedric the Saxon, in ' Rebecca'; Philip of France, in ' Richard Cceur de Lion '; the 1st Actor, in ' Hamlet '; Old Capulet, in ' Romeo and Juliet '; and Dr. Cains, in ' The Merry Wives of Windsor.' This latter impersonation was very suc- cessful, and secured for Mr. Kemble favourable notice in various jour- nals. On March 13, 1875, he joined Mr. Hare's company, on that gen- tleman's entering upon the manage- ment of the Royal Court Theatre. Here Mr. Kemble " opened " as Short, in a piece entitled ' Short and Sweet,' and as Binns, in ' Lady Flora.' This part, although a subordinate one, was performed by. Mr. Kemble with excellent judg- ment, and may be recorded among his legitimate successes on the stage. Another part, also, in which his careful acting received ap- proval, at the same theatre, was that of Dr. Penguin, 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 (October 1878) he still remains a member. He has per- formed at this theatre the following characters, viz., Crossby Beck, in ' Peril '; Sir Sowerby Honeywood, in 'An Unequal Match'; IV add i- love, in ' To Parents and Guar- dians '; Sir Oliver Surface, in MRS. W. H. KENDALL. KENDAL, MRS. W. H. 21' ' The School for Scandal '; John Chodd, in 'Society'; and Algie Fairfax, in ' Diplomacy' — each in a way deserving of recognition. KENDAL, MRS. W. H. (Mrs. W. Hunter Grimston, nie Margaret [' Madge '] Robertson.) Born at Great Grimsby, March 15, 1848. Was educated to the stage as a pro- fession from early childhood. At the age of four (in 1852) appeared at the Marylebone Theatre as the Blind Child, in ' The Seven Poor Travellers.' In 1855 ap- peared 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 The- atres Royal Bristol and Bath, under the management of the late Mr. J. H. Chute. On Saturday, July 29, 1865, she made her pro- fessional debut in London at the Hay market Theatre as Ophelia, in a revival of ' Hamlet' by the late Walter Montgomery, who played the leading role. Her acting on the occasion created a very favourable impression {see Daily News, July 31, 1865 ; also Daily Telegraph, same date). ( >n Monday. August 21, of the same year, at the same theatre, she acted the part of Desdemona, Mr. Ira Aldridge sustaining the rdle of Othello. After fulfilling eng; ments at Nottingham and Hull, in 1867 Miss Robertson returned to London, and on Easter Monday of that year, .it Drury Lane The- atre, played the part of Edith, the heroine, on the occasion of the first performance of 'The Gi City' (Andrew Halliday). The following year, at the Hay market Theatre, first performance Satur- day, March 14) of Dr. Westland Marston's play, ' A Hero of Romance,' Mr. Sothern in the leading character, Miss Robertson acted the part of Blanche Dumont, being " more than equal to the character, and investing it with beauty and pathos" (Athenceum, March 21, 186S). At the same theatre, in July, she sustained the part of Hypolita, in a revival of Colley Cibber's comedv, ' She Would and She Would Not.' On Monday, December 21, 186S, at the opening of the Gaiety Theatre, she appeared in a piece entitled ' On the Cards,' then performed for the first time ; and in March of the following year (1869), at the same theatre, sustained the part of Lady Clara Vere de Vere, in the late T. W. Robertson's play entitled ' Dreams.' Monday, October 25, 1869, at the Hay market Theatre, first performance of Messrs. Tom Taylor and Dubourg's comedy of ' Xew Men and Old Acres,' Miss Robertson undertook the character of Lilian Vavasour. "The theme of Messrs. Taylor and I hibourg'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 like 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 rally clever and pointed, some- times attains even higher merits. But the acting of .Miss Robertson, who sustaim pari oi Lilian, might alone have sufficed to secure success for a work of far inferior merits. A young lady who talks slang, corrupted by the society of a sporting cousin, would be a dangerous part in on Unary ; but Miss Robertson's per- formance in no pari degenerated into anything like vulgarity. Then \\ a neatness and a finish not only in 14 THE DRAMATIC LIST. her delivery of the words, but in all her movements, including that in- definable 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 par- venu's succession to her father's pro- perty, she 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 presumptively poor — both of which dramatic situations were greeted by the house with well- merited applause." — Daily News, Oct. 26, 1869. " The comedy has some good situa- tions, and it affords full scope for the display of some admirable acting. Already known as an actress of con- siderable ability, it may be doubted whether Miss Madge Robertson has ever distinguished herself so much as in the character of Lilian Vavasour. Light-hearted, but capable of strong feeling, Lilian is placed under cir- cumstances which require both the greatest vivacity and the keenest sensibility to be displayed ; and the thoroughly natural manner in which Miss Madge Robertson depicted both phases of the character deservedly received from the audience the warmest tributes of applause. Each line was given with that effect which is only gained when intelligence prompts the utterance." — Daily Tele- graph, Oct. 26, 1869. In 1870, at the same theatre, in a revival of 'The Rivals' (Monday, October 24), Miss Madge Robert- son appeared as Lydia Languish. "In most forms of comedy Miss Robertson has shown herself a com- petent actress, and her bright, intelli- gent, and, so to speak, clean-cut style is admirably suited to characters like that she now essays, in which ex- travagant conduct has to be reconciled with ease, and an appearance of breeding." — Atkentciun, Oct. 29, 1870. 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.' "In the new 'fairy comedy,' en- titled the ' Palace of Truth,' and produced at the Haymarket with great success, the author, Mr. W. S. Gilbert, has attained a point which he has been for some time approaching. His burlesques have never been quite as other burlesques, but have always revealed a persistent desire to get rid of those conventional buffooneries which long seemed essential to the fortunes of the grotesque drama, and the conjecture arose that he was going back to the school of the veteran Mr. Planche, who looked on the treasures of mythological and faery lore, not with a 'guffaw,' but with a smile that indicated something like affectionate reverence. . . . The ' Palace of Truth ' is based on a romance affixe'cl to the ' Tales of the Castle ' of Madame de Genlis, a work fifty years ago as familiar to the children of England as to those of Paris, and, if we can trust to the memory of early impressions, well worthy of re-publication now. The proverbial doctrine which it in- culcated, the doctrine that ' truth is not to be spoken at all times,' was rather trite than otherwise, but still it was most ingeniously and elaborately brought out, and clothed with a quasi oriental imagery which was fashion- able when its prolific authoress poured forth her succession of ponderous novels. In the hands of Mr. Gilbert the story acquires a passionate inten- sity, which gives it a tone rather of the early 17th than of the later iSth century. King Phanor has a queen Altemire, with whom he lives on tolerable terms, and a daughter, Zeo- KENDAL, MRS. IV. H. 215 lide (Miss Robertson), who is wooed by Prince Philamine (Mr. Kendal). The difficulty which perplexes the Court in the first act is the question whether the passion of the Prince for the Princess is sufficiently reciprocated by the latter to justify a speedy union, and Mirza, Zeolide's companion, re- garded as a model of virtue and dis- cretion, seems strongly inclined to meet this question with a negative answer. Prince Philamine, who is largely endowed with the qualities of a perfect troubadour, is all ardour and enthusiasm ; but the Princess, while she acknowledges her willing- ness to accept his hand, expresses herself in such laconic style that her real state of mind is not to be easily ascertained. In his perplexity King Phanor bethinks himself of an en- chanted edifice, raised upon his do- mains, and aptly called the ' Palace of Truth,' inasmuch as everybody within its precincts is compelled, on all occasions, without regard to the exigencies of self-interest or of eti- quette, to speak the plainest possible truth in the plainest possible lan- guage, and this without the slightest notion that he is departing from his ordinary manner. No one knows the secret of this palace, save the King and Queen, and, therefore, when the whole Court is invited to a charming retreat hitherto unseen, a great treat is expected. King Phanor, anxious to experiment upon others, is aware of certain little indiscretions in his own past life, which might be con- veniently concealed from the Queen, and has, therefore sagaciously pro- vided himself with a talisman, which, acting as a counter-charm to the magical power of the palace, will render him the sole exception to the general body of truth-speakers When the guests have all arrived at the Palace, they make revelations that astound not only each other, but the audience likewise. That Chrysal, ail abject flatterer, would insult every- body was to be expected, and the fact that Zoram, a musical courtier, who has always boasted of his pro- found knowledge of counterpoint, declares that he is unacquainted with the gamut seems but natural. But when we hear the impassioned Prince Philamine avow that he only wooes Zcolidc from motives of vanity, while the really devoted person is the Prin- cess, we have legitimate cause for surprise. Nay, the master of the magical apparatus, King Phanor, soon puzzles himself in most unpleasant fashion by abruptly acquainting the Queen with truths he intended to conceal. Sorely troubled, he shows his protective talisman to Gelanon, a stately magician, who acts as cham- berlain of the Palace, and learns that he carries a worthless article, in lieu of the proper talisman, that has evidently been purloined. The drol- lery of the situations that arise from a simple notion is greatly heightened by the provision that the persons 1111- ler the iniluence of this new at- mosphere are never aware of the truths they utter, and that conse- quently their gesticulations are always at variance with their words. Chrysal, when he insults anybody to whom he speaks, retains his old visible forms of adulation, and the noted cynic, Aris- taeus, grumbles forth the confession that he is a very good-natured fellow, who always sees things on the sunny side. In the third act, which, like the second, is in the Palace of Truth, the Princess Zeolide witnesses, con- cealed, an interview between Prince Philamine and her companion Mirza, and hears not only that the latter is preferred to herself, but that the two were attached to each other from early youth, and that Philamine has sacrificed Mirza to ambition. In an agony of grief, but in a spirit of mag- naminity, she comes forward from her hiding-place, joins the hands of ih'- [overs, and rushes from the sta^e in despair. Put the episode does not end here. Desiring a love-token from Mirza, the impassioned Prince snatches an ornament, richly set with diamonds, whereupon she at once falls upon her knees and frantically avows that she is a miracle of deceit 2l6 THE DRAMATIC LIST. and imposture. She it is who has stolen the talisman of King Phanor, now in the hands of Philamine, and has put the worthless article in its place. Of course the disconsolate Princess will now be espoused to the Prince, and the whole concludes with the destruction of the talisman, which involves the destruction of the magical powers of the Palace of Truth, to the general joy of all concerned. To this very graceful and original work ample justice has been done by the manager and company of the Hay- market Theatre. ... As for the acting of Miss Robertson and Miss Caroline Hill in the serious situation above described, it is a most powerful display of passion on both sides, and persons accustomed to the ' realistic ' only will marvel at the amount of earnestness exhibited by the two young ladies while illustrating a fan- tastic tale, which has no reference to actual life, amid scenery that converts the Hay market stage into a con- tinuous fairyland." — Times, Nov. 25, 1870. In the same author's play of ' Pygmalion and Galatea,' first performed at the same theatre, Saturday, December 9, 1871, Miss Robertson acted theleadingfemale role, Galatea. "Mr. W. S. Gilbert's 'mytholo- gical comedy' ' Pygmalion and Gala- tea,' produced with extraordinary success on Saturday night, marks one step further in the direction which he has taken as a dramatist of the ideal school, in which character he is totally distinct from himself as a writer of comedies supposed to repre- sent actual life. He started with extravaganzas, differing from his many competitors by his temperance in the employment of buffoonery. Soon burlesque in his hands lost nearly all its attributes, and we had in the ' Princess ' a piece not assignable to any recognised class. Then came the ' Palace of Truth,' the great piece of last year, in which a well-known tale by Madame de Genlis was made the basis of a three-act comedy in blank verse, and people oblivious of Elizabethan traditions were surprised to see a fanciful subject regarded from a serious point of view. In his newest work he assumes a classical tone, con- siders the antique unities, plunges into the very depth of Greek mytho- logy, and aims at a result altogether unique on the modern English stage. The very attempt to make the simple myth of the enamoured sculptor and the vivified statue fill three acts shows much audacity on the part of the author. Pygmalion forms a statue,' falls in love with it, successfully implores the gods to endow it with life, and — that's all. Is this the plot of a play or a 'posy to a ring'? Decidedly the myth wants amplifying before it can be brought into ship-shape, or, indeed, into any shape whatever. An ap- parently difficult problem here pre- sents itself, and the ingenuity with which it is solved is remarkable. Mr. W. S. Gilbert blesses Pygmalion with a jealous wife, who is not the statue, but merely sat as the model for it. A spring of action is thus at once provided where action there was none. What the gods did for the- sculptured figure, Mr. Gilbert has done for the myth. The course of the fable is as follows : Cynisca, wife of Pygmalion, leaves home on a short expedition, having exhorted him to bear her always in mind, and to refresh his memory by occasionally gazing on his newly-finished statue of Galatea, which has been modelled after her likeness. Not actuated by any thought of infidelity, but inspired with the desire of an artist for the perfection of his work, Pygmalion implores the gods to bestow upon the statue the only quality in which it is deficient, and Galatea becomes a living woman (represented by Miss Robertson). To portray the mental condition of this full-grown child, who is thus shot into the world, ac- companied with the gift of speech, is now the business of the author. All KENDAL, MRS. IV. H. 217 Galatea s instincts are amiable, any- thing harsh or cruel is repugnant to her nature. She at once falls in love with Pygmalion, but is prepared to love his wife also, when she returns home, the notion of jealousy being beyond her sphere of consciousness. Leucippe, a bluff Athenian soldier, betrothed to Pygmalion's sister, she looks upon with abhorrence, because she understands that it is his profes- sion to kill, and the explanation that he guards his country against enemies affords her but scant enlightenment. When, in addition to his other de- merits, the soldier shoots a fawn and brings in its carcase, his character, as | a matter of course, is forfeited entirely. These, however, are trifling difficulties. Far otherwise is it with the return of Cynisca, whom Mr. Gilbert has en- dowed with the power of inflicting blindnes- \\ hen she is moved by jealous rage. Statue or no statue, Galatea is manifestly a rival, and Pygmalion is deprived of his eyesight accordingly. The blow is no sooner struck than Cynisca becomes contrite ; but the devoted Galatea rot' ires happiness to the sculptor's home. Taking advan- tage of his blindness, she feigns to be his wife, and draws from him the con- fession that his love for the statue was but a passing dream, and that his heart never strayed from Cynisca, who listens with delight in the background. Pygmalion recovers his sight, and Galatea, returning to her pedestal, gradually loses animation, and is once more a figure of marble. In achiev- ing the psychological study, which is suggested by the myth, Mr. Gilbert has scarcely succeeded, and perhaps success in this respect was impossible within the narrow limits of a play. . . . Mr. Gilbert 1 annot help making Gal, it, 1 start into life with a much larger stock of worldly knowledge than is consistent with this v burst into consi iousness, Indeed, the reflective spectator, who, at diffen at points of her discourse, asks h why she knows just this, and is igno- rant of just that, will fin 1 that he has proposed questions somewhat difficult to answer. If, however, Mr. Gilbert has not done much as a psychologist, he has succeeded in placing on the stage two female characters whose effectiveness can scarcely be surpassed. Grant that in the third act of the play the mental development of Galatea has been completed, and that she is now a woman among women, and the beauty of the situation is beyond question, the author, by his perfectly ideal treatment, avoiding all suspicion of immorality, where a less delicate and poetical writer would have given room for offence. Galatea is not the subject of a possible liaison, but merely the embodiment of an artist's devotion to his art, and thus Pygmalion's dilemma has nothing in common with those social perplexities which we find in such variety on the stages of Paris. It has long been a maxim in theatrical circles that the time has passed when the sympathies of an audience could be commanded by persons clad in the ancient costumes 1 in :ece and Rome, and the successes of Mi-. Gilbert in riveting the atten- tion of a crowded house during three long acts, by the clear development of a simple classical story, confining himself, with the vigour of a Cor- neille, to the artist's studio as the sole place of action, may be con- sidered a triumph indeed. We may say of ' Pygmalion and Galatea,' as of the 'Iphigenie' of Goethe, that it is not so Greek as it looks upon the surface, but it is quite Creek enough to show that a modern public can be interested by something more than spectacle, and the copied details of ordinary life. In his two leading actresses Mr. Gilbei M iss Robert- son as the etherial and ... Galatea, and Miss ( !arolin ■ 1 Mil as the really iom d C] nisca, seemi d to be I against ea< h other in a trial of artistic -kill, an 1 ate well matched." — Tunes, Dec. 12, 1871. In 'The Wicked World,' by the same author, lust performed Sa- turday, January 4. 1*873, Miss Ro- bertson played the part of Selene. 2lS THE DRAMA TIC LIST. " Of all Mr. Gilbert's plays ' The Wicked World ' is unquestionably the most poetical, and most strongly marks the contempt of the author for the traditional prejudices of the stage. It is a received canon that in works of fiction, and especially plays, lovers ought to be made happy, or perpe- tually miserable, or die. Here, on the other hand, the story is brought to a close by the abnegation of mortal love as the best expedient for happi- ness. The section of fairyland exhi- bited is virtually a convent, the peace of which is for a short time disturbed by a pair of intruders, and the moral of the whole is decidedly monastic. Between Mr. Gilbert and those re- formers of the stage who appear from time to time with the intention of restoring the glories of the Elizabethan era there is nothing in common. He affects no archaic greatness, but writes poetry in the language of the 19th century, and there is nothing in his work to show that he ever read a line of Beaumont and Fletcher. His regard for the unity of place, which is pursued in the new play as it was in ' Pygmalion and Galatea,' and which is much more French than Greek, may, indeed, suggest a comparison with the writers under Louis XIV.; but the comparison will go a very little way, for it is impossible for personages to be more diverse than the thoroughly English speakers of Mr. Gilbert and the formal declaimers of Racine It is not every actor who could do justice to Mr. Gilbert's language, at once polished and power- ful, and he may congratulate himself on the good service rendered to him by the Haymarket company. They all speak their words well, which is a great point. As the uncouth Sir i Ethais, who still has an ideal character | to maintain, Mr. Kendal has no easy task, but he acquits himself most conscientiously throughout. The very spirited acting of Miss Amy Roselle and the grotesque drollery of Mr. Buckstone, who cannot open his mouth without provoking a roar, are of inestimable value ; and pert Zayda would loose half the effect in the hands of an actress less gracefully arch than Miss M. Litton. But the triumphant person of Saturday evening was Miss Robertson." — Times, Jan. 6, 1873. On Saturday, January 3, 1874, in a new play by Mr. Gilbert, entitled ' Charity,' she played the principal character, Mrs. Van Br ugh. " Miss Robertson obtained at the end of the third act a triumph more spontaneous and overwhelming than has often been accorded an artist. The audience literally rose to greet her. Delight 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 inspiration, producing upon the audience the marvellous effect described." — Athenccum, Jan. 10, 1874. "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 hesitation in asking this most intelligent lady to consider the cha- racter 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 that great burst of combined power and pathos which took the house by storm at the close of the third act. This great scene was a complete and successful study, and will be still more remark- able a study when the anxious excite- ment of a first night does not exist. We do so want power ; we do so ask for expression ; we do so demand acting which shall soar above com- monplace, that we are grateful for this remarkable outburst. As an ex- ample of study of light and shade, it is extremely interesting ; as an in- stance of change of key and contrast KENDAL, MRS. W. H. :ig of harmony, it is most creditable. The pleading, agonized despair of the detected woman, the outburst of rage and scorn, the quick hysterical sum- mons to the family, the wealth of love over the innocent child, and the 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 outburst at the close of the third act. With so much gained, Miss Robertson may surely avoid staginess, passim. The perpetual roll of the eyes, the stilted walk, and the seeming neglect of many scenes of high comedy, astonish those who so much admire individual passages. There is acting to be done in moving, in speeches which have no particular weight, and even in listening. The important scene in which Smailey first suggests a fault on the part of Airs Van BrUgh was worth master- 1 ing ; and when we remember the true and admirable expression of the actress on hearing of Ted Athelney's j love for her daughter, we know well j 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 Desclee has taught us how an actress can live and breathe in a character. Miss Robertson's Mrs. Van Brugh is a very remarkable performance, emi- nently superior to the ordinary run of English art, graceful, and highly intelligent. If it were only less stagy in parts, the performance would be more acceptable."— Daily Telegraph, Jan. 5, 1874. At Christmas 1874, Miss Robertson left the Hay market Theatre for a short engagement of eight weeks at the Opera Comiquc, 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, in ' She Stoops to Conquer,' one of the most suc- cessful of her impersonations. In March 1875 she joined the company at the Court Theatre, under the management of Mr. Hare, and played in ' Lady Flora,' ' The Nine Days' Wonder,' ' Broken Hearts,' ' A Scrap of Paper,' &C. Subsequently Miss Robertson (now Mrs. Kendal) joined the com- pany of the Prince of Wales's Theatre, and, perhaps, the most noteworthy success she has met with there has been in the part of Dora in the English version of M. Sardou's play of that name, entitled ' Diplomacy,' first per- formed January 12, 1878. " Of the acting of 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 and 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 produce the simple, touching effect of Mdlle. Blanche Pierson's utterance 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 ; hut this is denied, and heme the exclamation could hardly fail to give a slight shock to the hearer's sense of propriety. Among many excellent detads in Mis. Kendal's im- personation we ought to note the !20 THE DRAMATIC LIST. perfectly unsuspecting and unhesitat- ing innocence of her tone and manner when, seated at the table, her hus- band begins to unfold the suspicions against her." — Daily News, Jan. 14, 1878. "In the third act Mr. and Mrs. Kendal, as the representatives of Captain Beauclerc and his newly- wedded wife Dora, have a difficult task to accomplish, in giving expres- sion to the strongest emotions without being betrayed into vehemence of voice or extravagance of gesture. This arduous feat is achieved by both in a triumphant manner. There is no exaggeration in the strong out- hurst of feeling with which the ex- cited husband promises forgiveness in exchange fur confession of wrong, and nothing of the ordinary con- ventional heroine in the indignant resentment of the cruel calumny which has suggested the possibility of the wife being at once false to love and honour. Never has Mr. Kendal so prominently distinguished himself as by his spirited and manly performance in this among other scenes ; and rarely has Mrs. Kendal so fully developed the resources of her art, not only in such strong situations as those but in the gentler side of Dora's character. Take, for instance, the scene where Dora asks her husband to allow her mother to join them and sorrowfully hints at the distress of a life-long parting. Here the audience is quite touched, the sentiment finds its way home to the heart, and no actress can require a more honest compliment." — Daily Telegraph, Feb. 8, 1878. "The scene between husband and wife, in the third act, pleased us less. Here, and only here, the authors have, we think, in a measure failed to give to their work its own proper individuality. Here they are too Fiench, if we may be permitted the expression ; or, at least, it seems as though the actors were required to give to the scene a tone and style which do not receive their proper expression on our stage. This act, however, is an unusually long and arduous one, and the continual pres- sure which has been wrought up to a climax, as we have already said, may have proved in the end beyond the actor's power of endurance. Dora, the wife, is represented by Mrs. Kendal with many touches of tenderness and many of power, which in this scene only are permitted to at all overstep their legitimate bounds." Times, Jan. 21, 1878. KENDAL, W. H., a nom dc thr'dtre. (William Hunter Grimston.) Born in London, December 16, 1843. Entered the dramatic profession in 1861, and appeared 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 re- mained until 1866. During this long engagement he had the ad- vantage of acting in association with such well-known " stars " as the late G. V. Brooke and the Kcans, the Boucicaults, Mr. Anderson, and Miss Faucit. Mr, Kendal made his professional debut in London, October 31, 1866, at the Haymarket 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 became popular" (Athenawm, September 7, 1867). The follow- ing year, in July, he played Don Octavio, in a revival of Gibber's comedy ' She Would and She Would Not.' On Monday, De- cember, 7, 1868, first performance at the Haymarket Theatre of ' Pietra,' adapted from Mosenthal's KENDAL, IV. H. 221 tragedy of that name— Miss Bate- man in the title role — Mr. Kendal sustained the part of Manfred. He continued to play at this Theatre for some time, taking im- portant parts {Captain Absolute, Charles Surface, &c.) in all the old comedies which were pro- duced, and appearing in Mr. W. S. Gilbert's most successful plays, 'The Palace of Truth' {Prince Philainiue), ' Pygmalion and Ga- latea' {Pygmalion), 'The Wicked World ' {Et/iais), and ' Charity ' {Frederic Smailey), on the occa- sion of their first performance. {See Kendal, Mrs. W. H.) In January 1875, Mr. Kendal played, with his wife, a short engagement at the Opera Comique, under the management of Mr. Hollingshead, 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 per- formed January 12, 1878. In this play Mr. Kendal sustained the part of Captain Beauclcrc. "The famous 'Scene des trois hommes ' could hardly have been received with more enthusiasm when >ented by MM. Berton, Train, and Dieudonne" to the great delight of a Parisian 'first-night' audience; and though the marvellous dramatic power, variety, and truth of this memorable episode has 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 ap- plause 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 transi- tions of passionate feeling. Of the striking effect which it produced we have already spoken.'' — Daily News, Jan. 14, 1878. " In the first of the great scenes the acting of Mr. Bancroft, Mr. Kendal, and Mr. Clayton, respectively imper- sonating 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 all quarters of the house, such applause as is seldom heard in this theatre, where satisfaction is wont to be ex- pressed 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 I lower few were, we suspect, pre- pared." -Times, Jan. 21, 1878. "Mr. Kendal displays, as Captain Beauclcrc, a remarkable pathetic force. His utter breakdown at his supposed misery is rather French than English ; but the actor cannot be blamed for an inconsistency which is the fault of the adapters, because the very excellence of his acting brings it into relief.' — Saturday Review, Jan. 19, 1878. KING, T. C. Born at Chel- tenham in 1825. Entered the dramatic proi< >sion at a compara- tively early age, making Ins first e on the stage proper at the Theatre Royal, Birmingham, under Mr. Mercer Simpson's man- 222 THE DRAMATIC LIST. agement. Afterwards joined the ' York Theatrical Circuit,' under Mr. John Langford Pritchard, and played various parts in the Shake- spearian and legitimate drama at the Theatres Royal York, Leeds, and Hull. Subsequently Mr. King ful rilled a lengthened engagement at the Edinburgh Theatre, under Mr. William Murray, appearing principally in Shakespearian cha- j racter. Made his debut on the London stage at the Princess's Theatre July 22, 1852, when that theatre was under the manage- ment of the late Mr. Chas. Kean, in the part of Shylock (' Merchant of Venice'). 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,' ' Riche- lieu,' &c. attracted large and ap- preciative audiences. In 1868 Mr. King accepted an offer of an engagement from Mr. F. B. Chat- terton, and in March of the year following made his reappearance on the metropolitan stage at Drury Lane Theatre in the cha- racter of Richelieu. " In the later acts, when Richelieu sees his fortunes desperate, and places in the hands of the king his resig- nation, 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." — Athencmm, March 20, 1869. On Thursday, March 18 of the same year he appeared at the same theatre as Hamlet, and subse- quently as Othello and Iago, act- ing those parts alternately with Mr. Charles Dillon. Later, Mr. King acted the part of Macbeth. " 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 appear- ance on the London stage of a tra- gedian of the first rank in the person of Mr. T. C. King. Of Mr. Kings first appearance as Richelieu we have already spoken. On the occasion of his second appearance, on Thursday, Mr. King played Ha inlet, his per- formance 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 exponent of the part — a tall and commanding figure, graceful and easy movements, an intelligent face, and a full-toned sonorous voice. I lis impersonation of the mad prince may rank among the highest efforts of the present day, all those touches of tender pathos with which the cha- racter 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 apparent." — Standard, March 22, 1869. During the following sen son (1870), at the same theatre, Mr. King played the following, among other parts, with much success, viz., William 'Tell in Sheridan Knowlcs's play of that title; J2tlia7i St. Tierrc in the same author's play of ' The Wife ' ; and Varney on the occasion of the first per- formance, Saturday, September 24, 1870, of ' Amy Robsart.' It has been remarked that, in his por- trayal of Shakespearian tragedy, Mr. King is " earnest and impas- sioned, tender and pathetic, de- KING, T. C. clamatory and conversational, as suits the character he represents, and in all the varying moods and ieelings that actuate him he is true to nature." The Saturday Review, in a notice of his performance of 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 fare- well to the stage in the same cha- racter {Macbeth).' 1 '' Since his last appearance in London Mr. T. C. King has fulfilled several success- ful " starring " engagements in the provinces. 224 THE DRAMATIC LIST. LA TROBE, MRS. Addison, Carlotta . See LA VERNE, PATTIE. Born in London. First appeared in public as a concert-singer, making her debut at the Hanover Square Rooms, in 1871. Being possessed of a powerful, flexible, and true soprano voice, united with con- siderable power of expression, 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 at Preston, in the character of the Grand Duchess, in Offen- bach'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 Opera Co- raique in London, for Opera Bouffe, Miss Laverne became a member of his company. October, 1872, at that theatre, she played the part of Dindorette in ' L'OZil C" x 1 reve. " Nothing couM 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 com- pliment. The duet at the end of the scene was equally successful, and throughout the opera Miss Laverne was as piquant and sparkling as pos- sible, and added greatly to the suc- cess of the piece." — Era, Oct. 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. "Miss Laverne deserves all praise for her spirited and piquant imper- sonation of the boy-girl, Kissi-Kissi. Her sprightliness and really admir- able singing were of the most essential service to the success of the little piece ; and the part is one difficult to sustain without offence. Miss La- verne, however, contrived to be a most turbulent tomboy without sacri- ficing, in the least, grace or dignity." — Standard, July 14, 1873. Upon the production of 'La Fille de Madame Angot,' at the Opera Comique, under the joint management of Messrs. John Hollingshead and Charles Mor- ton, Miss Laverne played the part of Clairette, and during a pro- vincial tour with Mr. W. H. Lis- ton that followed, sustained the same character with marked suc- cess. Has since represented most of the leading female parts in Opera Bouffe, including Girofle-Girqfla, Boulotte in ' Barbe Bleue,' Traf- nette in ' Pom,' and the title role 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 grace- fully, 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 disagreeable 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, Aug. 28, 1877. LECLERCQ, CARLOTTA. 22C 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, 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. Christmas, 1852. undertook the part of Columbine during the " run " of the pantomime at the Princess's Theatre. Easter, 1853, at the same theatre, first perform- ance of ' Marco Spada,' adapted from Scribe's libretto to Auber's opera of that name, played the character Marchesa Maddalena. " The only point of histrionic ani- mation indeed was in Miss Leclercq's portrait of the Marchesa. Her acting abounded in the spirit in which her fellow-actors were deficient." — Athe- tueum, 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. "The new 'magical drama' pro- duced last night, with the title 'Fau-t and Marguerite,' is a close adaptation of a French piece of the same name, written by M. Michel Carre, and brought out at the Gymnast- in August 1S50. ... As a spectacle, this is one of the most tasteful and elaborate ever seen even on the boards of the Princess's Theatre. . . . Mr. Charles Keaiv's Mephistopheles stands pre- eminent in the histrionic part of the exhibition Faust, respectably played by Mr. Fisher, is, after all, a mere nonentity in this French version of the story ; but Marguerite served to display to an extraordinary dc^rc: e the talents of Miss Leclercq. Her appearance, both as the happy inno- cent 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 cathe- dral, in which she is disturbed by evil thoughts during her prayer, is exhi- bited by means of a transparency, and her wild gestures of despair as she kneels conspicuous among the rest of the congregation give a strik- ing character to the whole tableau." — Times, April 20, 1854. 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 per- formed the part of Elvira, Queen of Murcia. "'The Muleteer of Toledo; or, King, Queen, and Knave,' was pro- duced as the Easter piece at this theatre. It is an adaptation from the French, and consists of two acts. It is a lively and rapid production, though somewhat intricate in the plot, which is in this wise ; Elvira, Queen of Murcia (Miss Leclercq), learns, on ascending the throne, that Don Sancho, the prince on whom her hand is to be bestowed, has gone in disguise in order to find in private life that sincerity which he does not experience in a court ; and under- standing that he has for this purpose assumed the costume of a muleteer, she also disguises herself as a peasant maiden, and begins her travels, ac- companied by Donna Carmen (Miss Murray), her confidante. < >f course they meet in their travels many surprising and amusing adventures. Amongst others, they fall in with Don Pedro (Mr. Yining), who 1 nises the Queen in the peasant girl, and thence conceives the idea of ele- vating himself to the throne. When he thinks he has all but succeeded in his intrigue, his design is discovered, and, to his astonishment and confu- sion, the Muleteer stands forward O. 226 THE DRAMA TIC LIST. amongst his assembled courtiers, not as the muleteer or even Don Sancho, but as Sebastian, King of Castile. The play has many points of beauty and interest ; it is put on the stage with elegance, and the acting was extremely good. Miss Leclercq acted with much spirit and vivacity, and was well supported by Mr. Lacy, who sustained the character of the Mule- teer. Mr. Harley played the part of the servile courtier with much unc- tion. Though performed late in the evening it was well received by a very crowded house." — Daily News, April 10, 1855. The same year and at the same theatre Miss Leclercq played the part of Diana, first performance of Morton's drama. ' Don't Judge by Appearances ' (founded on M. Dutertre's, ' Ange et De"mon '), and the following year Bcppo 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.' July 1, 1857, played Ariel in a revival of ' The Tempest ' at the Princess's; and June 12, 1858, Nerissa in a revival of ' The Mer- chant of Venice.' June i860, during a temporary engagement of Mr. Phelps at the Princess's Theatre, played Mrs. Ford in a revival of 'The Merry Wives of Windsor'; and subsequently (in the following year) Mrs. Page, in the same play. Saturday, Sep- tember 28, 1 86 1, first performance in England at the above-named theatre of Brougham's ' Playing with Fire,' sustained the character of Mrs. Savage. Monday, Fe- bruary 10, 1862, at the same theatre, played Rosalind in a revival of ' As You Like It.' '' MissCarlotta Leclercq is entirely out of place in Rosalind. She wants altogether the educational training which such an exquisite creation of poetic fancy requires and implies ; nor is her personal appearance suit- able to the part. She is too demon- strative, too heavy, too sensuous, where only the ideal, the fantastic, the spirituel should prevail." — Athc- ntzum, Feb. 15, 1862. Saturday, January 10, 1863, first performance of ' The Duke's Motto ' at the Lyceum Theatre, under the management of Charles Fechter, Miss Leclercq played the part of Zillah. Saturday, October 22, 1864, first perform- ance at the same theatre of 'The King's Butterfly' (Mr. Fechter in the leading role), she played Madame de Pompadour. December 22, 1S65, production at the Lyceum Theatre of Palgrave Simpson's version of ' The Master of Ra venswood,' 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 performed Ophelia, and continued to play that character during the very successful run of the piece. Monday, September 16, 1867, ap- peared at the Lyceum Theatre as Pauline in ' The Lady of Lyons,' Mr. Fechter playing Claude Mel- notte. On the removal of Mr. Fechter to the Adelphi Theatre, and the production there (Satur- day, October 17, 1868) of a dra- matic 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 Fech- ter, Miss Carlotta Leclercq sus- tained the part of Emily Milbum. Since the year 1870 Miss Leclercq has acted principally in the United States in the various plays pro- duced there by Mr. Fechter. She LECLERCQ, ROSE. 227 returned to England in 1877 tem- porarily, and has been acting since with her husband at the principal theatres in the provinces. LECLERCQ, ROSE. Born in Liverpool. Fourth daughter of the late Charles Leclercq, and sister of Carlotta Leclercq. Made her debut on the London stage at the Princess's Theatre, Monday, June 26, 1854, as premiere dan- seuse in a divertissement invented and arranged bv Oscar Byrne, entitled ' The Halt of the Ballet.' From that date until i860 was principally engaged in burlesque. In April 1859 played Chryso- tliemis in a burlesque by Frank Talfourd, entitled ' Electra,' then first performed at the Haymarket Theatre. First appearance of any note Saturday, September 28, 1 861, at the Princess's Theatre, London, as Mrs. IVaverly, first production in England of Playing with Fire ' (Brougham). Monday, September 21, 1863, at Drury Lane, first performance of F. C. Burnand's play, ' The Deal Boat- man,' sustained the part of Mary Vance (Mr. Belmore as Jacob Vance). Saturday,. October 10, 1 863, on the occasion of the revival at Drury Lane, by Mr. S. Phelps, of' Manfred' (Byron), played the part of The Phantom of Astarte". " One word uttered by Miss Rose Leclercq — 'Manfred!' was the great attraction of that play." — Athenceum, April 1, 1 87 1. Monday, March 7, 1870, at the Princess's Theatre, first perform- ance of Dion Boucicault's play, ' Paul Lafarge,' sustained the character of the heroine. Satur- day, November 26, 1870, re- vival 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 ap- peared (February) as Margaret in a revival of ' King o' Scots '; (April) as Marguerite in a revival of the drama, ' Faust and Mar- guerite'; (May) as Mrs. Stirling, in a revival of ' The Clandestine Marriage ' ; and Tuesday, June 29, 1 87 1, first performance, at the same theatre, of Falconer's drama, ' Eileen Oge ; or, Dark's the Hour before Dawn,' personated the heroine. Saturday, March 2, 1 872, revival of ' Ruy Bias ' at the Adelphi Theatre, London, with Mr. Fechter in the title role, Miss Rose Leclercq played the Queen. Saturday, September 28, 1872, re- vival, 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, played the part of Mrs. Ford. Saturday, September 4, 1875, first performance at Drury Lane of ' The Shaughraun ' (Dion Boucicault), Miss Rose Leclercq personated the character of the heroine, Claire Ffolliott. " There are at least two characters in this piece which alone would suffice to raise it far above the level of melo- drama. 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 com- bined 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 performed by Miss Rose Leclercq— is that she is in love witli a young gentleman who is not only of the hated Saxon race but a red-coat. cj 2 228 THE DRAMATIC LIST. "What is more he is actually the officer commanding the detachment who arrest her brother as an escaped rebel. The reluctance with which she per- ceives 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 at- tempts 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, Sept. 6, 1875. Since the year 1875 M ' ss Rose Leclercq has been mostly engaged travelling as "star" in the pro- vinces. Her latest dramatic tri- umphs have been achieved in ' Ruth's Romance,' and as Liz, that ' Lass o' Lowries,' in the drama of that title. "Perhaps no other actress could be found on the English stage at the present time sowed qualified in every way to assume the difficult part of the title role 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 dis- played 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." — Manchester Examiner. LEE, JENNIE. (MRS. J. P. Burnett.) Born in London. Daughter of Edwin George Lee, artist. After her father's death entered the dramatic profession, and first appeared on the stage at the Lyceum Theatre as " a page " in ' Chilperic' Subse- quently, in 1870, at the same theatre, under the Mansell's man- agement, in ' Le Petit Faust ' 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.' Remained at the Strand Theatre for two seasons. Subse- quently accepted an engagement from Mr. Sothern, and accom- panied him to the United States, " opening " at Niblo's Theatre, New York, as Mary Meredith in ' Our American Cousin.' Was "leading soubrette" at that theatre until it was destroyed by fire. Then became a member of the company of the Union Square Theatre, in the same city, playing the same "line of business," and subsequently went to San Fran- cisco, and appeared at the Cali- fornia Theatre where Miss Lee re- mained 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 Mr. J. P. Burnett. Miss Lee's impersona- tion of the part was a remarkable success. In August 1875 she re- turned to England, and, in Lon- don, 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. "Miss Jenny Lee, a young lady known principally in burlesque, plays the part of Jo 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 realised ; and the hoarse voice, the slouching, dejected gait, and the movement as LEIGH TON, MARGARET. 229 of some hunted animal, were ad- mirably exhibited." — Atketuzum, Feb. 26, 1876. Miss Lee has since acted the same part with unvarying success at all the principal theatres in the provinces. LEIGHTON, MARGARET. Born in Brecon, South Wales. Daughter of J. Davies, Esq., J. P. of that county. 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 coun- tenance ; but what is of greater importance she possesses histrionic power of high order. Her perform- ance last night 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 cur- tain at the conclusion of every act and loudly cheered." — Daily News, March, 1874. Subsequently, at the same the- atre played various Shakespearian parts. October 1874, played Romeo at the Prince's Theatre, Manchester, in Mr. Calvert's re- vival of that play. Next appeared at the Queen's Theatre, London, under Mr. John Hollingshead's management, playing Evad?ie in ' The Bridal ' (Beaumont and Fletcher), and the parts of Dc.sde- mona (' Othello ') and Portia (' Merchant of Venice '). Shortly afterwards, with her own com- pany, Miss Leighton went on a tour in the provinces, appearing as Marie Stuart in the play called ' The Gascon.' Reap- peared September 1876, at the Queen's Theatre, London, play- ing Chorus in a grand revival there of Shakespeare's ' Henry V.' "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 enter- prise, 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 elo- cution 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 at- tention by the polish of her recitation and the round resonance of her voice." — Daily Telegraph, Sept. 1876. 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 of Derby in Mr. \Y. G. Wills's play, ' England,' produced at Drury Lane, September 1877. The following season she sus- tained the part of Formosa in a revival of Boucicault's drama of that name at the Adelphi Theatre, London. LE THIERE, ROMA GUILLON. Born in Rome. Granddaughter of Guillaumc (i. Le Thiere, director of the French Academy of Arts at Rome, and of the celebrated Madame Michau. Made her first appearance on the London stage at the New Royalty Theatre, 1865, in the character of Emilia (' Othello '). Subsequently 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 ; and after ful- filling an engagement with Mrs. John Wood at the St. James's, on January 12, 1878, sustained the 230 THE DRAMATIC LIST. 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 excellently sustained by Miss Le Thiere as the Marquise de Rio Zares, and Mrs. Kendal as Dora. We have here a picture of pure and tender affection approached in an 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 are with intense expression softened by the abiding presence of her good old mother's love." — Daily Telegraph, February 8, 1878. LEWIS, MRS. ARTHUR. See Terry, Kate. LYONS, EDMUND D. Born in Edinburgh, February 29, 185 1. 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. First appearance in a part of any im- portance at the Dundee Theatre in 1864. Was a member of the " stock " company of the Theatre Royal, Edinburgh, in 1870. In 1874 travelled with J. L. Toole through the principal provincial towns as The Judge in ' Wig and Gown.' The same year became a member of the company of the Alexandra Theatre, Liverpool, under Mr. Saker's management. April 15, 1876, sustained the part of Captain Manuel in Wilkie Collins's ' Miss Gwilt,' on the occasion of the first production of that play at the Globe Theatre in London. " In Captain Manuel we were intro- duced to Mr. E. D. Lyons, an actor new, we believe, to the London stage, and who, if the promise shown on Saturday night be fulfilled, must be considered as a decided acquisition. This Manuel in the novel is first the lover, and after, if our memory serves us, the husband of Lydia Gwilt ; what he is in the play, save an unmitigated villain, is not quite clear ; but, what- ever he is, he is remarkably cleverly represented by Mr. Lyons." — Times, April 17, 1876. Was for a short period stage- manager at the Globe Theatre. At the Christmas season, 1876, produced the pantomime at the Theatre Royal, Bristol, under Mr. James Chute's management. Joined the so-called ' Caste ' com- pany for a short season during the summer months of 1877, playing in the provinces the follow- ing characters — Hon. Bruce Fan- quehere, Prince Perovsky, and Beau Farintosh. August 29, 1877, joined the Lyceum company, under Mrs. Bateman's manage- ment, and sustained the character of Joseph Buschmann on the first production of Wilkie Collins's drama of ' The Dead Secret,' sub- sequently appearing at the same theatre as Pierre Choppard (' Lyons Mail'), and (April, 1878) as Marcel (' Louis XI.'). " The acting of the last-named (Mr. E. D. Lyons), as Joseph Buschmann, Sarah's kindly little German uncle, is the one pleasant feature of the per- formance. What resemblance Busch- mann may bear to a German artisan, as he is found in Germany, matters, possibly, but little ; of Mr. Collins' German artisan as he is found in the pages of the 'Dead Secret,' Mr. Lyons gives an excellent picture, and his acting tends to confirm the im- pressions formed by his rendering of the character A/ameel, in the adapta- tion of the same author's novel of LYONS, ROBERT. ' Armadale,' which was produced at the Globe Theatre in the spring of last year. — Times, September 3, 1877. LYONS, ROBERT CHARLES. Born October 31, 1853. Son of the late E. D. Lyons of Edinburgh, sometime lessee and manager of the Theatre Royal, Dundee. Has been, more or less, connected with the dramatic pro- fession from boyhood. Made his professional debut March 1869, at the Theatre Royal, Edinburgh, under the management of Mr. R. H. Wyndham. Played in the grand revival of ' Rob Roy ' at this theatre (" the Scott Centenary Celebration"), August 1, 1871. Accepted 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. Opened in Liverpool at the Alexandra Theatre, under the management of Mr. Saker, March I, 1875, as Charles Courtly in • London Assurance,' subsequently playing during this engagement such parts as Sir Thomas Clifford, Eugene de L'Onne, Jacques, Mer- cutio, &c. During his stay at Liverpool, Mr. R. C. Lyons played a special engagement at the Ro- tunda Theatre in a round of Scotch Comedy. On the 9th December, 1875. he played Allan Armadale, in YVilkie Collins's drama of ' Miss Gwilt,' first produced at the Alex- andra Theatre, Liverpool, prior to its production in London. 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. Was engaged by Mrs. Bateman for Mr. H. Irving's provincial tour, Sep- tember 14, 1876. "The part of Horatio ('Hamlet') is generally given to some poor player who neither understands nor cares to play such a part ; but Mr, R. C. Lyons, for the very first time in our expe- rience, made Horatio worthy of Ham- let's friendship, and as noble a cha- racter as Shakespeare intended.'— Birmingham Post, September 19, 1876. Subsequently, entered upon en- gagement at the Lyceum Theatre in London December 1876, and played in the two productions of the seasons immediately following, viz., Hastings ('Richard III.'), Monsieur Couriol (' Lyons Mail '). THE DRAMATIC LIST. M A C K L I N, FRANCIS HENRY. Born in London 1848. Entered the dramatic profession under the pseudonym of " F. Manton," in 1873. First appear- ance on the stage in June of that year, at the Queen's Theatre, Long Acre, under Miss Litton's manage- ment, as Melun in ' King John.' Afterwards went on tour with a company of which the same lady was manager ; and, in Septem- ber 1873, joined Mr. Chatterton's Drury Lane and Adelphi com- panies, playing, at the former of these theatres, in a revival of ' Anthony and Cleopatra ' ; and at the latter in ' Green Bushes,' with Madame Celeste in the cast. At the Adelphi played his first ori- ginal part, Harry Valentine, in a play by Paul Merritt, entitled ' Rough and Ready.' Assuming his own name in 1874, Mr. Mack- lin played several provincial en- gagements, 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, played Romeo to the Juliet of Miss Ada Cavendish. After- wards returned to London, and in May 1875, at the Mirror Theatre, played the original Laurence Lin- don in ' The Detective,' a version of ' Le Parricide,' by Clement Scott. The acting of this cha- racter served to bring Mr. Mack- lin into notice, although the play itself was not a success. Subsequently he fulfilled various provincial engagements. In Janu- ary 1876, at the Olympic Theatre in London, he performed the lead- ing character of Tom Mayjicld, in J. Hatton's drama entitled ' Cly- de.' In the March following Mr. Macklin appeared, at the Duke's Theatre, in Mr. Craven's drama, ' Too True.' Has since under- taken engagements at the Opera 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 '), Yo ung Marlowe (' She Stoops to Conquer '), Captain Hawksley C Still Waters Run Deep '), Mr. Chevenix (' Uncle Dick's Dar- ling '), Charles Courtly (' London Assurance'). April and May 1878 he supported Miss Neilson dur- ing her engagement at the Hay- market, playing the following characters : — Mercutio, Angelo, and Modus. MACLEAN, JOHN. Born in London. Began his professional career on the stage in 1859, at the Theatre Royal, Plymouth. Pre- vious to this had been engaged in giving dramatic readings in con- junction with Mr. T. J. Searle, one of the literary staff of the ' Weekly Dispatch.' During the last pro- vincial tour of Mr. and Mrs. Charles Kean, when they were performing at the Theatre Royal, Plymouth, Mr. Maclean under- took to play the King in ' Hamlet ' at very short notice. Was com- plimented on this occasion by Mr. Kean for the excellent man- ner in which he had rendered the character. Afterwards entered upon engagements at Jersey and Guernsey, and, later, at Birming- ham. In 1861 made his first ap- pearance on the London stage at the Surrey Theatre. In 1862 was MARRIOTT, ALICE. 233 engaged by the management of the Olympic Theatre to play the part of Mr. Gibson, in ' TheTicket- of-Leave Man.' Afterwards be- came a member of the company of the New Surrey Theatre under Mr. Shepherd's management. Sub- sequently appeared at the Prin- cess's Theatre in ' The Man o' Airlie.' In 1868 Mr. Maclean was enrolled a member of the company of the Gaiety Theatre, under Mr. John Hollingshead's management, and has there con- tinued up to the present time (1878), performing in almost all the various plays produced under Mr. Hollingshead's supervision. MARIUS, CLAUDE, a 110m de theatre. (Claude Marius Duplany.) Born February 18, 1850, at Paris. 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 came to London, and appeared at the Lyceum Theatre, performing the characters of Landry in ' Chil- peric,' and of Siebel in ' Little Faust.' Joined the French Army during the Franco-Prussian war. In 1872 returned to London, and, at the Philharmonic Theatre, ap- peared as Charles Martel and Drogan in ' Genevieve de Brabant.' | Subsequently ML Marius joined the company of the Strand Theatre, where he has played and "created "' many parts, among them the fol- lowing : viz., Major Roland de Roncevaux in ' Nemesis,' Rim- b.ombo in 'Loo,' Baron Victor de Karadec in ' Family Ties,' Orloff in ' Dora and Diplunacy,' and Dubuisson in ' Our Club.' MARRI OTT, ALICE. (Mrs. R. EDGAR.) Made her first appearance on the London stage at Drury Lane Theatre in Decem- ber 1854 as Bianca, in ' Fazio.' On January 1, 1855, at the same theatre, sustained the title role in Boucicault's drama ' Eugenie,' then performed for the first time. Miss Marriott remained a member of the company of Drury Lane Theatre for some seasons, and in 1 861 entered upon the manage- ment of the Standard Theatre for a brief period. Here, on Monday, May 27, 1861, she produced Westland Marston's play ' Anne Blake,' and performed the title role. 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 M M. Barriere and Plouvier. In 1863 Miss 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 of Evelyn Rochford. During 1863-4, at Sadler's Wells, Miss Marriott appeared in the following characters, viz.: Novem- ber 20, Virginia, in the tragedy of ' Virginius' ; January 23, 1 the Duchess of A fa/ji in Webster's tragedy of that name; February 22, 1864, the character of Ham- let in Shakespeare's tragedy ; September 17, [864, the Countess in Sheridan Knowles's play of 'Love'; and liter Lady Mac- beth and Juliet, "showing the versatility of her talent by sus- taining both with such points of discrimination as prove a remark- able power of artistic adaptation. 234 THE DRAMATIC LIST .... The extent of her range is a qualification which peculiarly fits her for the management of a theatre in which she must herself play the leading Shakespearian characters" {Athenceum, Octo- ber i, 1864). Miss Marriott retained the management of Sadler's Wells Theatre for a period of six years. She has appeared with some success in the United States in leading roles in the legitimate drama, and is now (1878) travelling in the pro- vinces with a company known as " Miss Marriott's Dramatic Company." MARSHALL, FREDERICK. Born in Glasgow, November 5, 1848. 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. First engagement as a mem- ber of the dramatic profession proper at the New Theatre Royal, Bristol. Easter, 1870, at the Theatre Royal, Bradford, played the character of 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 member of the company of the New Theatre Royal, Nottingham ; 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 White (' Milky White'), Sampson Burr (' Porter's Knot '). December 1874, was engaged at the Prince's Theatre, Manchester. March 29, 1875, opened at the Philharmonic Theatre, London, in a burlesque entitled ' The Talisman ' ; and also again enacted the part of Peter Probity. " The theatre at Islington is well worth a visit just now, not only on account of the burlesque of which we recently spoke, but for a really ex- cellent rendering of Craven's drama, ' The Chimney Corner.' To follow the late Mr. Robson is a dangerous task for any actor, but Mr. F. Mar- shall plays Peter Probity so well as to make one almost forget that the famous actor at the Olympic had made it his own." — Weekly Dispatch, April 1875. March 6, 1876, 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 undoubtedly 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, phy- sical and mental, as he sinks undet- her reproaches." — Scotsman, July II, 1876. In September 1876, Mr. Mar- shall joined Mr. Duck's so- called ' Our Boys ' company of comedians, playing the parts of Perky n Middlewick (' Our Boys ') and Percy Pendragon (' Married in Haste ') with much success. June 1877, was engaged as a member of Miss Lydia Thompson's travelling com- pany, and with that company visited the United States, per- forming at New York, Boston, Philadelphia, Baltimore, &c. Re- turned to England December 1877. MARTIN, MRS. THEO- DORE. See Faucit, Helen. MATHEWS, CHARLES. 235 MATHEWS, CHARLES JAMES. Born at Liverpool, December 26, 1803. Only son of the well-known comedian, Charles Mathews. Was for a short period of his boyhood on the foundation of Merchant Taylor's 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 18 19 entered the office of Mr. Pugin, the eminent archi- tectural draughtsman, to whom Charles James Mathews was articled for four years. He pur- sued his professional studies for a short time with considerable per- severance in England and Italy, and in 1832 was elected to the office of District Surveyor of Bow and Bethnal Green (London). 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. I n M ay 1832, pro- duced ' The Wolf and the Lamb,' a farce ; and in July of the same year ' The Court Jester,' a clever trifle adapted from the French. In the following year, July 1833, produced' My Wife's Motherland shortly afterwards ' Pyramus and Thisbe,' described in a contem- porary journal as " a light 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 Hay market Theatre. In 1834-5 Mr. Mathews turned his attention to painting for a while, and was successful in procuring admission for an example of his skill in this di- rection at the annual exhibition at Somerset House. September 1835, 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 Ro- mantic, Melodramatic, 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 the- atrical venture was unsuccessful, and Mr. Mathews retired for a time from managerial responsi- bility. On the 7th December, 1835, he made his debut 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 excellent comedian, and inimitable imitator of man ami 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 pre 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 Hump- I Lover,' the other by Mr. Leman Rede, called the 'The Old and New Stager.' . . . This theatre may be proud of having introduced to the stage one who brings the education and manners and habi a gentleman to back an evident fond- ness for hi- prof< ^aa. n —Athenattm t Dec. 12, 1S55. In 1836, Charles Mathews had joined Madame Vestris in the 'management of the Olympic, and 236 THE DRAMA TIC LIST. the two were playing nightly to crowded houses. We find the former giving a Neapolitan Re- miniscence by dancing the Tar- antella, " with an elegance, a force and correctness sufficient to bring the ballet company from the Acade'mie Royale over in a body to see and to envy him." October 1836, Charles Mathews produced ' He would be an Actor,' a piece adapted from the French by himself. In 1837 the earliest of the late John Oxenford's dra- matic 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 mar- ried Madame Vestris, and shortly afterwards sailed for the United States. In May 1839, the Vestris- Mathews management of the Olympic terminated. In Sep- tember 1839, tne two, conjointly, entered upon the lesseeship and management of the Theatre Royal Covent Garden, and on Monday, September 30, produced for the opening, ' Love's Labour Lost.' Madame Vestris played Rosalind; Mr. Keeley, Custard; Mrs. Nisbett, The Princess of France, &c. The same week Charles Mathews played the part of Charles Sur- face in ' The School for Scandal.' In November 1839, the first per- formance of Sheridan Knowles's play of Love ' took place, respect- ing 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 dra- matic venture under the title of 'A Legend of Florence,' the success of which was unequivocal. April and May 1840, Charles Mathews took a 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, Feb. 9, 1841), Douglas Jerrold's 'White Milliner,' in which Chas. Mathews was the original Lord Ortolan. Thursday, March 4, 1841, ' Lon- don Assurance ' (see BOUCICAULT, Dion) was played for the first time — Charles Mathews as Dazzle, the elder Farren as Sir Harcourt Courtly, Mrs. Nisbett a.sLady Gay Spanker, Madame Vestris as Grace Harkaway. Notwithstand- ing the adverse criticisms of the Press, the piece was a great success, being kept on the bills till May 1841. September 28, 1841, Mark Lemon's 'What will the World say ? ' first performed, and early in the following month Sheridan Knowles's comedy, ' Old Maids.' Neither was successful. In February 1842, Boucicault's comedy ' The Irish Heiress' was first performed at Covent Garden Theatre. " Madame Vestris as the Irish Heiress has caught the brogue, though not the prettiest ever heard from the lips of a lady ; and her rival suitors, Messrs. G. Vandenhoff and C. Mathews, are a couple of gentle- men in appearance and manners at least." — Athenceum, Feb. 12, 1842. On February 25, 1842, Douglas Jerrold's comedy, ' Bubbles of the Day,' was produced, and in the following April the Vestris and Mathews management of the Covent Garden Theatre termi- nated. It had been a financial MATHEWS, CHARLES. 237 failure. The new dramas placed on the stage had been few, and with the exception of ' Lon- don Assurance,' not particu- larly striking. Those produced, however, had been represented with a degree of taste, splendour, and finish in the mise en scene that gave to the Vestris- Mathews man- agement of old Covent Garden Theatre an importance second to none in the annals of the British stage. As an illustration of the strength that was deemed necessary at a leading London theatre thirty- six years ago, the following list of the company of the Theatre Royal Covent Garden under the Vestris- Mathews management (1 841-2) 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. Wm. Farren. F. Matthews. C. \V. Granby. Lcrnj Comedy. J. P. Harley. D. Meadows. Irish Characters. John Brougham. Heavy Business. C. Diddear. J. Bland. Walking Gentlemen. C. Selhy. A. Wigan. H. Bland. Pantomime and General Business. Payne. T. Ridgway. Honner. Mokelli. J. Ridgway. Ladies. Mrs. Nisbett. Miss Cooper. Madame Vestris. Mrs. Selby. Mrs. Glover. Mrs. H. Bland. Mrs. W. Lacy. Miss Lea. Mrs. Brougham. Mrs. W. West. Mrs. J. C. Jones. Columbines. Miss Fairbrother. The Misses Kendal. In addition to the above, there was a company which included Miss Adelaide Kemble, engaged for English Opera. In October 1842, Chas. Mathews joined Mr. Macready's company 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' (Planche), and as Fag in ' The Rivals.' Afterwards, at the same theatre, played Gold- finch in Holcroft's ' Road to Ruin,' and Rode?'igo in Shakespeare's ' Othello.' Monday, November 14, 1842, first appearance at the Hay market Theatre as Charles Surface, in ' The School for Scandal.' The same year Mr. Mathews played Wit won Id 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 Athenffum, April 1843, made note that " ' The Critic ' promises to be a standing dish at the Hay- market feast of fun, the condi- ments with which Mr. /'/(^"sea- sons a 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, 1844, he was the 233 THE DRAMA TIC LIST. original Littleton Coke, first per- formance 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 Goldthumb, first perform- ance 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 con- junction with Madame Vestris ; Messrs. Buckstone, Leigh Murray and Roxby being of the com- pany. The season commenced with two translated pieces, ' The Pride of the Market, ('Le Bou- quetiere ') and ' Light Dragoons' (' Les Mousquetaires'). Tuesday, December 7, 1847, Charles Ma- thews took part in the Shake- spearian performances at Covent Garden Theatre arranged for providing funds for the purchase of Shakespeare's house at Strat- ford-on-Avon. He played Slender (' Merry Wives of Windsor,' Act iii., sc. 3 and 4 ; and Act iv., sc. 2). The Vestris- Mathews man- agement 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 re- spect. So successfully 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 inter- spersed with the vaudeville pro- ductions of the French stage. However slight in texture or in subject were the examples of the former, they were always remark- able for a careful and pointed literary manipulation. The acting was, of its kind, always first-rate ; the performers being selected with the utmost judgment, 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 difficul- ties and financial troubles (1853 and 1854), and in March 1855, he announced his secession from the theatre, and " from all manage- ment at once and for ever." As a pecuniary speculation, it had not been profitable. Almost immediately following his retire- ment from the Lyceum he en- tered upon the more successful and profitable career of a the- atrical " star " in the line of light comedy, a career which he has pur- sued with indomitable energy ever since. It began with his appear- ance in the spring of 1855, at the City of London Theatre. Wed- nesday, October 10, 1855, he ap- peared at Drury Lane as Mofius, 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 ; Puff and Sir Fretful Plagiary in ' The Critic,' " distinguishing each with such peculiar characteristics, that the identity of the performer is traced with difficulty" (Athen&um, November 10, 1855). MATHEWS, CHARLES. 239 At the close of the week ending August 9, 1856, Madame Vestris (Mrs. Charles Mathews) died, aged 59. In 1857 Chas. 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 n, 1858, Mr. and Mrs. Charles Mathews made their first appearance after their marriage at the Hay market, in a revival of ' London Assurance ' — Charles Mathews as Dazzle; Mrs. Chas. Mathews as Lady Gay Spanker. For the three following seasons they remained attached to the Haymarket company, playing in the various comedies and stage re- vivals produced under the direction of Mr. J. B. Buckstone. 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 terminated, and he afterwards transferred them to the provinces. In 1863 Charles Mathews appeared at the Theatre des Varidtes, Paris, in the prin- cipal characters of a French version, executed by himself, 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 Blase",' was played by him for fifty nights at the Vaudeville. In the interval between 1865 and 1870 he fulfilled various " starring " en- gagements ; and in the latter year started on a tour round the world with Mrs. Mathews, which was completed in 1872. From 1872 to 1875 ' ie remained in England per- forming at intervals in London and the provinces. In September 1875, ne produced a new 2-act comedy at the Gaiety Theatre, London, entitled ' My Awful Dad,' in which, as Adonis Evergreen, he secured his usual success. In November, 1875, Chas. Mathews again set forth on a foreign tour, this time for India. He appeared with great eclat aX Calcutta, during the visit of the Prince of Wales to that city, it being reported that on the occasion of a " special per- formance " by Charles Mathews ("by desire of His Royal High- ness "), the house realised the un- precedented sum of 2000/. In the interval between Chas. Mathews' return to England and the present time (June, 1878) he has been per- forming at various towns in the provinces. A list, furnished by himself, shows that Mr. Charles Mathews has written, 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 has 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 productions have been ' Black Domino,' 'The Milliner to the King,' ' Bachelor of Arts,' ' Court Jester," My Wife's Mother," Serve Nun Right,' 'Little Toddlekins,' ' Patter versus Clatter,' and ' My Awful Dad.' His most successful' impersonations are Puff and Sir Fretful Plagiary^ Charles Sur- face, Mr. Affable Hawk, Sir Charles Coldstreaju, Dazzle, Twiggleton, Adonis Evergreen^, and his parts in ' Cool as a Cucum- ber,' 'Woodcock's Little Game,' ' Patter versus Clatter,' and ' If I'd 240 THE DRAMA TIC LIST. a Thousand a Year.' His clever version of Foote's comedy, ' The Liar ' (produced at the Olympic in 1867), had a very successful run, and furnished proof of his practical skill as a dramatist. In polite comedy Mr. Chas. Mathews has been one of the most popular and successful actors of the cen- tury. [This article was already in the hands of the printer when the death, on Monday, June 24, of Mr. Charles Mathews was announced. Under the circumstances, and as its removal would have necessitated an alteration in the arrangement of the book, it has been allowed to remain. In a letter written to the Editor by Mr. Mathews the day previous to his departure to fulfil what, unfortunately, proved to be his last engagement in the provinces, he remarked : — " To select criticisms from those papers which have made mention of my doings during a period of forty years would, of course, be impossible." This unfortunately has proved to be the case, although not, perhaps, in the sense which Mr. Mathews himself intended. A selec- tion from the newspaper notices of each play in which he appeared, and where his acting was specifically mentioned, would have filled an ordinary-sized book. The foregoing record has therefore perforce been restricted to the principal incidents of his professional career in London.] 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. Made her first appearance on the London stage Monday, October 11, 1858, at the Haymarket Theatre, as Lady Gay Spanker in ' London Assurance,' Mr. Charles Mathews playing Dazzle, his original part. Subse- quently, at the same theatre, played in various pieces : — Natmette Didier, in a play adapted by her husband from a comedie-vaude- ville of MM. Bayard and Duma- noir, ' La Vicomtesse Lolotte,' entitled ' The Milliner to the King,' and afterwards in ' Nothing to Wear,' from the French, ' En Manches de Chemise.' In March 1859, played (with Mr. Charles Mathews) at the Haymarket, Mrs. Featherby, in Stirling Coyne's ' Everybody's Friend.' Was the original Mrs. Honey bun of Tom Taylor's 'The Contested Election,' first performed at the same the- atre, June 29, 1859. September of the same year played at the Hay- market 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 con- tinued 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 burlesque by Bur- nand, entitled ' Faust and Mar- guerite,' appearing in the latter character. Mrs. Chas. Mathews has rarely appeared on the stage since the above date, and finally retired from it some years ago. MEAD, T. Born in Cam- bridge, August 182 1. Entered the dramatic profession in 1841 at the Devonport Theatre, under the management of Mr. James Daw- son. First appearance as Oro- zembo in ' Pizarro.' Having met with success, was subsequently MELLON, MRS. ALFRED. 241 engaged by Mr. Roxby, of the Sunderland circuit, in whose com- pany he travelled the provinces for some time, playing any line of business that offered. First ap- pearance on the London stage November 8, 1848, at the Victoria Theatre, in the character of Sir Giles Overreach. Afterwards (September 17, 1849) accepted an engagement at the Surrey The- atre, and opened in the part of Almagro, in Sheridan Knowles's ' Rose of Arragon,' being noticed in the Athencmm (September 22, 1849) as " an energetic per- former of considerable promise." Remained at that theatre from 1849 to 1852, and became a great favourite with its habitues. Was shortly afterwards engaged for Drury Lane Theatre, under E. T. Smith's management, and played there, among other parts, Hamlet. Iago, Macduff, Claude Meluottc. Duke Aranza, Well- born, and Chateau Renaud. Was a member of the company of the St. James's Theatre (for " leading business and stage man- agement") under Mrs. Seymour. I In 185S was enrolled as leading j actor at the New Grecian Theatre In subsequent years fulfilled en- gagements at Sadler's Wells, play- ing the leading parts with M Marriott. At the Princess's The- atre, was the original Isaac A- in ' Never Too Late to Mend.' and Crawly in 'The Streets of Lon- don.' Became lessee and manager of the Elephant and Castle The- atre for a short period. At the Queen's Theatre played the lead- ing part in the first performance of Charles Reade's drama. ' Rachel the Reaper.' Has recently been engaged at the Lyceum Theatre, under Mrs. Bateman's manage- ment, to perform in the Shal. pearian revivals and other plays | produced under the supervision of Mr. Irving. Is still (June 1878) performing there. Is the author of a play produced at the Hay- market July 8, 1867, under the title of ' The Coquette.' in which Miss Amy Sedgwick played the leading part. MELLON, MRS. ALFRED {nee Sarah Jane Woolgar). Born in 1824. Made her pro- fessional debut in London in September 1843, 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 bur- lesque, 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 perform- ance may be mentioned ' The flowers of the Forest,' {Lemuel); 'The Marble Heart' {Marie); ' The Willow Copse ' {Meg) ; ' GdneVicve ; or, the Reign of Terror' (the title rSle in succession to Madame Celeste); 'The I Heart' {Catherine Duval'), &c. Besides the foregoing plays in which Miss Woolgar's acting invariably commanded praise, the following characters and pi© which she has also appeared on the London stage are entitled to mention, viz., on April 9, [853, 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 20th of the same K 2 J.2 THE DRAMATIC LIST. year, the leading role in Mark Lemon's burlesque of ' Sardana- palus'j on Monday, March 30, 1854, Anne Musgrave, first per- formance of Messrs. Tom Taylor and Charles Reade's drama, ' Two Loves and a Life.' " Last night we had a very excel- lent specimen of the ' Adelphi drama' properly so called — that is to say, 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 effec- tive 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 Taylor and Mr. Charles Reade. It is in four acts and the title is ' Two Loves and a Life.' .... The assem- blage of more incidents than are altogether consistent with the laws of probability, and the nature of the situations themselves, 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 con- ceived, as a new element of melo- dramatic action, while it seems to draw out most advantageously the opposite peculiarities of Miss Wool- gar and Madame Celeste." — Times, March 21, 1S54. Easter, 1854, at the Adelphi Theatre, she played Lord Bate- ma/i 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 : particu- larly 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 con- tracting 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 dis- tinct 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 included with efforts of Art." — Athenceum, April 22, 1854. In the same year, Monday, De- cember ii, she played the part of Marie Blanche in ' Pierre, the Foundling,' at the Adelphi. Mon- day, September 15, 1856, the opening night of the Lyceum Theatre, under Mr. Chas. Dillon's management, Miss Woolgar played Florizel in a burlesque by William Brough, entitled ' Perdita; or, the Royal Milkmaid.' The same year, Tuesday, October 16, first performance at the Lyceum of Westland Marston's ' Three Mus- keteers,' she sustained the part of Constance; and on Saturday, De- cember 6, Eugenie (of Beau- monoir), first performance of Ed. Falconer's drama, ' The Cagot ; or, Heart for Heart.' In 1857, March 25, at the same theatre, she appeared as Ophelia; Mr. Chas. 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. In respect to scenery, costumes, and decorations, and all the accessories of the stage, the play was got up in a manner highly creditable to the theatre, and it was altogether an entertainment of a high order." — Daily News, March 21, 1857. MELLON, MRS. ALFRED. 243 Wednesday, January 20, 1858, at the same theatre, first perform- ance of a play of Leigh Hunt's, entitled ' Love's Amazements,' she played the part of the Countess de Montelais ; and in the same year (September) succeeded Mrs. Chas. Young as Miss Vavasour in Fal- coner's play ' Extremes ; or, Men of the Day.' The following year she returned to the Adelphi The- atre, and in January appeared there as Dorine in ' Tartuffe.' The fol- lowing month, in a " revival " of ' Masks and Faces,' she played the character of Peg Woffington. " The performance of Peg Woffing- ton for the first time by Miss Woolgar is an event. It was in all respects admirable and thoroughly original. The capricious impulse 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 con- sciousness of superior talent, were distinctly exhibited, not only in the general bearing of the assumption 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 estimation of fastidious censors." — Athenaum, Feb. 19, 1859. During the same year, at the Adelphi, she played the following characters, viz., Don Clcopluis Zambullo, in the burlesque of ' Asmodeus ' : Sir Rowland Ma- cassar, in a burlesque ' The Babes in the Wood,' and Catherine Duval [November) first perform- ance of Mr. Watts Phillips's drama 'The Dead Heart.' Monday, September 10, 1870, 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. " That Mrs. A. Mellon (Miss Woolgar), who played Anne Chute, the Colleen Ruadh, consequently had to sustain the comedy portion of the piece was no more than might be expected. She played throughout with unflagging spirit." — Times, Sept. 11, i860. " Miss Woolgar as a merry-hearted beauty displays all her usual excel- lence." — Daily Telegraph, Sept. II, 1S60. Monday, April 14, 1S62, first performance of Boucicault's dra- matised version of ' The Cricket on the Hearth,' entitled ' Dot,' she played the part of Tilly Sloivboy. " 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 back- ground." — Times, April 16, 1862. "Miss Woolgar supplies a back- ground of fun as Tilly Slowboy, whom the son from the sea — his disguise as an old man not being kept close from the audience — can throw at will into comic terror by his sportive by-play as a bogie." — Examiner, April 19, 1862. Monday, August 8, 1864, in a new farce of some interest, by T. L Williams, entitled 'My Wife's Maid,' Miss W oolgar played the Leading character, Barbara Per- ' kins. In July [865, still at the Adelphi, tirst performance of Mr. Walter Gordon's play, ' Through Fire and Water.' she performed the part of Honnor Bright. Saturday, May 5, 1866, first per- formance at tie same theatre of Mr. Benjamin V, junior's version of Victorien Sardou's ' La K 2 H+ THE DRAMATIC LIST. Famille Benoiton,' entitled ' The Fast Family,' Miss Woolgar sus- tained the part of Clotildc. "Miss Woolgar (Mrs. Alfred Mel- lon) managed the scene admirably, and to her vigorous performance throughout of this part of Clotilde, which is an exceedingly arduous one, the success of the drame should in fairness be attributed."- — Atlwincum, May 12, 1866. In the following year, Thursday, December 26, first appearance at the Adelphi of ' No Thorough- fare ' (Messrs. Charles Dickens and Wilkie Collins), Mr. Charles Fechter in the leading role, Miss Woolgar played Sally Goldstraw. After this date Miss Woolgar (Mrs. Alfred Mellon) seldom ap- peared on the London boards until 1872. From 1872 to 1875 sne acted at various theatres in several revivals of plays of more or less interest. In March 1875. fi rst performance at the Adelphi of a dramatic version of Nicholas Nickleby, from the pen of the late Mr. Andrew Halliday, she under- took the part of Airs. Squeers. The same year, in October, reap- pearance of Mr. Joseph Jefferson at the Princess's Theatre as Rip Van Winkle, she played Gretchen; and in 1877, at the same theatre, she performed her original cha- racter in ' Lost in London,' pro- duced at the Adelphi Theatre in 1877. 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 dra- matic profession took part. The result was in every sense most gra- tifying, and bore ample testimony to her personal worth and con- siderable merits as an actress. A sum of 1000I. was collected. Miss Woolgar married the late Alfred Mellon, a gentleman at one time well known in the musi- cal world, and a composer of considerable ability, who inaugu- rated the series of Promenade Concerts now annually given at the Royal Italian Opera, Covent Garden. MUNROE, KATE. Born in New York, U.S.A. Entered the dramatic profession in 1870. On October 25 of that year at Milan, sang the role of Norma in Doni- zetti's opera of ' Don Pasquale.' 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 Italian cities. Was engaged for six months at the Theatre des Italiens in Paris, and came to London in 1874. First appearance in London 24th September of the same year at the Gaiety Theatre in Opera Bouffe. Has since 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. Was at the Folly Theatre, London, for nine months, playing in Opera Bouffe. Since her debut in Lon- don Miss Munroe has occupied a prominent position in that limited circle of English artistes compe- tent to sing in the more attractive works of the modern French com- posers. She has appeared at all the principal theatres in London and the provinces. MURRAY, ALMA. Born in London, November 21, 1856. Made her first appearance on any stage in 1869, at the Olympic Theatre, London, as Saee/iarissa, in W. S. Gilbert's ' Princess.' MURRAY, GASTON. 245 From 1869 to 1875 played various small parts at London theatres, viz., the Olympic, Royalty, Adel- phi, and Drury Lane. From August 1875 to April 1877, "'as engaged in the provinces, playing "juvenile lead" characters, such, for example, as Rose Cudlip (' For- given '), Lottie ('Two Roses'), Kate Garston (' Lancashire Lass'), Constance Howard (' False Shame '), Clara Douglas ('Money'), Gertrude ('Little Treasure'), &c. &c. In Septem- ber 1877, reappeared in London at Drury Lane Theatre, as Alice Bridgenorth, first performance of ' England in the Days of Charles II.' by W. G.Wills. " Miss A. Murray made a singu- larly graceful and pleasing Alice Bridgenorth, rendering the character thoroughly girlish and attractive, and displaying much refinement." — Sun- day Times, Sept. 30, 1877. "Miss A. Murray showed intel- ligence and a true dramatic instinct as Alice Bridgenorth" — Athenceum, Sept. 29, 1877. MURRAY, GASTON. Born in London, 1826. First appeared on any stage at the Prince's The- atre, Glasgow, in June 1854, as Charles in a piece entitled 'The Happiest Day of My Life.' Made his de'but 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 Ly- ceum company, and appeared in the following characters, viz., Tom Russelton in ' A Cozy Couple ' ; Harry Ringdove in 'The King- doves'; Faulkland in 'The Ri- vals'; Dick Dowlas in 'The Heir-at-Law ' ; Charles Paragon in ' Perfection ' ; Victor de Mor- nac in ' Retribution.' On January 28, 1857, Mr. Gaston Murray took part in the Windsor-Castle The- atricals, 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 following characters, viz., Felix Feather ley in ' Everybody's Friend ' ; Faust in the English version of Faust and Margurite ' ; Laertes, and subsequently the Ghost in ' Hamlet ' ; George Barn- well in the drama of that title ; Orlando in ' As You Like It ' ; Duke Aranza in ' The Honey- moon ' ; Wilford in ' The Iron Chest.' In 1862 Mr. Gaston Murray was a member of the com- pany 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. I n 1863, at St. James's Theatre, he was the " original " George Tal- boys in ' Lady Audley's Secret ' ; and also played the following cha- racters, viz., Sir Benjamin />'ack- bile 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 en- gagements at the Strand and Queen's Theatres, and in the year following at the I [ay market, where he played Edward Ashley in the original cast of 'All for Money.' In 187 1 he was a member of the company of the Lyceum Tin appearing there in ' Pickwick 'and 'The Bells.' In 1872 he acted the character of Pickwick at the Standard Theatre, and after- wards, in the same year, became treasurer to Lord Londesboro when that nobleman produced 246 THE DRAMA TIC LIST. 1 Babil and Bijou ' at the Theatre Royal, Covent Garden. MURRAY, MARY FRANCES. (Mrs. Gaston Murray.) Daugh- ter of the late Henry Hughes of the Adelphi and Surrey Theatres. Born near Frankfort, Germany. First appeared on any stage in 185 1, at the Guildford Theatre, as Sof>Iiia in ' The Rendezvous.' Made her debut on the London stage in 1853 at the Lyceum Theatre as Emma Thornton in 'The Batchelor of Arts.' In 1857 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 con- nection 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 "j Alice in ' The Porter's Knot,' by John Oxenford ; Emily St. Evremond 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 en- gagements at all the principal theatres in London, her latest (September 1878) being at the Court Theatre, where she per- sonated with much success Mrs. Primrose in Wills' play of ' Olivia ' during the six months run of that piece commencing on March 30, 1878. MISS NEILSON. NEILS ON, LILIAN ADELAIDE. U7 NEILSON, LILIAN ADELAIDE. Born in 1850 at Saragossa, in Spain, of mixed parentage, her father being a Spaniard, her mother an English- woman. Made her first appear- ance on the stage at the The- atre Royal, Margate, at the age of fifteen. In July 1865, made her debut in London at the Royalty Theatre in the character of Juliet, but without attracting particular attention. The fol- lowing year, Monday, July 2, in a drama by Mr. Watts Phillips, entitled ' The Huguenot Captain,' then first performed at the Prin- cess's Theatre, she played the part of Gabrielle de Savigny. "Miss Neilson, who represented Gabrielle, the heroine of the drama, is a remarkably pretty and interesting actress, a little stiff and awkward in her movements, but with considerable 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, July 3, 1866. The same year (1866), in No- vember, at the Adelphi Theatre, she sustained the part of Victorine in the drama of that title, with fair success. " A change in the programme, rendered unavoidable through the sudden indisposition of Miss Kate Terry, has led to a revival of the famous Adelphi drama of ' Victorine,' brought out at the old theatre thirty- five years ago, when Mr. and Mrs. Yates, Mr. Buckstone, John Reeve, 1 1 ■■ :ag, and O. Smith played thi prim ipal 1 h ira ters. The pi cast is much the sa as that which seven years since accompanied the reproduction of the drama for the benefit of a later generation, with the notable exception that Miss Neil- son has been now specially engaged to represent the vision-seeing heroine, originally sustained by Mrs. Yates. Miss Neilson has certain peculiarities of accent and manner which are rather favourable to her embodi- ment of the coquettish Parisian era- broideress, whose choice of a husband is decided by the dream exhibited before the audience in illustration of the possible result of a wrong decision. In the last act, when Victorine, re- duced to extreme poverty, feels most acutely the severe penalty she has paid for her error, Mis-, Neilson illustrates the situation with much pathos, and the satisfactory impression prod by the actreNS is unequivocally indi- cated by the sympathy expressed by the audience." — Daily Telegraph, Nov. 17, 1866. At the same theatre in 1867 (Saturday. March 16;, first per- formance of Mr. Watts Phillips's play, ' Post in London,' she acted the character of Nelly Armroyd. "Of the other parts, the only one which needs to be G d is Nelly, played by Miss Neilson with spirit and' pathos, though she has very much to learn in the way of natural graceful gesticulation." — 7/w<.f,March 18, 1867. On September 25, 1868, at the ttre Royal, Edinburgh, Miss Neilson appeared forthe first time as Rosalind in 'As You lake It': followed, on the succeeding even- ing by Pauline in 'The Lady of Lyons,' and mi September 29, by Julia in 'The Hunchback.' "Miss Neilson as fulia opened with little promise ol the true heroine finally d rhere was nsipid co mon] the early scenes, but with thi 2 4 S THE DRAMATIC LIST. of the piece she fitted herself with artistic aptitude to the highest require- ments 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."- — Scotsman, September -io, 1868. 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 l'Art ' of Legouve, a play in which Madame Ristori sometime before had created a great sensa- tion at the Vaudeville in Paris. The English version ('Stage and State') was not a success. The following month Miss Neilson appeared at the Theatre Royal, Birmingham, in a play by C. Williams (a Birmingham drama- tist, 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 perform- ance there of Ur. Westland Mar- ston's play, ' Life for Life,' she acted the part of Lilian. " Miss Neilson, who played Lilian, is an actress of great power. Her method in art is as yet imperfect. The demonstrations of passion are confined to low and emphasized speech, with an accompaniment of appropriate gesture. She has yet to learn that hurried and breathless ac- cents and sharp incisive pronuncia- tion of words are as powerful means of expressing sorrow or fear as those to which she confines herself. Her acting, accordingly, 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 attitudinizing was also dis- played. Here censure ends. In the most important respects the imper- sonation was finest. It had true tragic fire. Some of the attitudes of Miss Neilson were full of grandeur ; her utterance was musical and im- pressive, and her face assumed at times a look full of awe and tragic portent. The delivery of some pas- sages had, moreover, very subtle significance. Practice and care are alone required to secure for Miss Neil- son a high and enduring reputation." — Athoiizum, March 13, 1869. The following October (Mon- day, the nth), at the Gaiety Theatre, London, first perform- ance 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 Belton. On Monday, April 11, 1870, at the Gaiety Theatre, she appeared as Julia in a revival of ' The Hunchback.' During this year— commencing on May 26th — Miss Neilson gave an entertainment under the title of ' Dramatic Studies, 'at St. James's Hall, with great success. "On Thursday last week, Miss Neilson gave a series of readings at St. James's Hall, which were in a marked degree successful. Miss Neil- son possesses several very necessary qualifications for a good reader. She has a handsome presence and an ex- pressive face, which are no unworthy adjuncts to the gracious delivery of lofty sentiments. She has a har- monious voice, capable of very great NEILSON, LILIAN ADELAIDE. 249 modulation ; and she has a most artistic command of what may be called the materiel of elocution — the inflections ; it is not surprising, therefore, that her appearance at St James's Hall should have proved a decided success, 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 ' Phedre,' and Congreve's 'Love for Love.' " — Examiner, June 4, 1870. In 1870, on Saturday, Sep- tember 24, first performance at Drury Lane Theatre of the drama of ' Amy Robsart,' she acted the title role. "In following the course of the story, Mr. Halliday has skilfully con- trived to prevent the tender anil pathetic elements of his plot from being overborne by mere scenic dis- play. The love-scenes between Amy and her noble lover at Cumnor ; her terror of Varney, and distrust of those around her ; her persecution and flight, her passionate scenes with Elizabeth, her struggles to escape from a horrible death are followed by the audience with as close an in- terest as if the play depended only on the romance of the story. For t he- character of Amy Robsart, it would certainly have been difficult to find another such a representative as Miss Neilson, who, notwithstanding some faults of manner, is an actress of true dramatic genius. Her passionate ap- peals to the truth and honour of Leicester were finely contrasted with the tenderness of her love pass,, 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 her womanish terror at the prospect of death, were depicted with an in- tensity which powerfully excites the feelings of the audience." — Daily News, Sept. 26, 1870. In 1870, at Drury Lane Theatre, on Monday, December 19, Miss Neilson appeared as Juliet, the character in which she made her earliest appearance on the London stage, and which still remains the impersonation 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, accom- panied by a power of interpreta- tion and revelation to which Drury Lane Theatre had long been a stranger. " There is, perhaps, no actress now on the stage who more perfectly un- derstands the routine of the part, and certainly there are none who can <,'ive greater force to the scenes in which frequenters of the playhouse look for marked effects. The balcony scene, the 'tiff with the nurse, the solilo- quy in the chamber, and the death on Romeo's corpse, give evidence ol thorough and conscientious study. In an age w hen tragedy is out of fashion the young and rising actress has deter- mined to make Juliet her own, and the applause of a crowded audience on Monday night bore witness to her success." — 'limes, December 21, 1870. 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 dr. una of that title, founded on Sir Walter Scott's novel of • Ivanhoe,' then performed tor the first time at Drury Lane. On December [8 of the same year she appeared at the same theatre as Rosalind, in a revival of 'As You I.ikc It.' In the month of September 1N7- Miss Neilson gave a serii I farewell perform. hm c > at the I )ui ( h\ Theatn . Long \ r< . prior to her departure for Amei u a. In 250 THE DRAMATIC LIST. these were included ' Romeo and Juliet,' in which she played Juliet, and the ' Lady of Lyons,' in which for the first time in London she acted the part of Pauline. Both impersonations were eminently successful. " Juliet is Miss Neilson's master- piece. In this character she made her debut 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 n. ithing to bring against this fine interpretation. The power of the actress was shown by the maimer in which she triumphed over difficulties, and held the audience enthralled in spite of the absurd ac- cessories of the performance." — Atkeiucum, Sept. 21, 1872. On November 18, 1872, Miss Neilson "opened" at Booth's The- atre, New York, in her favourite character. Her acting was re- ceived with much enthusiasm. During the tour through the United States and Canada which followed she appeared in the fol- lowing 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 popularity. The New York Tribune, in allud- ing to thelast of a series of perform- ances 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 Ameri- can 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 Haymarket stage, and during the season played Juliet, Rosalind, A uue Boleyn (on the occasion of the first performance of Mr. Tom Taylor's play of that title, Saturday, February 5), Isabella in ' Measure for Measure,' and Julia in ' The Hunchback.' " The announcement that Shakes- peare's ' Measure for Measure ' has not been presented in London for ' nearly a quarter of a century ' will make the playgoer rub his eves and reflect once more upon the swift flight of time On the first representation of the comedy an en- thusiasm 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 in- telligent and carefully studied a per- formance really deserved some elo- quent and marked praise ; and it is certain that our stage is not so rich in actresses capable of attempting Isa- bella that we can afford 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 NEVILLE, HENRY GARS IDE. 2U been prettily sketched if not boldly painted, suggested, no doubt, such encouraging and appreciative ap- plause. If at any time it is urged that Miss Neilson's Isabella is inter- esting rather than powerful, graceful rather than intense, unequal in sus- tained strength, aud 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 pros- tration from illness, and that the Isabella comes^after many represen- tations 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, 1876. She appeared also in the above- mentioned characters (with the exception of Anne Boleyn) during her engagement at the same theatre terminating in May 1878. NELSON, MRS. JOHN. See Leclercq, Carlotta. NEVILLE, HENRY GARSIDE. Born in Manchester, 1837. Son of the well-known actor and theatrical manager the late Mr. John Neville. Entered the dramatic profession at an early age under the auspices of his father. Made his first appear- ance on the London stage October 8, i860, at the Lyceum Theatre, under Madame Celeste's manage- ment. Monday, November 12, i860, first performance at the Ly- ceum of ' Adricnne ; or, the Secret of a Life,' Mr. Neville acted the part of Victor Savignie. After- wards he fulfilled a series of en- gagements at Liverpool, Man- chester, Birmingham, and Dublin Theatres, and in 1861 accepted an engagement at the Olympic Theatre in London under the management of Messrs. Robson and Emden. At this theatre he remained for some years, playing various leading parts in such pieces as ' Jack of all Trades ' (John Oxenford), ' Camilla's Hus- band ' (Watts Phillips,) &c. ; and here, in 1863, made his first im- portant success as Bob Brierly in Tom Taylor's drama ' The Ticket- of-Leave Man.' " With regard to the acting, the Olympic is so well known for a uniform high standard in every de- partment that it is unnecessary to say much. Mr. Neville's admirable per- sonation of the Ticket-of- Leave Man, however deserves more special mention." — Spectator, May 30, 1863. "This outline has been filled up by Mr. Taylor with a great variety of typical character. . . . He has, more- over, been very fortunate in finding a company of actors by whom lull justice is done es'en in the smallest parts. Robert, the principal personage of the piece, and his devoted wife are played with all earnestness by Mr. Neville and Miss Kate Saville." — Times, March 29, 1863. At the Olympic Theatre Mr. Henry 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 ' Yellow Pass- port,' founded upon M. Hugo's ' Lcs Misdrablcs,' and adapted to the stage by Mr. Neville himself. " Not less entitled to warm praise is Mi. Ne\ ill''- highly finished embo- dimi at of the returni d 1 onvict Joseph Wilmot, who only figures in the play- bill under the name he has assumed of Jlenrv Dunbar. Thoroughly realising the description given o! the re- putable handsome-looking gentleman, 252 THE DRAMATIC LIST. advanced in middle age .... his first entrance produced a general in- terchange of favourable comments. Preserving a calm dignified demeanour before others, which is exchanged when alone for the torturing restless- ness of a man who carries with him wherever he goes the recollection of some fearful crime he has secretly committed, the character received from the hands of Mr. Neville the most complete illustration." — Daily Telegraph, December u, 1S65. After a stay of some four years at the Olympic he joined the com- pany of the Adelphi Theatre and appeared there as Job Armroyd'm. ' Lost in London' ; and as Farmer Allen in Charles Read's dramatic version of Tennyson's ' Dora.' "The part of Job Armroyd, 'ad- mirably played by Mr. H. Neville, gives ample scope for passionate acting, and it cannot fail to increase the reputation of the performer." — Daily News, March 18, 1867. " Job Armroyd, if we do not admire him as an adept in social science, we readily acknowledge as a most effec- tive stage figure ; and although Mr. H. Neville has long distinguished himself as a serviceable actor .... he perhaps never played so well as when he represented the elderly miner, uncouth in gait, rough in dialect, but always of a manifestly earnest and affectionate disposition." — Times, March 18, 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 tho- roughly, and his impersonation of the hard-working Sheffield me- chanic 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 connec- tion with that position, the man- agement of the theatre, which he has ever since retained. The fol- lowing list of noteworthy plays, produced at the Olympic between the date of Mr. Neville's first entering upon the lesseeship and the present time (April 1878), are worthy of being recorded as an indication of his drama- tic enterprise: Season 1873-4 — ' Sour Grapes ' (Byron) ; ' Riche- lieu Redressed' (Reece) ; ' School for Intrigue ' (Mortimer) ; ' Clan- carty ' (Tom Taylor). Season 1874-5— 'Two Orphans' (Oxen- ford) ; ' Spendthrift ' (Albery) ; ' Ticket-of- Leave Man' (revival). Season 1875-6 — ' Buckingham ' (W. G. Wills) ; < Clyde ' (J. Hat- ton) ; '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 ' (Bucha- nan) ; ' Wife's Secret ' (revival) ; 'Scuttled Ship' (C. Reade); ' Violin Maker of Cremona ' (Copyer and Neville) ; ' Lady Audley's Secret ' (revival). Season 1877-8— 'The Moonstone '(Wilkie Collins); 'Henry Dunbar '(revival); 'Turn of the Tide' (Burnand); 'Jealousy' (C. Reade). PARRY, JOHN. =53 PARRY, JOHN. Made his debut on the London stage Sep- tember 29, 1836, at St. James's Theatre. In December of the same year 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 produc- tion of the gentleman who writes under the name of ' Boz.' " "Although he (Boz) is evidently too clever a man not to leave the marks of talent upon whatever he may touch, the opinion we had formed, though we had not expressed J it, that he is likely rather to diminish ! than increase his reputation by his i dramatic efforts is confirmed i There is no offence in the burletta it is true ; but it is weak and languid throughout Of the acting we had rather be excused from speak- ing." — Athenceum, Dec. 17, 1836. 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 Nor ton). ^Bennett (as George Edmunds)^ and Mr. John Tarry ; 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 is not a feeling to pass away ' ; ' Autumn Leaves ' ; and 'There's a charm in Spring.' The book of the words was pub- lished by Mr. Bentley, and dedi- cated to J. Pritt Harley in the fol- lowing terms : — " My dramatic bantlings are no sooner born than you father them. You have made my ' Strange Gentleman '* exclusively yourown; you have adopted Martin Stokes with equal readiness." ' Boz ' proceeds to excuse himself for appearing before the public as the composer of an operatic bur- letta, in the following words: — " ' Either the Honourable Gentle- man 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 affair from beginning to end may be great nonsense or it may not ; just as the honourable gentle- man 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 pro- per, 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 representation 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 de- gree of success far exceeding his most sanguine anticipations, and of which no form of words could * The first dramatic production nt [ate Mr. Charles Dickens, per- formed al St James's Theatre, Sep- tember 29, 1836, Mr. Pritt 11 in the title rule. 254 THE DRAMATIC LIST. speak his acknowledgment. It is needless to add that the libretto of an opera must be to a certain ex- tent a mere vehicle for the music ; and that it is scarcely fair or rea- sonable 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 forsaken the stage for the concert room, and was singing in pieces written expressly for him by the late Albert Smith, having as sup- porters Madame Anna Thillon and Herr Standigl, well-known artists of their day. " To say that Mr. John Parry's concert was held yesterday week im- plies, of course, a crowded room, and an audience enjoying itself on the ' greatest-laughter principle.' Those who are curious in merriment may find food for speculation in compar- ing our comic singer with the Parry of the Parisians, M. Levassor, who is here also. The English artist is the most of a musician ; M. Levassor the best mime. ' Blue Beard ' and ' The Sleeping Beauty,' and the ' Accom- plished Young Lady,' are helped to half their fun by tricks of accompani- ment, happily parodied vocal remi- niscences, and nicely-disposed melo- dies ; while ' Le Cure Patience ' and ' Le Chanteur Choriste ' owe a large share of their drollery to the inimit- able personation of face, voice, and manner of the French actor. Mr. John Parry is never vulgar, never indulges in the most homoeopathic exhibition of double entendre?- — Athe- nceum-i June 10, 1843. In 1850 Mr. Parry originated an entertainment in London under the designation, " Mr. John Parry's Notes," thus spoken of in a con- temporary journal : — " There is mirth in the words, wit in the music, and a versatility of power and accomplishment put forth in the execution of both, which will raise Mr. Parry's reputation even with those with whom it has al- ready stood the highest. He talks, he sings in half-a-score of different voices and styles ; he plays the pianoforte more boldly and bril- liantly than ever He changes his dress with the ra- pidity of sorcery ; and we repeat, entertains his company better than any one single-handed since Ma- thews." Mr. Parry continued his entertainment in London with very great success until 1853, when he advertised his intention of bid- ding farewell to public exhibition, being compelled to retire owing to ill-health. Following upon this announcement these comments appeared in the Atlienaitm of August 13, 1853: — "By his de- parture music and merriment sus- tain no ordinary loss ; since (as the Athe/tcEum has again and again pointed out) there was something besides, and far beyond the ordi- nary buffoon in Mr. John Parry's- performances — a spirit of quaint humour told in, and aided by, music, nothing short of artistic, the like of which we have never met save perhaps in the comical- ities of that eccentric genius, M. Vevier. It should be recorded that John Parry's drolleries have been as delightful to the most scientific and most fastidious of musicians as to the general audi- ences 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 mis- take not, under the aid and by the abetting of Madame Malibran at PATEMAN, ISABELLA. ?55 Naples ; but we have seen Men- delssohn 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, paro- dies, imitations, and amphigouris* 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 happily 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 pub- lished 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 lament- ably 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 epi- thets as ' Great ' and ' Jolly.' Nor had Mr. John Parry anything of the ' Lion comic ' about him. His humour was of the quiet, sugges- tive, subtle kind. He could invent, and himself impersonate, charac- ters which became accepted as types. ' Impersonate' is, perhaps, * " A term popular in Paris at the beginning of the century. An amphi- gonri is not a 'medley,' as we under- stand the term, so much as a macaronic compound of music and words— of sense and jargon— of the sublime and the ridiculous— of the antique classical modes and the nonsense of the minute." — Athetueum, Aug. 13, 185 1, p. 971. not the word ; for Mr. Parry con- tented himself with indicating pe- culiarities, and never for any length of time sustained a part. Those who have not had the ad- vantage or disadvantage of seeing him (for he was in his prime many years ago) will get a better notion of his genius by remember- ing 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 be- came a comedy scene with musical illustrations. It seems, more- over, to be an understood thing that the ' entertainer ' of the school founded by 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 accom- paniments, and, as a matter of course, sing his own songs. Now that Mr. Arthur Cecil has aban- doned the entertainment, specially so called, for the drama, and that Mr. George Giossmith has, in some measure, followed his ex- ample, the only artist who can be looked upon as a worthy con- tinuerofthe John Parry tradition is Mr. Corney Grain. Excellent as this gentleman's performances are, those of Mr. Julia Parry were still more admirable, if only from the fact that Mr. John Parry invented, not merely his own en- tertainments, but the whole style of which each of tins.- entertain- ments was an exampl PATEMAN, ISABELLA. Made her dibut on the London stage October 28, 1876, as Lady ClatlCarty in a revival of that play at the Olympic Theatre. Had previously acquired a con- 2$6 THE DRAMATIC LIST. siderable reputation as an actress in America, and before going to that country had performed in the provinces. " The present performance pos- sesses, among others, one particular feature of interest in the introduction to the London stage of a new actress. Mi-s 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 Clancarty. For her perform- ance 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 ex- cellence 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 appa- rent. 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 ex- pressed, it scarcely rings true. Nor do we think Miss Pateman has in- vested 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 archness 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." — Times, Nov. 2, 1876. 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 role 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. Miss Pateman sustained in the drama the part of Adrienne. 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.' PATTISON, KATE. Born in Chelsea. 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 Oblige Benson.' Miss Pattison had been previously associated with Miss Emily Faithful in the conduct of the 'Victoria Maga- zine,' and accompanied that lady during a year's tour in the United States. First appearance in Lon- don at the St. James's Theatre in ' A New Way to Pay Old Debts,' Mr. Hermann Vezin playing the character of Sir Giles Overreach. Miss Pattison was afterwards en- gaged by Mr. Chatterton and played at the Princess's Theatre, subsequently accepting an engage- ment at the Lyceum, under the management of Mrs. Bateman. PAUL, MRS. HOWARD. 257 Miss Pattison's acting has at- tracted the favourable notice of competent critics who are unani- mous in conceding that she is possessed of the valuable stage qualities of a good delivery and clear articulation. Miss Pattison is now (October 1878) on tour in the provinces with Mr. and Mrs. Kendal, playing the part of the Countess Zicka in ' Diplomacy.' PAUL, MRS. HOWARD {nee Isabella Featherstone). Born at Dartford, Kent. Was well known in London as an actress and singer of great promise some twenty-five years ago. It has been remarked of her (A t/ienceum, 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 ^tage as she possesses, which might have made her the Malibran of Eng- land, and as such an artist of European renown. One of Miss Featherstone's most important parts was Captain Macheath, in ' The Beggars' Opera,' which she played at the Strand Theatre in 1853. She also appeared at the Haymarket Theatre in this cha- racter with great success, Mon- day, October 24, 1854. The same year Mr. and Mrs. Howard Paul first appeared to- gether in a dialogue play which attained a con able degi 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 " en- inment" entitled ' I work,' described in a contem- ry journal as "a clatter of fun, frolic, song, and impersona- tion carried on by performers of unfailing dash." For some years Mr. and Mrs. Howard Paul con- ducted this entertainment in Lon- don and elsewhere with well- merited support from the public. Mrs. Howard Paul returned to the stage in 1869, ai *d in February of that year appeared at Drury Lane as Lady Macbeth, with Mr. Phelps and Mr. Charles Dillon acting on alternate nights the leading role. She has since performed in other plays on the London and pro- vincial stage, her most recent appearance being at the Opera Comique in ' The Sorcerer,' comic opera by Arthur Sullivan, pro- duced in April 1878. PEMBERTON, MRS. JOHN C. See Fowler, Emily. PHELPS, EDMUND. Mule his professional debut in the pro- vinces, and, after three or four years' practice there, appeared for the first time on the London boards at Sadler's Wells Theatre, November 21, i860. Sustained the part of Ulric in the tragedy of ' Werner.' " Mr. Edmund Phelps, a son of the popular and respected manager of the above-named theatre (Sadler's Wells), has, in the course of the last few d made his fn st appearance 00 the and, by a highly creditable impersona- tion of the part of [/Iric, in the tr of ' Werner,' ha, at once gain enthusiastic verdict of approval from an audience critical and edu ated m the mosl legitimate school of acting, one which 5 any spe ial recommend to sympathy, yet it ha*, the mi not taxing to an excessive degree the exertion, of the artist to whom its embodiment i, entrusted. Save in the third and fifth acts, it is more a if manly bearing and plain- speaking than of nicety or histrionic display. Mr. Edmund Pbelps po natural advantages S 2 5 S THE DRAMATIC LIST. for his profession, which, united with industry and perseverance, cannot but lead him to distinction. He is tall and well formed, has a graceful and chivalrous bearing, and a pleasant and sonorous voice ; though evidently a novice, he is easy and unaffected in his action, and dresses with an amount of neatness and taste that betokens artistic thought and care. . . . The chief evil Mr. Edmund Phelps has to avoid is that of mannerism. Because he follows — and he could hardly do better — his father's footsteps, he is not forced minutely to copy his father's style. He possesses undoubted intelli- gence, and many very excellent quali- ties. Let them have clear scope, a fair field, and the favour of an audience who have a genuine respect for his name, and his reputation will be of a truly enviable description." — Daily Telegraph, Nov. 24, i860. Among characters which were subsequently performed by Mr. Edmund Phelps during his father's connection with Sadler's Wells Theatre, the following may be mentioned, viz., Leo)iardo Gou- zago in ' The Wife,' December 10, i860; Faulconbridge in a '• revival " of ' King John,' Feb- ruary 16, 1 86 1 ; Edgar in ' King Lear ' (at the Princess's Theatre during Mr. Samuel Phelps' en- gagement there), May 23, 1 86 1 ; Prince Henry in ' King Henry IV.,' September 14, 1861, at Sad- ler's Wells ; Nemours in ' Louis the Eleventh,' September 21, 1861, at the same theatre. On the occa- sion of his father's farewell per- formance at that theatre, Thurs- d iy, November 6, 1862, in Shake- speare's 'Julius Ca;sar'(Mr. Samuel Phelps playing Brutus and Mr. Creswick Cassius), Mr. Edmund Phelps sustained the character of Marc Antony. In 1863 Mr. Edmund Phelps became a mem- ber of Miss Marriott's company when she undertook the lessee- ship of Sadler's Wells, and played, among other characters, Novem- ber 5, 1S63, St. Lo, in a revival of Lovell's play of ' Love's Sacri- fice'; and on November 9, 1863, Sir Gerard Fane, first perform- ance of Westland Marston's drama, ' Pure Gold.' During an engage- ment of Miss Helen Faucit at Drury Lane Theatre in 1864, Oc- tober 17, Mr. Edmund Phelps played Pisanio in a revival of ' Cymbeline.' Wednesday, April 3, 1865, first performance at the same theatre of Falconer's drama, ' Love's Ordeal,' he performed the part of Eugene. At the same theatre, in 1866, October 20, first performance of an adaptation of ' Faust,' by Mr. Bayle Bernard, Mr. Edmund Phelps played the part of Faust. At the same theatre, January 21, 1867, in a revival of George Colman's comedy of ' John Bull,' he appeared as the Hon. Tom Shuffleton. Mr. Ed- mund Phelps has appeared at the principal theatres in London and the provinces from time to time in almost every line of character in the legitimate drama, to the study of which, during his pro- fessional career, he has chiefly directed his attention. PHELPS, SAMUEL. Born at Devonport, in 1S06. Was ap- prenticed to a printer in early life ; but relinquished the printing trade for the dramatic profession, which he entered in 1828. making his first appearance at York. Made his professional debut on the London stage at the Haymarket Theatre, under Mr. Benjamin Webster's management, August 28, 1837, as Shy lock, in the ' Merchant of Venice.' " Mr. Phelps, an actor of some pro- vincial celebrity, appeared last night at this theatre (the Haymarket) in the PHELPS, SAMUEL. = 59 part of Shylock. His representation of the character was correct and judi- cious, but 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 ex- tremely well received." — Morning Chronicle, Aug. 29, I S3 7. From 1S37 to 1839 ^ Ir - Samuel Phelps was one of the leading actors at Covent Garden Theatre, under Mr. Macready's manage- ment, appearing in most of the original pieces rirst produced there under that distinguished trage- dian's auspices. {See FAUCIT, Helen.) In August 1839, at the Haymarket. Mr. Phelps played Iago ('Othello',, with Mr. Mac- ready, Mr. Power. Mr. Benjamin Webster. Mrs. Warner, and Miss Helen Faucit in the cast. During 1840 and 1841 Mr. Phelps was en- gaged at the Haymarket. and oc- casionally at Drury Lane Theatre (sometimes with Mr. Charles Kean), playing in the poetic drama such parts as Darnley, in ' Mary Stuart ' January 1840) ; Cabor, in 'Werner' October 1840); Macduff^ &c. In January 184 J, he took part in the performances inaugurating Mr. Macready's management of Drury Lane, playing Antonio 'Merchant of, Venice' ; Lord Norland, in Mrs. Inchbald's comedy ' Every One Has Hi> Faults ' ; and, sub quently, the same month, Stuke- ley, in 'The Gamester.' Later 111 the year Jul) . he appeared at the Haymarket Theatre, in the character of Sir Giles Overreach, the elder Farren playing Mar all; and at Drury Lane as Faulkland (' The Rivals ') ; Old Doniton (' The Road to Ruin ') ; and Iago. " Mr. Phelps was the Iago, and the best we have seen since Mr. Young ; 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 charac- I ter." — Athenaum, Oct. 22, 1842. The same year (December 10), at the same theatre, he sustained the part of the Earl of Lynteme, first performance of Westland Marston's ' Patrician's Daughter." This was one of the most careful impersonations in that unsuccess- ful but clever play. During 1843 Mr. Phelps played the following original parts, viz., Lord Tresham, in Brownin tic melodrama, ' A Blot on the Scutcheon ' ; Lord By er dale, in Sheridan Know! play, ' The Secretary ' ; I hut si,. in Smith's tragedy of " Athelwold ' ; and (at Covent Garden Theati Gaston de Foix, in Boucicault's drama. ' Woman.' In 1844 the ' New Theatres Regulation Act'* having been passed, pi. icing all theatres upon an equal footing of security and respectability, Leaving no differ- ence, except in the object and conduct of the managements, Mr. Samuel Phelps, in conjunc- tion with Mrs. warner, entered upon the lesseeship of Sadlei \\ • lis Theatre, then dilapidat * Mr. Phelps v manager t" take advai Act, by which all enabled to do what tin- jo«< ail< I patent i n privileg ittempt, tin' p< rformani e "i ; five-act poetic drama. 260 THE DRAMATIC LIST. 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 present- ing ' 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." — Athentzum, June I, 1S44. 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 neighbour- ing Islington, but by visitors from the remote and more aristocratic quarters of western London. Mr. Phelps'principal characters, before he entered upon theatrical man- agement, had been Macbeth, Shy- lock, 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 cha- racters 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. " There is great merit in Mr.Phelps* performance of King John. The dialogue with Hubert, in which he makes known that the life of Arthur is an impediment in his way, was given with much subtleness, and he was highly successful in rendering the restless anxiety and infirmity of purpose which mark the latter part of John's career." — Times, Jan. 30, 1849. Mr. Phelps soon established a reputation which placed him in the front rank of his profession^ "He is not only a modest and intelligent man, but a skilful and able performer — an actor of in- tense passion. In the more pa- thetic passages of a part, comic as well as tragic, he gives a tone of reality to the action that com- monly transports the audience into the precise spirit of the scene." In 1845 (March) he per- formed Richard the Third for the first time ; and, on the 16th of June of the same year, Richelieu (of this play Mr. Phelps was the original Joseph : 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 stu- died and well-drilled throughout." PHELPS, SAMUEL. 261 On the 27th August, 1845, he pro- duced ' The Fatal Dowry ' of Massinger ; and, in November, ' King Lear.' ".Mr. Phelps' performance of Lear may be easily excelled in royal dignity and in physical vigour ; but as a pa- thetic piece of acting is 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 pro- I prieties 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 em- phasis required by its rightful posi- tion. Was it on that account less effective with the audience ? Not a whit." — Athemmm, Nov. 8, 1845. The same year he placed the "Winter's Tale' on the stage of Sadler's Wells. Saturday, July 25, 1846, having vastly improved the theatre in the recess, externally and internally, he opened the season with ' Henry the Fourth,' \ himself playing the part oi Falstaff. " Mr. Phelps, whose particular/or/^ is the pathetic, and who can represent some man of solid worth stricken down by adverse circumstances, as well as any one 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 recognise 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 prini in the character of the king (is not this lecture often omitted in the acting 1 version ?) was amusingly pompous, and his soliloquy on honour, with the 1 modulations of the word 'No,' capi- j tally 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 charac- ter, but they hailed the character itself. It was the comic part of the evening, and the pleasantries, the rho- domontades and dilemmas of ' plump Jack ' created that sort of laughter which, in Westminster, pertains to a new broad farce."— Times, July 29, 1846. In the following year (1847), Wednesday, January 13th, .Mr. Phelps produced, at Sadler's Wells, Beaumont and Fletcher's play of ' A King and No King,' " with that diligent care and those ap- propriate appointments of scene and costume which made famous this little theatre under his man- agement." The interest excited by the announcement of the play was immense. The house was crowded. The best judges of the drama were present. The per- formance 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 ed the character ot Arbaces, Mr. Marston that of Ttgranes, Mr. Bennet Bessus, Miss Laura Addi- son Panthea, and Miss Cooper Spaconia. On Wednesday, June 2, 1847, Mr. Phelps closed the •hi with Lovell's ' Provost of Bruges. 1 The following, his fourth season, he " opened " with 'Cym- beline,' playing Posthumus. Tues- day, Da emb< r 7. 1847, Mr. Phelps took part in the performances .it 1 in < ..mli n The. itre, in behalf of a fund for the purchase of 262 THE DRAMATIC LIST. Shakespeare's house at Stratford- on-Avon. He played Prosper o, 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. "The Malvolio of Mr. Phelps is a part by which he 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." — Athenaum, Jan. 29, 1848. 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 Mon- tague, ' the honest man '; and, on Monday, October 22, 1849, 'An- tony 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 185 1, on the oc- casion of Mr. Macready's fare- well of the stage at Drury Lane Theatre, Mr. Phelps played Mac- duff to the great actor's Macbeth. Saturday, December 6, 185 1, at Sadler's Wells, Mr. Phelps played, with remarkable success, the part of Sir Pertinax MacsycopJiant, in 'The Man of the World.' In 1852 he revived ' All's Well that Ends Well,' and gave the character of Parolles, one of his most important and interesting impersonations. I n 1853, Saturday, October 8, he pro- duced ' The Midsummer Night's Dream,' and played Bottom. " Every reader of Shakespeare is disposed to regard the 'Midsummer Night's Dream ' as the most essen- tially unactable of all his plays. It is a dramatic poem of the utmost grace and delicacy ; its characters are crea- tures of the poet's fancy, that no flesh and blood can properly present — fairies that 'creep into acorn cups,' or mortals that are but dim abstrac- tions, persons of a dream In some measure we have found reason to modify our opinion on these mat- ters, since we have seen the ' Mid- summer 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. Every- thing has been subdued as far as pos- sible at Sadler's Wells to this ruling idea. The scenery 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 esta- blishment of a harmony between the scenery and the poem It re- mains for us only to speak of the success of Mr. Phelps as Bottom r 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 con- ception 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 speaking pon- derously with the uncouth gesticula- tion 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. Through- out the fairy scenes there is a mist thrown over Bottom by the actor's art. The violent gesticulations become stillness, and the hands are fixed on the breast. They are busy with the un- perceived business of managing the PHELPS, SAMUEL. 263 movements of the ass's head, but it is not for that reason they are so per- fectly still. The change of manner is a part of the conception. 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 a'.so 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 incorpo- rated 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 ol 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 clings about him, he cannot sever the real from the unreal, and suit 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, .i l >.u>' a jot of the laughter that the character of Bottom was intended to excite. The mock play at the end was in- tensely ludicrous in the presentment, yet nowhere farcical. It was the dream. Bottom as Pyramus was more perfectly a dream-figure than The contrast between idowy actur and hi-- part, between Bottom and Pyramus, was marked intensely ; and the result was as quaint a phantom as could easily be figured by real flesh Wehave said a good deal of tins revi- val, for it is very doubtful wheth 4 Midsummer Nights 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, Oct. 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 manage- ment had now become famous. The following year he dealt with the ' Comedy of Errors,' which was received with remark. 1 hie favour ; and, in 1856, 'The Merry Wives of Windsor ' was performed, concerning which, and his repre- sentation of Sir John Ealstajf, the following criticism 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' successes in such characters as Mr. Justice Shallow, Bottom, the weaver, Sir John Falstaff, and Sir Pertinaz Macsycophant, are all mani- festly 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, ami are subject to the green-room charge of 'hardness'; but the thoroughgoing earnest with which the delineation is made complete, even to the minutest details, must be accepti ompensation." —Athenaum, Oct. 11, 1S56. The same year, on Saturday, November 1^. be placed 'The Taming of the Shrew.' with the Induction, upon the Stage, and acted in it the put of Christopher Sly. This play numbered the twenty-ninth of tiie Shaki dramas introdui 1 d bj Mr. Ph< Ips to the .m "I Sadlei 's Wells the twelve years he had now held the the. >6 4 THE DRAMATIC LIST. " An excellent type of low, clogged, habitual inebriety is presented by Mr. Phelps in his impersonation of Chris- topher 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 Hay- market in 1844, within the memory of many generations — although ' Kathe- rine and Petruchio,' as Garrick's abridgment is called, has always been a favourite afterpiece. 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 Kathe- rine and Petruchio 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 re- viving, lacking as it does all the practical fun and ingenuity which belong to the ' Comedy of Errors,' while it is marked by the same pup- pet-like treatment of the personages that belong to that primitive work." — Spectator, Nov. 22, 1856. In October 1859, Mr. Tom Taylor's play, ' The Fool's Re- venge,' was brought out by Mr. Phelps, whn sustained the part of Bertuccio the Jester — which be- came afterwards one of his favour- ite and most popular impersona- tions. " Mr. Phelps played the Jester un- evenly ; the bitter speeches were very well given ; the gibing, mocking spirit well sustained ; but where tenderness or rage was to be portrayed, he fell into rant and extravagance. It is a sad thing to think of, but Mr. Phelps is beginning to be spoilt by his au- dience ; they so idolise him, and so enthusiastically applaud his passion when torn to tatters, that he is not so good a second-rate actor as he was when he first undertook the manage- ment of the theatre It is needless to say that the play was successful ; for so educated and pecu- liar is this audience, that to them the dullest platitudes and truisms, if set in blank verse, would be more accept- able than the raciest wit of modem dialogue. Moreover, the mere plot of the piece makes it an excellent melo- drame, and the interest, however much damped, is not extinguished by the weight of the language. Applause was constant throughout, and Mr. Phelps was called at the end of each act." — Daily News, Oct. 19, 1859. Saturday, September 8, i860, he commenced his first season of sole management o f 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 the Eleventh, in a version of Casimir Delavigne's play of that name. " Mr. Phelps is a true artist, and never plays a part which he has not carefully studied nor of which he has' not some general notion that may be expressed by close attention to details. His power of embodying character in manner and appearance was never more clearly shown than on his first entrance as Louis XI. — there was the very man before the audience. The tottering yet decided step, the down- cast yet searching look, the sharp, quick, decided manner of one accus- tomed to be obeyed, the penetrating eye, the shrewdness, the odd mixture of cowardice and decision, were almost at once to be recognised, and never suffered to drop out of sight. 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 weak- ening of the general effect, in a want PINERO, ARTHUR. 265 of concentration, and, if the word may be here used, of lubricity — faults which, as they are the very opposite of slovenliness, a few evenings' prac- tice 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' performance of Louis XI. cannot fail to be looked upon as cne 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 cer- tainly not the rule upon the stage." — Standard, Sept. 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.' Thurs- day, November 6, 1862, his fare- well benefit took place. The play was 'Julius Caesar'; Mr. Phelps acting Brutus, Mr. Creswick Cas- sias, Mr. Edmund Phelps Marc Antony. Mr. Samuel Phelps had conducted Sadler's Wells Theatre for a period of eighteen j during which time he had placed no less than thirty-four of Shake- speare's plays before the public. For some years Sadler's Wells maintained itself exclusively by the performances of the Shake- spearian drama, and it would have been in vain to have gone elsewhere for such plays as ' An- tony and Cleopatra,' ' Timon of Athens,' ' Pericles,' and ' I 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 pro- duced as spectacles by Mr. Charles Kean at the Princess's. Subse- quent to the year of his retiring from the management of Sadler's Wells Theatre Mr. Phelps has appeared in 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 role. " 1 1 is 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." — Atheiucum, Oct. 17, 1863. Mr. Phelps' last original part of any note was that of I'rapbois, in ' King o' Scots,' performed .it Drury Lane, in October 1868. He has appeared at London theatres since that date in some of his favourite and best known characters. PINERO, ARTHUR WING. Born in London, 1855. Son of a solicitor, and grand-nephew of ( .ipt.nn Thomas Wing, who fought on board the ' Victory ' at Trafal- gar. Was educated for the [< 1. First appeared on the stage at the Theatre Royal, Edinburgh, on the JJnd June, 1874. Continued at that theatre, 1 the management of m r. and Mrs. K. H. \\ \ in 11 1.1 in, until the 6th February, 1 n the 1st March following joined the com- 266 THE DRAMATIC LIST pany of the Alexandra Theatre, Liverpool, under Mr. Saker. First appearance in London, April 15, 1876, at the Globe Theatre, in the character of Mr. Darch, in Wilkie Collins's play of ' Miss Gwilt.' Joined the Lyceum company, Sep- tember 4th of the same year, and played Claudius to Mr. Irving on his first " Hamlet tour," in all the principal theatres in the United Kingdom. Subsequently played Lord Stanley, in the Lyceum re- vival of Shakespeare's ' Richard III. ' ; Shrowl, in Wilkie Collins's ' Dead Secret,' &c. " Praise must also be awarded par- ticularly to the performance of Shrowl by Mr. Pinero." — Daily News. Is author of l £200 a year,' a piece first played at the Globe Theatre, London, in October 1877, and of ' La Comete ; or, Two Hearts,' an original drama in four acts. 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.' Was connected with the same theatre, playing various light- comedy parts, until 1870. August 1872, accepted engagement as stage-manager of the Queen's Theatre, Manchester. In May 1873, joined Craven Robertson's ' Caste ' company, playing the fol- lowing characters, viz., George D'Alroy (' Caste '), Lord Beaufoy (' School '), and Angus Mc A lister (' Ours '). First appearance on the London stage at the Standard Theatre, June 1874. ' ' Mr. H. M. Pitt plays well and care- fully as Lord Beaufoy, not the least of his good qualities being his distinct enunciation. There is an ease and re- pose in his acting which shows coming strength." — Standard, June 1874. May 1875, M r - Pitt assumed the management of ' The Two Roses ' company, playing the fol- lowing parts : Jack Wyatt (' Two Roses'), Claude Redruth ('For- given '), 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. PITT, MRS. H. Addison, Fanny. M. See POWER, CLAVERING. Son of the late Edward Power, Esq., of the Middle Temple, barrister- at-law. Born in London, 1842. Educated at King's College, Lon- don. Entered the Madras Army as ensign December 1859, an d subsequently joined H. M. 105th- Regiment. Served for five years in India, and retired from the service as lieutenant in 1870. In that year entered the dramatic profession, and in October made his debut on the London stage at the Victoria Theatre as Woodcock in the farce of ' Woodcock's Little Game.' Afterwards, on tour in the provinces, played the part of Caleb Deecie in Albery's comedy, ' The Two Roses.' Has been en- gaged as " leading actor " at several theatres in the provinces. In 1877-8 fulfilled engagements at the Folly and Alhambra Theatres in London, appearing for the most part in opera bouffe — the ' Grand Duchess,' ' La Fille de Madame Angot,' &c. REED, MRS. GERM AX. 267 REED, MRS. GERMAN {nee PRISCILLA HORTON). First at- tracted notice in London as an the V 10- actress in melodrama at toria Theatre, under the ment of Messrs. Abbot and Egerton, and when Mr. Sheridan j Knowles arid Miss Mitford en- deavoured to support its interest by allowing their plays to appear on its boards. Was playing at that theatre in February 1834 as Kate in Sheridan Knowles's drama ' The Beggar of Bethnal Green.' In 1835 (August) appeared at the English Opera House, in a Scotch ballad opera called ' The Coven- anters,' and an agreeable trifle, performed under the title of ' Do- mestic Arrangements.' In 1836 (January) was zealously contri- buting 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, played the part of Ariel. At the same theatre, dur- ing the following year, played in English opera. Tuesday, March 16, 1^40, sustained the part of Ophelia at the Haymarket Theatre, under Mr. Benjamin Webster's management, in a "revival" of 'Hamlet,' with Macrcady and Phelps in the principal parts. "The only striking novelty in the performance is the Ophelia of Miss P. Horton, which approaches very nearly to the wild pathos of the original in 01 , and is touching and beautiful in all. A little mon the love-lorn maiden, and a little less of the professional vocalist, would render it as perfect as a sentation of >uld well be.'' — Athenautn, March 21, 1S40. At the same theatre, during the same year (Tuesday, December 8), Miss P. Horton sustained the part of Georgina Vesey, first performance of the late Lord Lytton's play of ' Money.' In 1 841 was still a member of the company of the Haymarket The- atre, appearing in various come- dies. In 1842 (November 16), at Drury Lane, under Macready's management, played with some success the part of Philidel, in a "revival" of Purcell's 'King Arthur'; and in March of the fol- lowing year, appeared in the title role of the fairy spectacle ' For- tunio and His Seven Gifted Sis- ters.' In 1844 (January 1), 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\" M iss P. Horton performed the part oiGraceful. She continued a mem- ber 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." During the Keeley management of the Lyceum The. are, 1844-7. sheacted in extravaganza and pantomime, produced there annually at F.ister and Christmas, with access. Miss P. Horton. in fact, was the mainspring of this class of enter- tainment at the Lyceum under Mrs. Kec ley's regime, and at the Haymarket, under that of Mr. Bi njamin Webster. Tue day. 1 >e- cember 7, 1847, Mhs I'. Horton acted (with the leading players of the daj . at Covent Garden The- atre, the part of Ariel [' Tempest,' :63 THE DRAMA TIC LIST Act I, Sc. 2), in aid of the " Fund for the Purchase and Preservation of Shakespeare's House at Strat- ford-on-Avon." In 1849 she played in the various Shakespearian " re- vivals " of Mr. and Mrs. Charles Kean, at the Haymarket. From 1850 to 1854 Miss P. Horton ap- peared from time to time at the Haymarket, Drury Lane, and Olympic Theatres, for the most part in extravaganza. The latter year she went on a " starring " tour in the provinces " with a sort of entertainment or medley song, in which the different European styles of singing are represented or parodied." This entertainment — produced in conjunction with Mr. German Reed, a gentleman of considerable musical ability, to whom she had been married in 1844 — was the forerunner of the amusing and popular series of draw- ing-room plays given for so many years by Mr. and Mrs. German Reed at "The Gallery of Illustra- tion, - ' Regent Street, London, and now (1S78) at St. George's Hall, Langham Place. Miss P. Horton's last appearance on the stage proper took place in 1858. REEVE, WYBERT, Born in London, 1831. Entered the dramatic profession at Bradford, Yorkshire, in 1849, playing the part of Frederick in ' TheWonder.' Afterwards joined the York cir- cuit, appearing in various juvenile leading parts, as Azael, Sir T. Clifford, &c. In 1852, at Ply- mouth, produced his first dramatic piece, a farce, entitled ' An Aus- tralian Hoax.' In 1855 joined the Bath and Bristol company. The same year wrote and produced a farce entitled ' Supper Gratis,' acted during the summer months in Mr. Roxby's circuit. In 1857 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, produced a come- dietta entitled ' A Match for a Mother-in-law,' and was also part author of the successful panto- mime entitled ' Blue Beard.' On leaving Manchester to enter upon the management of the Cardiff, and subsequently of the Swansea and Ryde Theatres, was presented with a testimonial by his profes- sional colleagues of the Theatre Royal. In 1862 managed the Theatre Royal, Sheffield, under the lesseeship of Mr. Charles Pitt, a position which Mr. Reeve re- signed in 1865, for the purpose of opening the New South Shields Theatre. In 1867 he became lessee of the Theatre Royal, Scar- borough, of which he is now (1878) proprietor. At Sheffield wrote and produced ' Pike O'Callaghan,' 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 panto- mimes entitled ' The Dragon of Wantley,' ' Robinson Crusoe,' and ' Little Red Riding Hood.' First appearance on the London stage, October 1869, at the Lyceum The- atre, as John Mildmay, in ' Stdl Waters Run Deep.' "Mr. Reeve possesses the necessary qualifications to render his assumption of John Mildmay essentially popular — a pleasing physique, deep sonorous voice, distinct enunciation, gentle- manly 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 pro- duced and appeared in his come- ROBSON, E. M. 269 dies of ' Won at Last,' and ' Not So Bad After All,' at the Charing Cross Theatre, with success. In 1 87 1 (after playing in the pro- vinces) he returned to London and appeared at the Olympic Theatre as Walter Hartvuright, on the production of Wilkie Collins's play ' The Woman in White.' Shortly afterwards, during Mr. George Vining's illness, Mr. Reeve sus- tained the part of Fosco in the same play, and so satisfactorily, that he has since performed this character more than fifteen hun- dred times in various cities of the United Kingdom, Canada, and the United States of America. " Mr. Reeve's intellect is, mani- festly, 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 bearingis notably refined and very agreeable. He used no stage tricks to entrap attention, but, in a mood of quiet power and skilful precision, he em- bodied 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 simplicity." — New York Tribune. Is a member of the Dramatic Authors' Society. 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 dramatisations of 'George Geith' and ' No Name' (the latter made at the request of Mr. Wilkie Collins). ROBSON, E. M. Born in London, January 12,1855. Nephew of the distinguished comedian the late F. Robson. First discovered 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 " star- ring " tour in Ireland. First pro- fessional engagement, 1871, at the Elgin Theatre, under Mr. Edward Price's management. Has since played at the leading provincial theatres, notably in Edinburgh, Liverpool, and Birmingham, seve- ral of the late Mr. F. Robson's more important conceptions. "Mr. E. M. Robson deserves a paragraph to himself. A low comedian who does not forget his art and rush at every opportunity into burlesque is such a vara avis that his appearance should be specially recognised His acting in ' Plot and Passion ' was almost the perfection of art, and shows that he is capable of great things, if he only continues to culti- vate and not to squander his talent." — Liverpool Mail, June 17, 1876. "As Captain Backstay, Mr. E. M. Robson proves himself, as usual a useful burlesque actor. The very look of him is provocative of laughter, and his personation in the more farcical touches is sustained with an impene- trable gravity that often proves quite irresistible." — Scotsman, December 18, 1876. 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. ALEXAN- DER. See Barry, Helen. ROUSBY, CLARA MARION JESSIE. Made her first appi ai ance on the London stage at the Queen's Theatre, I .ong Acre, De- cember 19, 1869., as Fiordelisa, in 270 THE DRAMATIC LIST. Tom Taylor's drama ' The Fool's Revenge,' founded upon Victor Le Roi s'Amuse.' Hugo's " 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 merely provincial reputation, whose merits, discovered by a sort of acci- dent 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 ap- pearance, was Mr. Tom Taylor's ' Fool's Revenge.' A fresher and more genuine interest was awakened by Mrs. Rousby's per- formance of the part of Fiordelisa. A fine countenance, a lithe and graceful figure, and a voice capable both of soft utterances and of passionate declama- tion, 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. Herstyle of acting is essentially refined. In proof of this let anyone note care- fully her artless confession 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 artificial utterances, the offensive self-con- sciousness and transparent coquetry of the powdered and rouged young inginue 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 inevit- able danger, manifest in her attitudes and gestures throughout this powerful scene." — Daily News, Dec. 22, 1869. 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 con- stantly seeking an opportunity 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 unshaken in loyalty to her sister. By the intro- duction of Courtenay, Earl of Devon- shire, a romantic tinge is given to her character. The 'White Rose,' as he is called, is the type of 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 intelligence 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 accession 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 consistent with himself, but he has found an actress who com- pletely realises his lofty conception. This is Mrs. Rousby, who, not long ago, made her debut in the ' Fool's Revenge,' and who now, as the Prin- cess Elizabeth, gives a delineation of ROUSBV, WYBERT. 271 character, in which the natural and the ideal are combined with a har- mony 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 acci- dent that adds to the truthfulness of the performance. Mrs. Rousby, how- ever, 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 Theatre Francais." — Times, Jan. 27, 1870. '■ .Mrs. Rousby was excellent as Elizabeth, and showed the possession of high powers. Timid at first, and over-complaisant, she warmed as she proceeded, and in the scene at the close of the fourth act, and in that in which she heard of the death of her sister and of Courtenay, displayed intelligence and tragic fire." — Athen- ceum, Jan. 29, 1870. Among other noteworthy plays in which Mrs. Rousby has ap- peared 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 187 1, Mrs. Rousby sustaining the leading role; 'Griselda' (Miss Bradon), 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 February 1874, Mrs. Rousby in the title role ; ' The Gascon ; or, Love and Loyalty ' (adapted by W. Muskerry from the French of M. Barriere), pro- duced at the Olympic Theatre in February 1876, Mrs. Rousbj playing the part of Mary Stuart. Mrs. Rousby has also performed leading parts (of which the fol- lowing will suffice as examples) in various revivals of the legiti- mate drama in London. In Feb- ruary 1 87 1 , 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 W r ife ' (Sheridan Knowles) at the Olympic Theatre, she played Mariana. Mrs. Rousby has also appeared with much success at the principal theatres in the provinces in the various plays already enumerated. ROUSBY, WYBERT. Was an actor of provincial repute pre- vious 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. lie 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 an for the sole object 1 ■! his affections — his daughter, whose existence is the secret of his lite. Careful elaboration 1^ suggested by every point of Mr. Rousby's "t";: in this part, from the picturesque ill attitudes, of \\ hi' h he has so great a variety, to the manifold wrinkles of his malignant smiles. Indeed tin- faults of his per- formance lie on this side, though it 72 THE DRAMATIC LIST. 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 points are undoubtedly traceable more to the school to which his style belongs than to the promptings of his own genius." — Daily News, Dec. 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 role. (See Rousby, Clara Marion.) In Mr. Tom Taylor's drama, ' 'Twixt 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 per- formance, 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 1871 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, atDrury 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. Born at Eversholt, Beds, August II, 1841. Entered the dramatic profession in the year i860, as an auxiliary at Covent Garden Theatre, in the opera of ' Un Ballo in Maschera.' Specially studied operatic and character dancing. In 1861 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, first sustained the part of Harle- quin in the pantomime of ' The Yellow Dwarf.' Has since played Harlequin with great success at theatres at the following principal towns, viz., Leeds, York, Sheffield, Hull, Lincoln, Nottingham, Man- chester, Glasgow, Edinburgh. While playing the character at the York Theatre in 1868 Mr. Royce was the means of saving the life of a little 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 was the original Welch in Chas. Reade's drama of ' Foul Play,' concerning which the author, in a letter to the editor of the Manchester Ex- aminer (June 26, 1868), said that "it owed a large share of its success to the talent and zeal of the per- formers, and especially of those who played the minor characters." Has been a member of the travel- ling companies of Mr. John Cole- man and Captain Disney Roe- buck. In 1872, at the Prince of Wales's Theatre, Liverpool, played the part of Varney in Halliday's revised burlesque of ' Kenilworth,' entitled ' Little Amy Robsart.' The same year accepted an en- gagement from the management of the Gaiety Theatre, in London, and first appeared at that theatre September 1872, in the part of Whiskerandos in ' The Critic' At the St. James's Theatre, during the management of Miss Litton, played Tom Cobb, first perform- ance of W. S. Gilbert's farcical comedy of that title. At the Gaiety Theatre has played the following JOHN RYDER. RUSSELL, HOWARD. 273 original parts, viz., Dick Ever- green (' My Awful Dad '), Derrick ('Young Rip Van Winkle'), Josd ('Little Don Caesar de Bazan'), Count S)niff (' The Bohemian Gyurl'), Valentine (' Little Doctor Faust'), Elvino (' II Sonnam- bulo '), and Radapolam (' Rajah of Mysore'). In 1S73 an d 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 under- taken the responsible duties of stage-manager and master of the ballet. RUSSELL, HOWARD. Born in London, January 6, 1835. En- tered the dramatic profession in 1858. First appearance in Lon- don, 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.' Sub- sequently 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. Has had the advantage of sup- porting at those theatres some of the leading players of the day, including Messrs. Phelps, Fechter, Creswick, Anderson, King, Barry Sullivan, Mesdames Helen Faucit, Neilson, Hermann Ye/in, Wallis, Genevieve Ward. Played the cha- racter of Derrick with efficiency, to the Rip van Winkle of Mr. Jefferson, during his last engage- ment at the Princess's Theatre. Has taken leading parts in some of the plays produced at the Crystal Palace, notably, Polonius (' Hamlet '), and Phocian (' Anti- gone'), the first produced by Mr. Tom Taylor, the second under Mr. Wyndham's superintendence. Also played the character of Claudius, with Mr. Fechter in the title role (' Hamlet ') at the Prin- cess's Theatre in June 1872. " Another highly meritorious im- personation was the Claudius of Mr. Howard Russell, of whose good qualities the part under notice only lias afforded room for judgment. Mr; Russell adds to a good stage presence a clear ringing enunciation, powerful, while totally free from ' staginess,' or rant. This actor will prove a valuable addition to any legitimate cast." — Standard, June 13, 1872. The production of ' The Wan- dering Jew ' at the Adelphi, and revival ot 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 Clec- patra ' at Drury Lane Theatre, in 1876 ; and later (1878) has enacted the part of Richard, Duke of Gloucester, with considerable suc- cess, in 'Jane Shore' (revival) at the Princess's Theatre. RYDER, JOHN. Born in 1814. 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 1842 (October), 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 cast, Mr. Ryder played the Duke. He appeared in most of the play . original and revivals, produced under Mr. Macready's super- intendence during his period ] =74 THE DRAMATIC LIST. of management. At the Prin- cess'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), Mr. Macready as James V. of Scotland, Mr. Ryder acted the character of Sir Adam Weir of Lachemont. In 1847, 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, Jan. 28, he played (Euarus, first per- formance of John Oxenford's ver- sion of Corneille's tragedy, ' Ari- adne.' When Messrs. Charles Kean and Keeley entered upon the management of the Princess's Theatre, in 1850, Mr. Ryder be- came a member of their company, and on the opening night of their first season, Saturday, Sept. 28, appeared as Antonio, in a revival of 'Twelfth Night.' He subse- quently took part in many of the performances for which Mr. Chas. Kean's administration became famous. Saturday, November 9, 1 8,0, first performance at the Princess's of ' The Templar ' (A. R. Slous), he sustained the part of Aymer de la Roche, Grand Master. " The person most like a character in the piece is the Grand Master of the Templars, and we never saw Mr. K\ der play so well — quiet, yet spirited and careful." — Examiner, Nov. 16, 1850. " Mr. Ryder, a sound, steady actor, is the very man for the Grand Master. The heaviness of office sits lightly upon him, and he is worthily accom- panied by Mr. H. Fisher, who, though usually of a bland demeanour, has put on the grim appearance of a bigoted Templar with wondrous geniality." — Times. Nov. II, 1 850. " This gentleman (Mr. Ryder) looked the part magnificently, and acted with much judgment." — Athe- nceum, Nov. 16, 1850. During 185 1 Mr. Ryder ap- peared 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 ' Pri- soner of War.' February 9, 1852, in a revival of ' King John,' he sustained the character of Hubert, a part which he played subse- quently 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, Mon- day, February 14, in a revival of ' Macbeth,' Mr. Ryder acted the part of Macduff. " The acting of the tragedy is per- haps less a subject of curiosity than the decorations, inasmuch as Macbeth and his lady were favourite characters with Mr. and Mrs. Charles Kean shortly before they opened the Prin- cess's Theatre Mr. Kean's Macbeth is probably more familiar than Mrs. Kean's version of the Lady. .... His despondent retirement to rest, or rather unrest ; his leaning against the pillar as he passes it in utter despair, give a notion of heart- sickness which can hardly be sur- passed. Then, for an exhibition of savage bravery, nothing can exceed the swashing combat at the end, in which he and Mr. Ryder fiercely threaten to hew each other to pieces. A propos of the latter gentleman, we should remark that he displayed a great deal of pathos in the character of Macduff, which was all the more effective irom the general roughness of his bearing." — Times, Feb. 15, 1853- RYDER, JOHX. -75 Monday, June 13, 1853, Mr. Ryder sustained the part of Sala- meucs, 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 excel- lence." In the autumn of 1S54 .Mr. Ryder left the Princess's Theatre for a brief period and accepted an engagement to lead the " heavy business," supported by an effi- cient company, selected from other metropolitan theatres, at the Bower Saloon, Lambeth, under Miss Lydia Pearce's management. As to which engagement it was re- marked 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 estab- lishments. 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,Otlicllo, and the Stranger. The first-mentioned part he had once before performed at the Princess's during the tem- porary indisposition of Mr. Chas. Kean, and had received great ap- plause. In October [854, Mr. Ryder rejoined the company of the Princess's Theatre, and re- appeared on its he 9th of th.it month, as Dymond, first per- formance of Douglas Jerrold's play, ' Heart of Gold.' In January 1855, ' Louis the Eleventh,' ti lated by Dion Boui Li ault from Casimir Delavigne's historical play of that name, was \« r- fi -nned at the same thi Chas. Kean as Louis; Mr. Ryder, Coitier. " The character of Louis is every- thing ; the others are next to nothing ; audit is rather provoking to find such suggestive names as Philip Com- mines, Dunois, Tristan 1'Ennite, and Olivier, the barber minister, turned to so little account. They are made shadows, without substance or colour. Coitier, the king's physician, is, next to the king himself, the most dramatic character, his bold demeanour and sarcastic indifference, whereby he controls the tiger whom he serves, are effective; but all this is borrowed from ' Quentin Durward.' The part was acted with much spirit by Mr. Ryder." — Daily News, Jan. 15, 1S55. In the same year, May, revival at the Princess's Theatre of ' Henry the Eighth,' on an unex- ampled scale of grandeur, Mr. Ryder sustained the part of Buckingham. " Mr. Ryder, as the unfortunate Buckingham, was grand and impos- ing. His first scene was marked with laudable care, and his final ad- dress to the spectators of his execu- tion was a fine example of oratorical speaking, and might be consulted as a Lesson by those to w bom 1 is a mission.'' — Athenaum, May 19, 1855. •■ Mr. Ryder spoke the farewell address of Buckingham with a manly pathos that contributed greatly to the effect of one of tin- most beautiful tableaux in the piece." — Times, May 21, 1855. In 1856, April 28, still at the Princess's Theatre, he appeared .i> Polixenes, in a sumptuous revival ol ■ I he Wint< r'^ I ale ' ; and the following year, May [2,asBoling- brute, in 'Richard the Second,' and July 1, as ( aliban, in • 1 he Tempest.' In 1858, April 17. he a< teil the character "t Edgar, in a rev iv. d of • King Lear ' ; and 111 . Williams, on tin- produc- ed 'II. on ill- I mli. When Mi. Kean retired from the man- 1 .' 2 ;6 THE DRAMATIC LIST. agement of the Princess's Theatre in August 1859, Mr. Ryder re- mained a member of its company with Mr. Kean's successor, Mr. Augustus Harris. On Wednesday, Nov. 2, 1859, Mr. Ryder played at the Princess's the part of Giovanni Orseolo, first performance of Edmund Falco- ner's drama ' The Outlaws of the Adriatic' On Saturday, Septem- ber 28, 1 86 1, first performance in England of Brougham's ' Playing with Fire,' he acted the character of Timothy Crabs tick. The same year, during the first engagement at the Princess's Theatre of Mr. Fechter, Mr. Ryder played Iago to that gentleman's Othello. "Mr. Ryder's/^, mephistophilean in appearance, quick in thought, pic- turesque 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 English weight to his language. He is placed in a new position by the peculiar interpretation given by Mr. Fechter to the con- cluding speech of the play. Othello, instead of allowing Iago to retire, drags him towards the bed, and com- pels him to kneel before the mur- dered Desdemona. When he draws his dagger, all suppose that the author cf mischief will be the victim, and the suicide therefore occasions more than usual surprise." — Times, Oct. 24, 1S61. In the following year, March 3, Mr. Ryder played Othello and •Mr. Fechter Iago. In November 1 86 1, at the Princess's, Mr. Ryder acted the part of Falstaff in a revival of ' The Merry Wives of Windsor.' "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 conception 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 discrimination, while he soli- citously softens the grosser features." — Athentzum, Nov. 30, 1S61. 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 Baha- door. The following year, Mon- day, January 26, at the Theatre Royal, Westminster (Astley's), under Mr. Boucicault's manage- ment, first performance of that author's version of ' The Heart of Midlothian,' Mr. Ryder sustained the character of David Deans. At Drury Lane, Saturday, Oct. 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 'The Winter's Tale' and ' Macbeth.' SANTLEY, KATE. SANTLEY, KATE. Born in Germany. Her parents emigrated to Charleston, South Carolina, when she was a child, and Miss Santley there received her early education. Removing to England after the outbreak of the Civil War, she practised music as a profession for a brief period, but finally educated herself for the stage. Miss Santley made her debut in the dramatic profession in Edinburgh, the first part of im- portance which she played being Ophelia. In the same city she acted Jessica to the Shy lock of the late Mr. Charles Kean. Made her first appearance on the London stage at the Queen's Theatre in a bur- lesque on the well-known drama of ' The Stranger.' Afterwards Miss Santley accepted engage- ments at Drury Lane and the Strand Theatres, and then made a professional tour through the chief cities of the United States. Miss Santley's rentre'e on the metropolitan boards at the Al- hambra Theatre in 1872, when she assumed the character of Cunigonde in ' Le Roi Carotte,' was very successful. Since that time she has enacted principal parts in several of theopera-bouffes produced in London which have attained popularity, notably in ' La Belle Helene,' 'Don Juan,' 'La Jolie Parfumeuse,' and, lastly, ' La Marjolaine.' In 1877-8, Mhs Kate Santley undertook the manage- ment of the New Royalty Theatre for a season, but relinquished it April 1878, to fulfil various en- gagements at the principal the- atres in the provinces. SARTORIS, MRS. See KEMBLE, Adelaide. SCOTT-SIDDONS, MRS. A great grand-daughter of the famous actress Mrs. Siddons. At the beginning of her professional career, in London (1867), gave public readings at the Hanover Square Rooms from Shakespeare's plays. Made her debut on the me- tropolitan stage, Monday, April 8, of the same year, at the Hay- market Theatre, in the character of Rosalind (' As You Like It '). " The 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 Han- over Square Rooms, was on Monday evening fully confirmed by a fashion- able and crowded audience, assembled to witness her debut on the metropo- litan stage as Rosalind. A lady who can boast of a direct descent tic mi the most illustrious of our actresses, comes accredited with the strongest recom- mendation to all who hold in n \ ence the names which adorn our Thespian annals; but .Mrs. Scott- Siddons has a fair claim to theatrii al distinction apart from hereditary honours. Well trained in the business of the stage through a hpiimoI pro- vincial practice, ; in the debutante which betrays the inex- perience of the novice. Possessed of a in essive fat e, « hi h may be called classic al m its profile, and en- dowed with the advai symmetrica] figure, ott-Sid- dolls ell 1] this most fascin iting of Shake-;' Hei 'iy of tin- text, on win 1 1 1 shehas manifestly tOWed nun li thoughtful study, is c hat i"l in- telligem >■, and h'-r &< tion is appro- priate and unrestrained Judging by the cut 1 . 1 ilaudits 10 frequently bestowed through the evening, her 278 THE DRAMA TIC LIST. performance would seem to have ex- ceeded the most sanguine expecta- tions 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 the fervent spontaneous acknowledg- ment of a great triumph fairly won in the world of art. It is when Rosa- Hud dons the doublet and hose that Mrs. Scott-Siddons gives her impulses full play ; and the bantering of Or- lando 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 re- ceived 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." — Daily Tele- graph, April 10, 1867. " Mrs. Scott-Siddons, the great- granddaughter of Mrs. Siddons, has been speedily promoted from the Lon- don reading platform to the metropo- litan stage, and last night she made her appearance at the Haymarket Theatre as Rosalind in ' As You Like It,' the character in which she gave most satisfaction in her late readings at the Hanover Square Rooms. Mrs. Scott-Siddons's neat figure, pretty face, and pleasing arch delivery, qualify her for light comedy, and her ease, confidence, and freedom of ges- ture show that she has an aptitude for acting. Her reading of Rosalind is saucy and attractive, reminding us occasionally of the burlesque princes of the Strand Theatre, without the ' break-downs.' She wants the grand air of the tragidienne, which is not always an agreeable air, and many persons missing this, will vote her unequal to the embodiment of Shake- speare's lighter heroines. Her recep- tion last night by a friendly audience will doubtless encourage her to adopt the stage as a profession, and her sprightliness and evident intelligence will make her path easy. Her future will depend upon herself, 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." — Daily News, April 9, 1867. On Monday, September 2 of the same year, Mrs. Scott-Siddons reappeared at the Haymarket in the same character. In the au- tumn of 1868 she made her first professional appearance in Ame- rica, giving readings at Steinway Hall, New York, from ' Macbeth' and 'As You Like It.' Subse- quently, Mrs. Scott-Siddons en- tered 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 im- portance in London took place on Saturday, May 4, 1872, at the Queen's Theatre, on which oc- casion, " 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. Since the last-mentioned date Mrs. Scott-Siddons has been engaged on a " starring " tour in the United States and Australia. SEDGWICK, AMY. Born in 1835. Had acquired reputation as an actress and much stage experi- ence in the provinces previous to SEDGWICK, AMY. ■79 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 ddbut was Pauline in ' The Lady of Lyons.' " A more successful, and indeed a most successful debut, has been that of Miss Amy Sedgwick as Pauline in the ' Lady of Lyons.' It has secured for her at once a high position on the London stage. We think the public much indebted to the Hay- market management for the generous readiness it always shows to obtain hearing for those who can only hope to win success." — Examiner, Oct. IO, 1857- " This week we have had a a 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 ap- plause, 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 debutants have nol of the audacious kind, the difficulty has been revealed, not by desperate leaps over the limits prescribed by Nature, but by a timid unwillingness to use the length of tether which Nature liberally accords. Now Miss Sedgwick acts ii' a only with prop but with force ; she hi ikes her words tell, and, though in a quiet manner, marks out her character thoroughly. We suspect she is an actress whose progress will be worth watching."— Spectator, Oct. 10, [857. The week following, Tuesday, October 13, she I the cha- r of Constance in ' 1 he Love Cha " Miss Serl not without qualifications for the part, and hei assumption of it has proved that her natural attributes belong to the comic rather than the tragic art, ami 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 intelli- gence of the character and its con- ditions. Miss Sedgwick trusted to her native vigour for filling up the usual theatrical outline, and impressed the audience with the opinion that she acted well. She must get beyond this point, and render them unconscious that she is acting at all, while realis- ing all the points of character with the utmost elaboration." — Atheineiini, Oct. 17, 1857. Saturday, November 7, 1857, first performance at the Hay- market of Mr. Tom Taylor's co- medy. 'The Unequal Match,' Miss Sedgwick sustained the part of Hester Grasebrook, afterwards in the play Lady Arncliff. " Mr. Tom Taylor lias produced a new play at the llaymarket, which his met with a mot unequivocal suc- cess. Although flat in some of its earlier part-, and weighted with two or three very uninteresting m characters, it is, on the whol and entertaining, and tic last ol the three at t, is ic . ind lively. The plot turns on tin- history •■! a blacksmith's daughter, who marries a baronet and disgusts her husband by h :r inaptitude for line society, and finally, learning the lesson he wishes 1 acquire, disgusts him still more by the change in her manners, I" 1 principles, and In r feelings. At the end sh ■ throw soff her mask of alio ta- tion. and having convin •■ I her hus- ban I that simplicity i hows that she is simple still. This is tin- moral of t 1 1 d M ,t h.' Hut another tense is also given to the words. Then- is a hollow-h tte, who ha, ■ l the baron he 4 ame to In, honours ;ni.i in, wealth, who sneers at his humble 1 hoc •-, and determines t" win 1 he heart she ha, once had 28o THE DRAMATIC LIST. 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 plays Lady Arncliff. It is a difficult part to play, as she has 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 con- sole 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, Nov. 14, 1S57. " 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 firings 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. Mon- tresor converts her into an indignant wife. In the third act the rustic is lost altogether, and we have the woman of fashion, with whom man- ner is everything. 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 pos- sible, we give this young and rising actress ' the highest commendation.' " — Times, Nov. 9, 1857. In February 1S58, Miss Sedg- wick appeared as Beatrice in a revival of 'Much Ado About Nothing ' at the Haymarket Theatre. " Miss Amy Sedgwick returned last night to a London audience, after some two months' absence — appear- ing for the first time as Beatrice, in ' Much Ado About Nothing.' The performance was, as might have been expected, a very satisfactory one, but the ars celare artem is still the one thing requisite ; a little less artificial, a little less stagy in look, voice, and feature, and Miss Sedgwick would be the best high-class comedy actress on the boards." — Daily A'eius, Feb. 23, 1858. At the same theatre, in the fol- lowing month, she sustained the part of Julia, in ' The Hunch- back.' " Miss Amy Sedgwick, by her per- formance of Julia in the ' Hunch- back,' has 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 fol- lowed 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 effi- cient 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 pas- sages at the commencement of the third act, and even during the inter- view with Clifford, more might be made. There is an absence of that thorough abandonment to the feeling 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 ade- quately expressed. The lingering look at the shreds of the torn letter, the gentler appeals to Clifford's me- mory of a past affection, are exceed- SEDGWICK, AMY. $8l ingly pretty and natural. During the interview with Master Walter in the filth act she moreover attains a degree of power that could scarcely he anti- cipated 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 S, 1858. ".Miss Sedgwick's performance of Julia, in the ' Hunchback,' is a great improvement on her Beatrice, con- firming our opinion that, while thoroughly taught, her teaching has had the effect of curbing her natural intelligence, and building up an artifi- ciality and a staginess which she is only n i\v breaking through. But beneath all this there is a natural strength, a forcible reality, an evidence of flesh and blood humanity, which, as we have said, is beginning to asseit through the shallow casing of pro- vincial training." — Daily News, March 2, 1858. On June 30 and July 7, 1808, Miss Sedgwick performed the part of Laity Teazle, in a revival of ' The School for Scandal,' at the same theatre. " The comedy of ' The School for Scandal ' has been reproduced at the Hayinarket Theatre, for the purpose of introducing Miss Amy Sedgwick in the part of Liidy Tea e. S e last night terminated her engagement with the impersonation of this t h the presence of a crowded audi who listened with the most profound attention to the master] ^hcri- dan, and applauded its many admir- able points with genuine enthusiasm. The excellent qualities which have distinguished Mh> Sedgwii k's < dramatic 1 the metropolis — the vivacity and intelligence which have marked all hei • ertions, and the fascinating and artistic expri which she has at all times SO largely at command — were plentifully exhi- bited in her embodiment ot Lady Stately and emphatic in her delivery of the serious passages of the text — light, graceful, and dexterous in the humorous 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 SU( 1 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, anil her dignified explanation of the mystery of the screen, were highly effective, and conceived and executed with abundant thought and and were warmly and >i edly applauded. Miss Sedgwick was several times recalled beiore the curtain, and was greeted with enthu- siasm, and loaded with floral 1 —Dnily Telegraph, July S, On Saturday, March 1 2. : still acting at the 11 ay market, Miss Sedgwick supported the characters of Juliana, in 'The 1 [oneymoon,' and Kate Robertson^ in a new comedy written expressly for her by Mr. Palgrave Simpson, entitled 'The World and the Stage.' "On Saturday night Mi^ Sedgwick took her ben. lit. The house was crowded in ev.ry part, i and the tone of the audiei enthusiastic as if a popular favourite oi many y( us' standing had > lain the annual tribute to hel CX< 1 ti the hi n itioii of the public. N el about a year and a half ago tin- v ry name of Amy SedgVi . mknown to the great body ol London p. ."s.. -Inking an of rapidly-acquired popularit) in a 1 1.1 1 tn Mill ol histrionic ait that may be- fairly i ailed ' legitimate, 1 1 known tin a vny long tune. Not content with impel tonatin w in the ' l loni ;■ moot the leai 28: THE DRAMATIC LIST. characters in her repertory, Miss Sedgwick produced on Saturday 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 fre- quently cast upon them by the 'world.' With similar purpose Mr. Tom Tay- lor composed his ' Masks and Faces,' but Kali- Robertson, the imaginary actress, represented by Miss Sedg- wick, is a far more solemn personage than the historical Peg Wofnngton, and the new drama is throughout more serious in tone than its predecessor. .... As far as the acting is con- cerned, the serious part of the piece rests entirely with Miss Amy Sedg- wick." — Times, March 14, 1859. In 1859, in September, she ap- peared as Rosalind in 'As You Like It,' and the same month as Miss Dorillon in Mrs. Inchbald's comedy, ' Wives as they Were and Maids as they Are.' " Miss Amy Sedgwick made her reappearance last night at the Hay- market, and selected Rosalind, in 'As You Like It,' as her opening part. This actress, who has now established her reputation in London, was re- ceived, upon her first entrance, with a perfect ovation, and her acting throughout was greeted with con- siderable applause, and at the termi- nation of the comedy she was called before the curtain. Notwithstanding this, it must be fairly owned that the applause was clue rather to Miss Sedgwick's past success than to her impersonation of Rosalind, which, in many respects, was far from an effec- tive 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 want- in.,', and the sprightly Rosalind was divested of most of those charming characteristics with which Shake- speare has invested her. It must be admitted that Miss Sedgwick has achieved legitimate successes, but Rosalind cannot be added to their number." — Standard, Sept. 20, 1859. 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 Fal- coner's play, ' The Family Secret '; and on Saturday, June 23, Miss Vandeleur in the same author's drama, ' Does He Love Me?' In 1 86 1 she accepted an engagement at the Olympic Theatre, " open- ing " 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 Con- stance (' The Love Chase '). " Miss Sedgwick has already grown somewhat too matronly for Jnlia. We miss the girlishness that ought to serve as the excuse for her inexperience and excess of impulse. Miss Sedgwick's treatment of the part, indeed, is alto- gether too stagy. The lights and shadows are disposed in masses far too broad for a character not abso- lutely tragic, however much it may pass the bounds of genteel comedy. It is comedy still, though poetic comedy ; and the error committed by the heroine is not a crime but an indiscre- tion. There was missing, therefore, the juvenile charm and the innocent gaiety which were meant by the dra- matist as compensation for the want of steadiness and formation in the character of the as yet unformed country maid. The drama passes her through a course of development, and the steps of this should be carefully denoted by the actress. Miss Sedg- wick, however, has no skill in minute SHORE, J. G. ^\ painting, but depends on certain dash- ing effects after long intervals of level elocution. This is a style of stage- art which is fast goi ig out of fashion, and which is not likely again to be made popular." — Athenaum, Nov. i, 1862. In 1863 Miss Sedgwick renewed her engagement at the Princess's. In February she appeared there in the following plays, viz., ' One Good Turn Deserves Another' (Phoebe Topper), ' The Winning Suit' \ Princess Oreli'a), and Mr. Cheltnam's dramatised version of 'Aurora Floyd' (the title rt In 1866 (October) she acted the character of Lady Macbeth at Drury Lane dining the engage- ment there of Mr. S. Phelps and Mr. Barry Sullivan. " Whatever opinion may be enter- tained, it is in favour of the Macbeth of Tuesday night that he was uncon- sciously assisted by Mi-- Amy Sedg- wick, who, venturing for the first time in London on the personation of Lady J/' ■:. gave a suggestive rather than a powerful rendering of the character. Her performance 1- not lacking in intelligence, but it is de- ficient in force, and much less decided in form and colour than could be desired."— Daily Telegraph, Oct. 3. 1866. "The chief novelty in the cast is the performance of Lady Macbeth by Miss Amy Sedgwick. So completely is this lady identified with comedy that many have been curious as to the effect she might produce in a line- so unusual. To say that she , any indication that ideal tragedy will prove her forte would l» t" ■ much; but she has evidently trained herself carefully to the part, and her remarkably clear delive her to good purpose." — Turns, Oct 3, 1866. "TheZ^/r vasMiss Amy Sedgwick. .... Her elocution has the merit of vigour and clearness, but there is no intellectual elevation— no originality — in her conception of the part. Her intentions are good. She evidently does her best, and means to do her best, but her face wants expression, and her manner wairs dignity for tragedy. In the court- yard scene after the discovery of Duncan's murder, she became almost lost iii the crowd fur want of sustain- ing power, and was hardl) courtly and commanding enough to g<> inquet scene. Her performance taken altogether, shows clevi 1 an 1 merit, but is not equal to the ability she displays in comedy." — News, Oct. 2, 1866. 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, Since 1871 Miss Sedgwick has appeared but seldom on the London stage. SHORE, J. G. First attra mi the London Stage as .1 member of the company of the Adelphi Theatre in 1856. On Monday. February 1 1, of that year, appeared there with the Keeleys in a farce entitled ' That Blessed Baby ' Moore . in which he played the part of Mr. Tinide. The year following joined the company of the Lyceum Theatre, and among other pieces first pro- duced there, acted, in a pleas. nit little play by Leigh Hunt entitled ' Love's Amazements : or, How will it end,' the part of Chevalier ,/,- 7. This play was first performed on Wednesday, January 20, 1 •• l he throughout is ad- mirably written, i onally 1. 1 the very highest flight, and being filled with many quaint and pretty tropes and metaphors. The :it. Mi. I lillon is 1 . ill tie ractcr of absorbing mystery with a >S4 THE DRAMATIC LIST. 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 un- doubtedly the most promising actor in that most difficult and most un- grateful line, the jeunes premiers, de- serves special commendation for his gentlemanly bearing, careful reading, and clear utterance." — Daily News, Jan. 22, ^858. In 1859 Mr. Shore became a member of the company of the Princess's Theatre, under the late Mr. Augustus Harris's manage- ment, and continued to act at that theatre for some years. In No- vember 1 86 1, 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 man- agement of the Misses Pelham. At that theatre on Monday, Jan- uary 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 of Sir Thomas Turtle. When Miss Marie Wilton, in conjunction with Mr. H. J. Byron, entered upon the management of the Prince of Wales's Theatre, Mr. Shore was engaged among their company. On Monday May 1, 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 role. The following year (1866), at the Princess's Theatre, in a dramatic version of Mr. Charles Dickens's ' Barnaby Rudge,' per- formed there for the first time on Monday, November 12, he sus- tained the part of Sir John Chester. At the same theatre, on Wednesday. February 6, 1867, first performance of an original drama by Mr. T. Robertson, en- titled ' Shadow Tree Shaft,' he played the part of Captain Mild- may. 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. Born in 1834. Entered the dramatic profession in 1853 at Ipswich Theatre, under the management of Mr. Hooper. Played at various provincial theatres, Bristol, Ply- mouth, 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 has played various Shakespearian leading and second parts, creating a very favourable impression in the character of Macduff. Mr. Sinclair has rendered good ser- vice 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 '). Was the original Henri de Sartorys in Benjamin Web- ster junior's adaptation from the French of ' Frou-Frou,' a part in which he acted with much suc- cess. " Mr. H. Sinclair as Henri de Sartorys is always a gentleman, SOTHERN, E. A. 2? 5 always a good actor, always identi- fied with the part he has to play. Alike in the anxious, because bashful, scene with Louise and in the higher, more passionate, and more pathetic passages he gives real satisfaction. | There is not a gesture that is out of place, not a word thu it could be I wished were differently spoken." — Scotsman. In George March's adaptation of Victorien Sardou's comedy- drama of ' Nos I mimes' ('Our Friends '), Mr. Sinclair was a very able representative of Dr. Tho- losan, a part which he has played with much ability at the Olympic Theatre in London. "Mr. Henry Sinclair gave an ex- ceedingly polished and natural deli- neation of the good genius of the drama, Dr. Tholosan. 1 ' — Standard. As a light comedian and cha- racter actor, Mr. Sinclair is pos- sessed of considerable merit. SOTHERN, EDWARD ASKEW. Born in Liverpool, April i, 1830. Made his first appearance on the stage at the Jersey Theatre. In 1851 Mr. Sothern went to the United States and made his debut on the Ame- rican stage (with which he has been so long and profitably con- nected), at the Nationa] Theatre Boston, in September 1852, in the part of Dr. Pangloss in a version of the younger Colman's comedy ' The lb iw.' Sub- sequently Mr. Sothern went to New York, which may be regarded as his dramatic birthplace, since it was there he first began in earnest to study the histrionic profession. He became a member of the company <>i Wallai 1;'-. and afterwards of Laura Keened The- atre. Atthislatter establishment, on May 12, 1838, he made hi-. 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 bad acted Lord Dundreary ; the character in which the sole in- terest of ' Our American Cousin' centres, not less than a thousand times. On Monday, November 1 1, 1 86 1, he played the part at the Haymarket Theatre for the first time. " 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 ab- stractedly a vile caricature of an inane nobleman, intensely ignorant, and extremely indolent. The notion accepted by the audience that such an absurd animal could he the t;. any class whatever, the actor was free to exaggerate to any extenl the repre- sentation of the ridiculous. Mr. Sothern, in the quietest way, takes full advanl . and effectually subdues the audienee to his mood. Laughter, at all times irrepressible, finally culminates in a ! convulsion, which to our ears seemed quite a peculiarity it w ■ ■, and yet so natural. The occasion was simply the readin letter from a brother in Am taining literally nothing more than that he feared a former letter had miscarried from his having forgotten to d n. This, with certain inane com- ments on its contents, sufficed to enable Mr. Sothern to produce the prodigious effe< 1 we h ive 1 idi< ire disposed i" b ■ Mi. Sothern, as an eccentric man ..! 1 Hilary eeniiis, isonably desire Ins furtnei ac- quaintance, 111'' public, We hue 11.. doubt, will be of the same opinion." — Athenaum, Nov. 16, 1 2 S6 THE DRAMATIC LIST. 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 1863 (March), in a piece called ' The Little Treasure,' selected for the debut of Miss Ellen Terry, he played the part of Captain Walter Maydenblush. Saturday, April 30, 1864, at the same theatre, in ' David- Garrick,' a play of some pathos, for which the stage is in- debted to the ingenuity of the late T. W. Robertson, Mr. Sothern acted the title role. " The character of David Garrick is the first that has really tested Mr. Sothern's powers beyond the Dun- dreary 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 is very fine. The inebriety is furious ; the manifested repugnance equally intense." — Tunes, May 6, 1S64. On Monday, June 13 of the same year, ' Lord Dundreary Married and Done For' (H. J. Byron) was produced at the Hay- market — Mr. Sothern as Dun- dreary. " Those who insist on a plot as the basis of a dramatic piece will hardly consider the laws of theatrical com- position have been here respectfully adhered to ; but plenty of laughter is created by a series of whimsical ab- surdities, and with the majority this condition seemed to be considered all that it was essential to observe. . . . Supplied with a new series of those delightfully idiotic remarks, absurd rejoinders, and ridiculous ejaculations, whilst he becomes more and more entangled in mazes of inconsequential argument, Dundreary continues to divert the audience, as much by what he says, as by what he does, and of the inimitable way in which such things can be said and done by Mr. Sothern the public do not require now to be informed." — Daily Tele- graph, June 14, 1864. 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 (Mon- day, De-ember 19), played the leading part, Frank Jocelytt, in a new play by Watts Phillips, en- titled ' The Woman in Mauve.' It was a decided and brilliant success in the provinces, and was performed in London at the Hay- market Theatre for the rirst time, Saturday, March 18, 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. W T estland Mars- ton, entitled ' The Favourite of Fortune.' This piece was after- wards produced in London (April 2, 1866), at the Haymarket The- ! atre. "Mr. Sothern made his reappear- ance at this house last night, after a few weeks' absence in the country, in a new comedy by Mr. Westland Marston entitled ' The Favourite of Fortune.' 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 repu- tation 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 SOTHERX, E. A. >S 7 dramatic literature, the present pro- duction is, we believe, the first regular comedy, properly so called, which he has given to the boards Mr. Marston may be congratulated upon the ingenious construction of his comedy, the boldness with which he terminates his first three acts without having recourse to conventional 'situ- ations ', 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. Lorring- ton.' 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 sur- round her, with very few exceptions, are sketched with almost equal feli- city The chief characters were thus distributed : Frank Annerly. Mr. Sothern ; Tom Sutherland, Mr. Buck- stone ; Mr. Bromley, Mr. Chippen- dale ; Hester Lorrington, Miss Kate Saville ; Lucy Lorrington, Miss Nelly Moore ; Mrs. W'i'herhy, Mrs. E. Fitz- william ; and Mrs. Lorrington, Mrs. Chippendale, late Miss Snowdon. Frank Annerly, if it had not been admirably acted by Mr. Sothern, anil Mr. Sothern had not given it all the advantage of his well-deserved popu- larity, would scarcely have struck the critical portion of the audiem what is called a strong part. Mr. bothem's great merit consisted in his t naturalne^. Tom Sutherland, though represented l>y Mr. Buck is no more of a low comedy chai 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 Annerfy Mr, Sothern has shown equal taste in selecting and appearing in an intel- lectual comedy in winch the charac- ters are well balanced. The piece was deservedly successful." — Daily .' April 3, 1866. ' ' \Y hat makes this excellent comedy most remarkable is the truly artistic spirit in which the author has gone to work. We frequently find \ depending on character without plot, and others depending on plot without character, but here the development of the one assists the construction of the other. The peculiarity of An- nerfy's temperament leads to the situations which are most striking in the story, and could not be exhibited under more favourable conditions. Iced down into a Sir Charles 1 stream, warmed into life and happi- ness by genial influences, and again petrified into a forced indifference that is in itself a passion, the character in the hands of Mr. Sothern shows how much can be done by a consummate artist without obvious effort or obtru- sive noise. The lovers of rant will say that Mr. Sothern walks through the part ; let us add that there is meaning in every step." — 'Junes, April 5. I "These scenes between Hester ami Frank are delicately w ritten. and evoked from Mr. Sothern a pathetic ry which will raise his reputa- tion as a general actor and . evidence ol power for serious drama which will enlarge the sphere of his sional 1 nt.' ! — Athe- ritrum, April 7. 1 In November of this year, .it Edinburgh, Mr. Sothern app< \uiitt Melnotte; In of the p.u t 1 ■■ei emb< 1 : the Haymarket Theatre, he Mist. mud the put of //,// an in .1 • Mr. I om Taylor's, then in st rx rfoi mo tiled - A l.c son for I " ,\ tU'lent in his pro- n Mi. Sothern has worked with a seal «hi' b has rarely been excelled. The prominent cfa col Ins 28S THE DRAMATIC LIST. style is the air of modern refinement with which he surrounds the personage represented. I here is nothing conven- tional about his movements, nothing which belongs to the stilted mannerism of the pa>t school of histrionic art. We have the poli-hed 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 accept- able substitute for the faded caricature which has too often passed current with hasty observers for the semblance of a gentleman.' 1 — Daily Telegraph, Dec. 29, 1876. 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 Dundreary, but met with scanty encouragement. On Saturday, March 14, 1868, at the Haymarket Theatre, first per- formance of A Hero of Romance ' (Westland Marston), an adap- tation 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 origi- nality or robust strength, but it is interesting, though much of the in- terest is forced out of the petty details of servitude and the etiquette of the servants' hall. The Marquis de Tour- ville, a ruined gentleman, accepts the advice of a friend, and consents to j 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 family, who is anxious to share his title, and, by a variety of arts which need not be re- lated, she does all she can to show him in the light of a fortune-hunter and adventurer. By an accident the marquis-steward 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 compromis- ing position. To show his good faith, with equal hastiness 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 cre- ditable to the actor and his tailor. This gymnastic proof of good faith is not, however, sufficient for the young lady, and it is not until the hero has done several other noble things, in- cluding 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 de- veloped, 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 dig- nity, he was good ; in the few scenes requiring pathos, he was bad." — Daily Neivs, March 16, 1868. On Thursday, January 14, 1869, he played at the Haymarket the part of Colonel John White, on the occasion of the first performance of Mr. T. W. Robertson's comedy entitled ' Home.' SOTHERX, E. IV. 289 "A new comedy, called 'Home,' founded by Mr. J. W. Robertson on a French piece entitled ' L'Aven- turiere, and produced with decided success at the Haymarket, supplies Mr. Sothern, who has been the leading actor at the Haymarket since Christ- mas, with a new part The merit of the piece consists in the smartness of the dialogue, which, however, is not up to Mr. Robertson's usual mark ; and the ingenuity with which situations are obtained from a plot, not only simple, but so tho- roughly transparent that its ultimate results may be foreseen from the very beginning. Its demerits are the very transparency of which we have spoken, and the circumstance that none of the characters sincerely enlist the sympathies of the audience. The adventuress is an adventuress after all, held up as an object of execration as long as the story lasts ; and it is not till her power of mischief is gone that she makes an autobiographical appeal to Christian charity. Then her opponent, who lies without scruple, and can declare passionate love when he feels nothing but hate, seems a very insincere gentleman, whom one would not readily trust on Important occasions, his victory being very much of the kind thai is implied in the capture of one thief by another. .... Though the personages, with the exception of MountrafTe, are not very strongly marked, they are all well played.' Mr. Sothern, who first became known to us as a r< live of the most pronounced eccen- tricities, now takes a position as one of the very few actors who can play a gentleman in a piece where the gentleman is to be the central I The freedom from 1 softened even the oddities <>f Dun- dreary accompanies him through all his delineations. 'Hie 1 which he utter, in hi, new part are dro easily and carelessly, as if without in- on of forcing a reisagen- teel banter in In- flirtation, and tl lence of assumi ■'" bridled by irony. " — Times, Jan. 16, 1S69. In May of the same year Mr. Sothern acted the part of Hugh de Brass in Morton's farce ' A Regular Fix.' In May 187 1, first performance in London of Mr. H. J. Byron's play, ' An English Gen- tleman,' Mr. Sothern performed the part of Charles Chuckles. Mr. Sothern's most important imper- sonations are, undoubtedly, Lord Dundreary and David Carrie!;, and these he has presented on the American and English stage and over again during the past ten years, and, it may be added, with invariable success. Mr. Sothern has himself stated that it is to the Americans he is indebted for whatever position he has at- tained, since without their en- couragement he would long ago have abandoned the stage. His dramatic life, he has remarked, has not been altogether so cloud- less as many perhaps have ima- gined. " The early part of it was chiefly occupied in getting clis- niissed for incapacity." It was his nature, however, to tight acles. I lis pi' high position in the dramatic profession offers assurance that he lia^ not worked and studied in vain. {Times, October;, 1871.) In 1878 Saturday, May 1 1 . he re- 1 red at the Haymai I a long absent e in the I'; States, in a piece called ' 1 he Crushed Tragedian,' b) II. J. Byron, converted from the same author's play of 'The Prompter's illy produced at the Ad, Ipln I beatre in 1870. Mr. Sothern assumed the leading Fitzaltamont. " Mi. Sothern's appearan signal i"i 'd foi tinued roar ol laugh ti r. I lis / tamont, we m like his I hindri lei moi than an extravagant caricature. u 290 THE DRAMATIC LIST. 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 uproar- ious 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 the Third, 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 nineteen parts a week ; the sepulchral tones, the glaring eyeballs, the long hair, the wonderful ' stage walk, ' and the melodramatic attitudes — 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 unmis- takably broad farce, and there may be some to object that broad farce, carried through five acts, is just a little too much. Fitzaltamonfs 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 de- scribe how heartily 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 appearance after a histrionic triumph in the fourth ; and his determination to marry Miss Mountcashel in the fifth, all caused great hilarity ; and, although every- body had to admit that the 'business' was extravagant, there seemed to be no doubt existing as to its comicality." — Era, May 19, 1878. The following month (June 1878) Mr. Sothern played the part of Sydney 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 England rests almost wholly upon his admirable rendering of the two characters already speci- ally indicated, viz., Dundreary and David Garrick. Their great success on the stage is solely due to Mr. Sothern, who created them. " The first two acts of the comedy (' The Hornet's Nest ') were found to be a little tedious by reason both of the excessive quantity and deficient quality of the jokes with which Mr. Sothern has been provided. As the piece advances the humour fortunately improves, till in the last act genuine fun is provided by the mode in which all the rogues .... are, in a variety of ways, made to feel that they have indeed entered a hornet's nest. The piece received a welcome from the audience, which on the whole was well deserved. It has but little substance, and its tone, it is true, does not often rise above the level of farce, though occasionally a genuine comedy spirit is for the moment in the ascendant. The part of Spoonbill demands from the actor few qualities save an easy, self-confi- dent manner, and an air of imper- turbable self-command, and all this is thoroughly in Mr. Sothern's way." — Daily News, June 20, 1878. "In 'The Hornet's Nest,'. . . . first produced with indifferent success in New York, and now given for the first time in England, Mr. Byron has supplied a play that from one point of view is invertebrate and from another incoherent. Still, he has furnished Mr. Sothern with a comical character, and he has obtained a success. In chronicling this fact all is said that is really necessary. Criticism is imper- tinence and mistake. There is no plot to describe ; there are no cha- racters to analyse. The hero himself STIRLING, MRS. 291 is a cross between the Favourite of Fortune and Sir Simon Simple ; the subordinate characters are so many lay figures, with whom Mr. Sothern deals as he pleases. . . . Mr. Byron's characters .... burst into speech or song, indulge in protest or guffaw, at the bidding of Mr. Sothern. He meantime shows himself the most foolish of his sex through three acts to prove himself the wisest in the fourth act. It may be objected that such results as are presented would not spring from the agencies set in motion, that cause stands aloof from effect, and conclusion is dissociated from premise. This is true. The play is simple, sheer absurdity. It is, however, pervaded with abundance of jokes, good, bad, and indifferent ; it enlists the sympathies of those who will allow themselves to be interested, and it piques the sense of drollery of those to whom the incongruous is a vindication of the impossible. Mr. Sothern meanwhile shows himself in the piece at his best, delivers his jokes with a manner so careless, easy, and unconscious as trebles their value, and moves up and down the play a being wholly preposterous and irresistibly comic. The visitor to the Haymarket should, indeed, fall into an old child's game, and open his mouth and shut his eyes, intellectually speaking, and receive what is sent him." — Athe- naeum, June 22, 1S78. SOU TAR, MRS. 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 Vic- toria Theatres. Mr. Soutar has for some time held the position "I stage-manager at the Gaiety The- atre under the lesseeship oi Mr. John Hollingshead. R. See STIRLING, MRS. //,vFa\\v Clifton.) Born in London July 1816. Her first histrionic essay was at the Coburg Theatre. Af- terwards she appeared at the Pavilion, playing a variety of parts in tragedy, comedy, and melo- drama. On January 1, 1 Mrs. Stirling first appeared at the Adelphi Theatre, then under the management of Mr. and Mrs. Yates, as Biddy Nut/s, in ' The Dream at Sea.' The same month she played in a drama by Mr. Serle entitled ' The Ghost Story.' "Wo were much pleased with the new actress, Mrs. Stirling. She very pretty woman, and there were . force, and propriety in her ai tin.,', which will, if we are not much mistaken, answer most satisfactorily much heavier calls than were made upon her on this occasion."— . tueum, Jan. 9, 1836. Mrs. Stirling acted at the Adelphi the succeeding season in various \ duced there, melodramatic and fan i< d ; ' Luke Somerton, 1 ' The 1 )oom of Ma- . ' Catching an Heiress,' &c. Her qualification - .1-- an ai I were thus referred to in .1 contem- porary journal : " Without be< ing too prolix by going into particulars, we may saf< ly . tint she 1 Mrs. Stirling) ] in an eminent degree every rr«|iit- site for a low-comedy perfori th.it she uses all with admirable t.i t and discretion, and that she is withal 1 very pretty woman." in 1S36 she accepted an ment at the St. J.uir playing in May the cha- in ••.! \' and neatly written burletta, entitled • Love and t. h.mly."' In I (Novembi r), at D I atre, sin- mi sta I. " with limited succc^b," the part of Beatrice \n v a THE DRAMATIC LIST. a revival of ' Much Ado About Nothing'; and the same year, at the same theatre, the leading female role 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 1S41, at the same theatre, sustained Mrs. Glover's character of Mrs. Frank- lin in the same play. "The representation of 'Money' has been agreeably varied by the sub- stitution of Mrs. Stirling for Mrs. Glover as the marrying widow ; the talent that can give new attractions of a higher kind to the personation of two such opposite characters as Clara Douglas and Mrs. Franklin, both which had previously received the impress of powerful performers, is worthy of a more commanding position on the stage than that at present occupied by Mrs. Stirling." —Athenceum, May 8, 1841. 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 Airs. 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 #nder the title of ' The Eton Boy.' In 1845 she joined the com- pany of the Princess's Theatre, and appeared there with Mr. Macready, Mr. Wallack, Mr. and Mrs. Chas. Mathews, Mr. Comp- ton, Mrs. Ternan, in several plays produced under Mr. Macready's superintendence. She acted at the same theatre with Miss Cush- man during the first visit of that accomplished actress to England ; on April 19, 1845, appearing 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. Mac- ready in the leading role. The fol- lowing 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 perform- ances at the Theatre Royal, Covent Garden, arranged in behalf of the fund for the purchase of Shake- speare'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 Olym- pic Theatre, and appeared there, September 4, as Laura Leeson, in ' Time Tries All,' then per- formed for the first time. " This was Mrs. Stirling's first appear- ance 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. Stirling's style than that of a fantastic maiden, who, mistaking the bias of her own feelings, banishes from her pre- sence 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 de- struction by fire of the Olympic (March 29, 1849) ^ rs - Stirling STIRLIXG, MRS. =93 accepted an engagement at the New Strand Theatre under Mr. Henry Farren's management. On October 10 she played there the leading role in ' The Reigning Favourite,' a piece translated by Mr. John Oxenford from Scribe's tragedy of ' Adrienne Lecou- vreur.' "Probably Mrs. Stirling never acted so finely as in the character of Adrienne, originally played by Made- moiselle Rachel. It is a very difficult part, since although a number of pas- sions are to be displayed with great intensity, they must at the same time be expressed with quietness. Except- ing in the death scene at the last, when she is a. one 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 his- tory of internal emotion, without any- thing like violent ebullition. In the cited speeches which she had to de- liver 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, Oct. IO, 1849. The same year Mrs. Stirling appeared as the heroine in Mr. Theodore Martin's version of 'King Rene's Daughter'; and as Olivia in a version by Tom Taylor of 'The Vicar of Wakefield.' In 1850, October 14, .it the Olympic, she sustained the principal role in Stirling Coyne's 'My Wife's liter,' a version of ' La Femme de Quarante Ans.' Monday, January 13, 1851, at the same theatre, sh< d tin- part of Martha Gibbs in 'All that Glitters is not Gold ' Mor- ton). The following April, in a dramatic version of Addison's ' Sir Roger de Coverley,' produced at the Olympic, Mrs. Stirling under- took the part of the Widow. 1 he piece, though interesting, was nut successful. Alter fulfilling a short engagement at the Olympic The- atre she returned to the Hay- market and reappeared there, April 2 i, 1852, as Fanny Morrison^ first performance of Mark Lemon's play 'Mind Your Own Business.' On Saturday, November 20, 1X52, first performance at the Hay- market Theatre of ' Masks and Faces,' Mrs. Stirling played the part of Peg Woffington. " The plot of this piece, indeed, is its weakest point The nominal hero, Vane, is a poor creature, weak as well as wicked, who excites no in- whatever, and ills 11 i deserve an amiable and loving wife. The prin- cipal figiu , who is admirably drawn, and charmingly represented by Mrs. Stirling. The character is a delightful combination of grace, wit, sp rit, 1 - "f nature, and generosity. Hut this ideal tgton is just such a creature as the still more 1 I Mrs. Clive was in reality; while Kitty Clive (who is als 1 the Jr.tr .ui insignificant part. Triplet, n of < in. 1 Mr. Webster in that art i -tie and masterly manner for which he i- distinguished, with fine touches of hom *." — Daily .'• " Althi blind t'« the faults "I this pi we ha'. litation in dei lai • the mo literary preti nlmn that have app< on thl •us and ih'- per- by no ui'. in, 'i, lupplii ated by the u ife 1' ■ hei hus- band, 1 annot but re, .ill to mind the il, in the I- rem h /■elite 294 THE DRAMATIC LIST. comedie of 'Tiridate,' combating her affections for the son at the solicita- tion of the father. The miseries of the poet in his garret bear no small affinity to those of Kotzebue's 'Aimer Dichter,' better known here through the medium of ' Monsieur Jacques.' Even the contrivance of thrusting a real face through a hole in a picture is one that has been already tried, and was used for farce purposes in Mr. Bernard's ' Mummy.' Fault may be found, too, with the sudden reforma- tion of Ernest, whose deviation from virtue is much more clearly shown than his return to her laws. But all the objections that may be made on the score of want of invention and an inartificial manner of bringing a story to a conclusion, are over-bal- anced by the zeal and talent displayed in the dialogue, and in the substantial nature of the dramatis persona. Not only is Mrs. Woffington rendered a new character by a happy combina- tion of benevolence and mirth ; not only does the starving poet acquire new individuality by the peculiarity of his details, but the minor personages, who are grouped about the principal figures, like Sir Benjamin Backbite and Co. in the ' School for Scandal,' are all sketched with care and minute- ness. The dilapidated foppery of Colley Cibber, the known epicurism of Quin, immortalized by a famous epigram, the pompous asperity of the ill-natured critic, Snarl, and the plati- tude of the good - natured critic, Soaper, are each brought forward with due force, and when the whole party is assembled on the stage, a characteristic line is expected from each, and received with pleasure. Writing has evidently been a labour of love with the authors, and has occasionally led them into prolixity. Pleased with a chain of dialogue, it seems every now and then that they did not know how to let it drop. Such is the state of the modern drama that our actors do not often get a real substance to grasp. The Haymarket company gladly availed themselves of the rare opportunity afforded them by ' Masks and Faces.' Mr. Webster is an actor, above all others, whose capa- bility of shining forth depends on the strength with which the character he represents is marked ; and his repre- sentation of the distresses of the poor old poet, Triplet, always odd but sometimes intensely affecting, deserves to be placed as a pendant to his excel- lent delineation of the drunkard in ' Mind your own Business.' Stepping gracefully from seriousness to gaiety, and equally natural in both, Mrs. Stirling is completely in her element as Peg Woffington, and has all the benefit of a contrast in the girlish, effusive manner, which is very pret- tily assumed by Miss Rose Bennett in the character of Mrs. Vane. Sir Charles Pomander, a spiteful fop of the old school, is played with becom- ing coolness by Mr. Leigh Murray. These are the great personages of the play ; but the lesser characters were also adequately sustained." — Times, November 22, 1852. Mrs. Stirling, it may be noted, was the original Mrs. Trotter Southdown in Taylor's comedy ' To Oblige Benson,' first performed at the Olympic, Monday, March 6, 1854. This successful piece was an adaptation of ' Un Service a Blan- chard,' by MM. Moreau and Delacour. Among other charac- ters assumed by Mrs. Stirling during her long connection with the Olympic, the following are deserving of being specially men- tioned, viz., Lady Teazle (June 22, 1855); Mrs. Bracegirdle, in the comedietta of ' The Tragedy Queen' (May 1856) ; Miss Dor- rillon, in Mrs. Inchbald's co- medy, ' Wives as they Were and Maids as they Are' (the same month) ; Mrs. Levenson, in Mr. A. C. Troughton's ' Leading Strings ' (first performed Oc- tober 19, 1857). " The Olympic is a theatre with a distinct walk of art, and its spe- STIRLING, FANNY. ciality is a very attractive one. It furnishes a home to the drama of the drawing-room — to the light, playful representation of the domestic life of the higher orders, as distinct from the regular comedy of manners. .... On the whole the efforts of the Olympic are successful, and ' Leading Strings ' is one of the greatest successes in the line of draw- ing-room comedy which the theatre has attained. There is no strength of situation, no originality of conception, no fine play of character. But such qualities belong to a higher walk of the drama. ' Leading Strings ' aims at and attains minor excellencies; hut then its merits are the ones appro- priate to the order of theatricals to which it belongs The more comic portion of the play is assigned to an old butler, who pries into the secrets of the family, and who favours the audience with constant exposition of his ideas on the proper education of a family. This part is so well played l>y actor, the 'make up,' the behaviour, and the by-play of the character are so admirably given, that Binnings, in itself not a very pn ing part, is quite a creation, and a distinct effort of theatrical genius. Mrs. Stirling, as the mother, exhibits one of the most finished and sus- tained pieces of drawing-room acting that have been seen in London for some years, and, from one end to the other her part is excellent. Bui in the other parts it seems as if, in Eng- land, it were impossible to trust i n- tirely to the effect of this sort of play when kept within its legitimate limits, and as if some tncession must be made to the taste of the pit, and to the public liking for exaggeration and practical jokes." — Saturday Review, Oct. 31, 1857. In February 1857, at the Lyceum, Mrs. Stirling played the leading female r6le, first performam Mr. Tom Taylor's play, 'A Wolf in Sheep's Clothing,' an adapta- tion of Madame Girardin's ' 1 fne Femmc qui deteste sun Man.' 295 At the Olympic, in October 1S5S, in a melodrama by Mr. VVilkie Collins, 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 contem- porary criticism as " the most brilliant failure of the day." Mrs. Stirling's acting was its one re- deeming feature. Since 185S Mrs. Stirling has rarely appeared on the London stage, and chiefly in the position of a " star " actress, mostly in characters in which she had already secured fame. In the spring of 1869 she gave her first dramatic reading in London, con- sisting of selections from ' The Midsummer Night's Dream.' She has since occupied herself princi- pally with this work, and with her duties as Professor of Elocution at the London Academy of Music. STIRLING, FANNY. Daughter of Mrs. Stirling (Fanny Clifton). Made her (Ubut on the London stage July 25, i860, as Miranda, in ' The Enchanted Isle.' On Monday, January 7, 1861, appeared .it the same the- atre in her first important part, viz., Miss Vandeleur, in I al coner's 1 omedy, ' Does I le Love Me ?' '• Mi-> Stirling has great natural 1 , and inereh n quires cultiva- tion in the art which she baa ci to realise a decidi 1, I !■ 1 portraiture of the heroine was ex- ceedingly natural, full "I girlish im- pulse, and occasionally revealing ex- traordinary pov. don I' : and »t) le -In- mui h res< mbles her mother, and in time will probabl) become as attrai live an tu ■ Athetuzum, Jan. 12, 1861. In March of the same yeai the llaymarkct, she played in a 296 THE DRAMATIC LIST. new piece, ' A Duke in Diffi- culties,' written by Mr. Tom Taylor expressly for Mrs. and Miss Stirling, both of whom ap- peared in it — the former as La focunde, the latter as Colombe. Miss Stirling has appeared on the boards of all the principal theatres in London. SUGDEN, CHARLES. Born at Cambridge in 1S50. Entered the dramatic profession in 1869 under the pseudonym of " Charles Neville," and first appeared at the Theatre Royal, Brighton, in ' No- body's Child,' and subsequently at the same theatre in other small parts. During one week at that theatre acted as clown in the pantomime. From Brighton pro- ceeded to Dublin and Edinburgh, enacting Laertes and other young men's parts in Shakespearian plays, comedy, &c. Next ap- peared at the Prince of Wales's Theatre, Liverpool, as Bertie in ' New Men and Old Acres.' 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 under Montague's man- agement. In 1873 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 accepted an engagement at the Olympic, and played William III. in Tom Taylor's ' Clancarty ' (for the first time appearing under his real name, Charles Sugden), and Chevalier in the ' Two Orphans.' " Mr. Charles Sugden gave a very clever representation oiKing William. His get-up was remarkable, and the entire performance in its moderation and equality evinced power of no ordinary kind." — Athenaeum. January 16, 1876, Mr. Sugden appeared as Charles Middlewick in ' Our Boys ' — first performed at the Vaudeville Theatre — a cha- racter which he sustained during three hundred nights. At the Prince of Wales's Theatre he has played Captain Bradford in ' Peril,' Sir Harry Arncliff in ' The Unequal Match,' and Algie Fairfax in ' Diplomacy.' " Mr. Sugden has seldom been seen to greater advantage than in the cha- racter of Harry Arncliff, a part thoroughly well suited to a style which errs occasionally on the side of over-repression. The studiously subdued tone of Mr. Sugden's acting was in place here, and its admirable ease and simplicity are well known." — Pall Mall Gazette. SULLIVAN, BARRY. Born at Birmingham in 1824. Made his first appearance on the stage at Cork in 1840. After studying for some time he joined the com- pany of the Theatre Royal, Edin- burgh. Previous to his appearance on the metropolitan stage had earned distinction in the provinces — notably at Manchester and Liver- pool — as an actor of the poetic drama. Made his debnt in Lon- don, at the Haymarket Theatre, in the part of Hamlet, Saturday, February 7, 1852. "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 harmonised 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. Sul- livan has mind, and can act well- that he possesses originality of con- ception and beauty of movement — SULLIVAN, BARRY. 207 that he has studied hard and practised long — all this is evident His intei view 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." — AtketuButn, Feb. 14, 1852. " The debut of Mr. Barry Sullivan, a provincial tragedian, at the Hay- market Theatre, is by no means de- void of interest. He is deficient in physique, and makes no very strong appeal to the sympathies ; but his performance of Ham let — the only cha- racter he has yet played — shows that he is a careful and intelligent reader, with a perfect knowledge of stage- business. The alteration of the phrase ' I know a hawk from a hernshaw,' into ' I know a hawk from a heron — psha ! ' might savour of trickiness, were not Mr. Sullivan's general man- ner, which is most thoroughly free from claptrap, a sufficient warrant that all he does is the result of deli- berate conviction." — Spectator, Feb. 14, 1852. In a lengthy criticism of Mr. Fechter's performance of the cha- racter of Hamlet, the Saturday Review of April 6, 1861, dwelling upon the novelties introduced by that actor into the generally re- ceived reading of Shakespi play, remarked' : "When Mr. Barry Sullivan came out as Hamlet a. feu- years ago, many p< rsons attended the Hay market for the mere pur- pose of hearing him say. ' 1 know a hawk from a herne 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 nitics may be usefully warned that the 1 onventional is not necessarily wrong, and thai irtist is not bound, matter of duty, to scorn the teachings of his predecessors. A school-boy who commenced recit- ing the first book of ' jEneid ' with the words ' Armorum virique cano,' would be the most uncon- ventional Latinist in his class ; but his originality would hardly exempt him from the penalties prescribed by the ancient code of birch." At the Haymarket, Saturday, February 14, 1852, Mr. Barry Sullivan acted the character of Angiolo, in a five-act drama by Miss Vandcnhoff, entitled 'Wo- man'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.' Saturday, February 12, [853, first performance, at the Haymarket Theatre, of Lord Lytton's play, ' Not so Bad as we Seem ' (written for, and originally played by, mem- bers of the Guild of Literature), Mr. Sullivan sustained the part of Hardman. "Mr. Stuart played the Duke of Middlesex with volcanic energy and oppressive si 11-" of ducal dignity, ami Mr. Barry Sullivan thru of Hardman in a manner which will not allow him to be dismissed at the tail of a sen- tence. The impression left by this gendeman's acting is, thai as and 1 lear dramatii but lai what of the flexibility required by the characters of comedy. Hence his playing in the earliei more levi I omewhat stiif and cumbrous, though always judi- cious ; but in the lasl ai t, the burthen of which rested mainly upon him, he came oul with energy and fii and sustained th< the audiern 1 all thr 1 jh, and obtained ■ ion oi well-merited plau —Daily \ , Feb. 14, 1 Si- The same year April . firsl per- formam e, at the sap Mi. Browning's play of M lolori Birthday,' Mr. Sullivan ai ti d the chara< U 1 of ' alen e. 1 he same 298 THE DRAMATIC LIST. year he accepted an engagement 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 ap- peared there as Claude Melnotte, to Miss Helen Faucit's Pauline ('Lady of Lyons') ; in June as Frankly n, in ' Love's Martyr- dom ' ; and subsequently, in the same month, as Jaqites, in ' As You Like It,' Miss Faucit playing Rosalind. " Melnotte was impersonated by Mr. Barry Sullivan, who was de- cidedly successful in the estimation of the audience, having been called be- fore the curtain twice during the play, though in our judgment he 'tore his passion ' too much. We do not know whether any convenientia temporis in- duced the manager to select the ' Lady of Lyons ' for representation ; but certainly there are few popular plays in which the right of merit and the demerit of mere birth are more prominently set forth. The allusions of that kind were seized with avidity, and so loudly cheered by the audience that the spectator might almost fancy himself at an Administrative Reform Meeting." — Daily News, May 29, IS55- "A new play, entitled 'Love's Martyrdom,' has been produced at this theatre with much success The story of this play we do not care to tell. It runs upon the love of a deformed hero, whose life is embit- tered by distrust of his own power of pleasing, for a heroine too high- spirited to bear distrust in love. It is something of a defect, perhaDS, that this hero, Franklyn, is somewhat more passionate than is consistent with the possession that is ascribed to him of all virtue and wisdom ; and in impersonating him Mr. Barry Sullivan, j though he acts forcibly, must certainly be held to overact the rage. The ! consequence is, that by exaggerating i greatly what is in the original play | exaggerated, perhaps, slightly, he re- presents what often appear to be coarse passions, where the author hoped that we might see exalting and refined emotions." — Examiner, June 6, 1855. " We were pleased on this occasion by Mr. Barry Sullivan, who, in the melancholy Jaques, appeared sedu- lously to avoid the sin of exaggeration with which he has hitherto been justly charged. This submission to criti- cism, intended for his advantage, however severely expressed, will go far to correct the provincial peculi- arities that have grown into faults." — AthencBum, June 30, 1855. Monday, October 8, 1855, at Drury Lane Theatre, Mr. Barry Sullivan appeared as Tihrak, in " a grand Egyptian drama " by Mr. J. Fitzball, 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 sus- tained several important parts in the line of the legitimate drama. Subsequently 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 summer performances at the most western of theatres (the St. James's) take this week a tragic direc- tion, in consequence of the engage- ment 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 SULLIVAN, BARRY. 299 public, he has chosen Hamlet for the inauguration of his career. All the qualities that have rendered his me- mory estimable in the minds of play- goers he retains to their full extent. He is a careful, correct, and perspi- cuous declaimer, turning to good ac- count his natural advantages of voice and figure, and he is, moreover, tho- roughly 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." — Times, August 22, i860. From i860 to 1866 Mr. Sullivan devoted himself to dramatic affairs in Australia, where for some time he was the chief actor and man- ager of one of the principal the- atres. In the latter year he once more returned to the London stage, and reappeared, on the 22nd September, at Drury Lane The- atre, as Faulconbridge, in a re- vival, by Messrs. Falconer and Chatterton, of ' King John,' ami in the month following as Macbeth. Mr. Sullivan also played other characters in the drama of Shake- speare during the same engage- ment. "The new Faukonbridge was safe with his audience from his very first utterances. Mr. Sullivan's conception of the character is nearer to that >>f Charles Kemble than of any Other actor within the memory of contem- poraries. There is an abundance, but not a superabundance of spirit in it ; the utmost freedom, without vulgarity ; a graceful ease, and not a braggart swagger Mr. Sullivan's suci was not confined to the conv melodramatic element of the racter. There 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 scanning 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 substantial King ; and when he bent over the body of the dying monarch there was earnestness of significance in the action, as if the gallant knight felt a respectful sorrow for the condition of his uncle. ' Old Drury, 'in short, maybe congratulated on its acquisition of Mr. Barry Sul- livan. Some time has passed since he won golden opinions by his im- personation of Hamlet ; but a certain lack of strength and want of practice were observable. Since then, how- ever, his experiences 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 h. by his excellent conduct of his estab- lishment, secured an extensive patron- age, was enabled to make essay of his powers in the mosl trying parts. He succeeded, and now has so mani- fest!) 1th and phy- sique, that he supported the part of Faiilc onbridge with the utmost ability and success." — Athenaum, Sept 29, 1866. " The careful revival of ' M.u beth,' which two jo provi advantageous to this theatre, i- now invested with renewed interest through trcumstance of the ambitious Thane being represented on alternate evenings by Mr. Phelps and Mr. 1 Sullivan I he points and tone with which the first-named performer endow-, an assumption which may be complimentarily < onsidered on a close study "i Mi. Mai ready's interpretation long ived from In- st. nun h adherents the i knowledgment Mr. Barry Sullivan's rendering ol Mat ' th 1 mui h familiar to the play-going publi tin, i ountn ; but ii the sustained ajiplau.se of such a strong gathering 3°° THE DRAMATIC LIST. as that of last evening be any criterion, I the admiration of the earnest lovers of Shakespeare, who are nightly making ' Old Drury ' their trysting place, will , 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 Sullivan strongly impresses his j auditory with the conviction that, from the first supernatural soliciting of the witches, Macbeth is fully re- solved 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, but is thus hardly to be accused of being its in- stigator, 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 Sulli- van's notion of the rapidity with which the thought of the murder entered the mind of Macbeth, that his wife, who considers 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 entertained 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 per- sonation of Lady Macbeth, gave a suggestive rather than a powerful rendering of the character. Her per- formance is not lacking in intelligence, but it is deficient in force, and much less decided in form and colour than could be desired." — Daily Telegraph, Oct. 3, 1866. In 1868 Mr. Barry Sullivan en- tered, for a brief period, upon the management of the Holborn The- atre, " opening " there Saturday, May 1, as Evelyn, in ' Money.' Since that date he has principally occupied himself with " starring " in the United States, Canada, Australia, and in England. He has accepted brief engagements in London in the intervening period (1868-78) ; his last perform- ances of importance in the metro- polis having been at Drury Lane Theatre, in 1876, as Richard III., in Cibber's version of Shake- speare's play, and in the character of Macbeth, both of which imper- sonations were received by the public with much interest and well-merited commendation. SWANBOROUGH, ADA: Born in London. Made her debut in November 1861, at the Strand Theatre, as King Christian, 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 as among the more important : — Cicely Homespun, in the ' Heir at Law'; Estelle Fitzwalter, in ' My Preserver '; Matilda Gush- ington, in ' Marriage at Any Price'; Blanche, in the burlesque of 'The Duke's Motto': 1 he SWANBOROUGH, ADA. ?oi Caliph, in Mr. W. Brough's ' Caliph of Bagdad ' ; Lady Con- stance de Grey, in ' The Field of the Cloth of Gold'; Countess d' Estrella, in J. P. Wooler's ' Maid of Honour'; Mabel Lynd- ivood, in Burnand's burlesque, ' Windsor Castle.' "The vocal talent of Miss Ada Swanborough has never been dis- played to greater advantage than in the character of Mabel." — Times, June 1S65. In Burnand's extravaganza, 1 Der Freischutz,' Miss Ada Swan- borough 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.' "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." — Athenceum. "In this character {Alexina) Mi - Swanborough achieved complete suc- cess. It is oiu- which requin ordinary power for the conflicting emotions which rule the heroine are difficult of interpretation The pas- sionate love, and the kindly human heart, the patient watching of the ;ns, the Light bantering tone which set at rest their suspicions, the wild despair that the approach of death induced, and the heroism that at length calmly met it, wen- repre- sented with consummate skill."— Standard. Other principal ch.ir.i played by Miss Ada Swan at various periods oL 1 1 •- 1 1 have been, Pauline, in the ' Latest Edition of the Lady of Lyons'; Leonie, in 'The Ladies' Battle '; Hardress Cregan, in the burlesque, ' Eily O'Connor'; /nee, in Burnand's burlesque of ' L'Afri- caine '; A'ate McTavish, in ' Old Soldiers,' &c, &c. On the 6th of May, 1875, Byron's three-act comedy, ' Weak Woman.' was produced at the Strand. Miss Ada Swanborough undertaking the part of Helen Gaythorne. 1 >e- cember 5th of the same year she appeared as Mrs. Sutherland, in C. T. Cheltnam's comedy, ' A Lesson in Love.' " This accomplished gentlewoman [Mrs. Sutherland] now finds an ex- cellent representative in Miss Swanborough, who plays with amiability. Indeed in no other cha- racter in which she has yet appeared has Miss Swanborough been seen to greater advantage." — Morning J'ost, Dec. 6, 1875. In all the more successful come- dies, comediettas, burlesques, and extravaganzas produced at the Strand Theatre under the present and pa^t managements (1861- 1878) Miss Ada Swanborough has borne .1 principal role. SWINBOURNE, THOMAS. Made Ins first appearam ( on the London stage Monday, Sep- tember 15. 1862. as Captain Randal Ma. in B cault icular drama, ' The Relief ol Lucknow,' ti performed. Pn vious to his debut in London, Mr. Swinb anne had tor many years " si irn d " in the provinces with the Lai denhoff, and obtained tl :! journals. The fol- lowing, amoi nine played by Mr. Swinb 01 Lond illusti position hi id by him in the dramatii profession. 1 le became a member o! Mr. B THE DRAMATIC LIST. cault's company when that gen- tleman opened Astley's Amphi- theatre as the ' Theatre Royal, Westminster.' On Monday, Jan- uary 26, 1863, he appeared there as Gcordie Robertson, in Bouci- cault's dramatic version of ' The 1 Heart of Midlothian,' then per- formed 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 Bateman play- ing Julia. At Sadler's Wells Theatre, June 16, 1866, first per- formance of Mr. Farnie's version of Mr. Charles Dickens's / Our Mutual Friend,' entitled 'The Golden Dustman,' Mr. Swin- bourne acted the part of John Harmon. In 1867, Monday, Jan- uary 21, at Drury Lane, in a re- vival of ' John Bull,' he played Peregrine. He acted belphegor at the Holborn Theatre in October 187 1, and since that time has appeared in London in various important roles in the legitimate drama. TA YLOR, FREDERIC A. 303 TAYLOR, FREDERICA. Born in Philadelphia, U.S.A., of English parents, and brought to England in early childhood. Was educated for the stage. Studied singing under Signor Lago, of the Royal Italian Opera. Entered the dramatic profession in 1869 at the Oxford Theatre. Was subsequently engaged by Mr. Sefton Parry for a short season. In 1872-3 fulfilled various engage- ments in the provinces, and after- wards at the Brighton Theatre under the management of the late Mr. H. Nye Chart. Played at the Brighton Theatre Ophelia, Helen (in 'The Hunchback'), Lydia ('Love Chase'). At the end of 1873 was specially engaged by the management of the Theatre Royal, Birmingham, to personate Oberon in a revival of ' The Mid- summer Night's Dream.' ''As Oberon, Miss Taylor had the great advantage of a clear and natural expression, even in singing, so that nearly every wonl and syllable were heard distinctly ; and her vocal illustrations were greatly effective. 1 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 exi success." — Birmingham Daily News, From 1873 to 1875 M' ss Ta 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 to represent Paulina in Shake- re's ' Winter's Tale, at the Royal Alexandra Theatre, Liverpool. "This character [/'/«//«<;) requir- ing great vigour and DO lets judgment, was played by Miss Frederica Taylor with marked ability, the verdict of the audience being heartily with her.'' — Liverpool Daily Post. At the Theatre Royal, Birming- ham, the same season she played Hermione (' Winter's Tale '). "The many attractions, the dignity, the womanly traits in the character of Hermione have made the imperson- ation a favourite one with most actresses, and last night a very pleasing and excellent rendering of it was given by .Miss Frederica Taylor. In the amphitheatre scene her acting was especially forcible, and the repre- sentation of the statue at the close of the play was in effect exceedingly beautiful." — Birmingham Daily Mail. 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'), Esmeralda (' Notre Dame '). TEARLE, GEORGE OS- MOND. Born at Plymouth, March 8, [852. Entered the dra- matic profession March 26, 1S69, at theAdelphi Theatre, Liverpool, appearing as Guildenstem in • Hamlet.' Afterwards travelled through the pro ot- land, accepting engagements at various theatres. In 187 1 a< t. d ill'- pari i'l Ham let at Warrington. Made his first appi "ii the London stage at th< < rail t> I he- rn the play entitled ' Ro K MicheL' R< turned to Liverpool, and again a. ted the pari of Hamlet with som< Subsequently played in ' Rip Van Winkle 'at the Plil I heatie, 3e tlie actor a certain measure of the sympathy we are unwilling to feel for the character ; and his acting is good throughout the piece — easy, spirited, and gentle- manly." — Thins, April I, 1 On Monday, September 16, 1878, first performance at the Haymarket Theatre of 11. J. Byron's " comedy-drama," entitled ' Conscience Money.' Mr. 1 erriss acted the part of Sydney Sej " Mr.Terrisswas exi ellent giving an alt" Qtation of viliany. It i^ diffi< ult to in an improvement more rapid or more distinct than that this young .1 I 305 made since he quitted melodrama for comedy." — Globe, September 17, 1878. " The powers of the best perform- ers could hardly give plausibilil interest to a story of this kind, though Mr. Terry's (sic) energetic denuncia- tion of his victim and well-simu passion brought the second act of the play to a strikingly dramatic cl< —Daily News, Sept. iS, 1878. On Thursday, October 3, 187 in a revival at the same theatre of 'The Rivals.' Mr. Terriss sus- tained the part of Captain .-It sa- lute. TERRY, EDWARD O'CON- NOR. Born in London, March 10, 1844. First appearance on any •. August 15. 1863, at the Median Institute, Christ- church. Hants, as Wormwood, in ■ 1 lie Lottery Ticket.' Afterwards (1864 appeared at the followit places, viz.. Rochester, Guei Sheffield, Newcastle, and the Isle of Man. At the Theatre Royal, fast, in the following years (1865-6 . played, among other parts, Tom Twig,in 'Cat< Inn. an Heiress, 1 Touchstone, Asa Tren- chard ' < >ur American Cousin Squire Chivey 'David Garrick Tony Lumpkin, &c. •• Mi. Edward Terry was fl Lumpkin. 1 1 l ^ representation pie< 1 Irollery v. feature of the play. I hei ion show n by Mr. Terry to minute comic details, which proves him t" nlv nan li judgment, but a nib fund of humour. ', Jan 27, 1866. • inCC in 1 the Surrey '1 h< ■ pt< ml - innikin lit in 'A Cure foi tin- Fidgets.' Al wards, the same y< •it tin- Ly< eum Th< atr< . u Mr. E. T. .smith's management, 3°6 THE DRAMA TIC LIST. as the First Grave Digger, 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 per- formance is Mr. Edward Terry, who has at once made his mark as a grotesque actor of most singular qualifications. His slim figure re- calls to mind the four French dancers who appeared at the Princess's some two years ago. His habitual melan- choly, 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 re- counts 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 im- pression made by this there can be no mistake." — Times, Aug. 1869. At the Strand Theatre, during the time he was a member of its company, Mr. Terry played the following original parts, viz., Ka- lyba, in Burnand's burlesque of ' Sir George and A Dragon '; Poly- fihloisboio, in the same author's burlesque of ' Orion ' ; Cassidy, in Byron's comedy of ' Old Soldiers ' ; Lieutenant 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 ' (bur- lesque), also by Mr. Farnie ; Joe Sally, in 'Dolly's Delusion' (R. Reece) ; and Captain Ginger, in Byron's comedy, 'Weak Woman.' After fulfilling his long merit at the Strand, Mr. Terry became a member of the company of the Gaiety Theatre, under Mr. John Hollingshead's management. In 1877-8 he played there the fol- lowing original parts, viz., King of Spain, in ' Little Don Cagsar de Bazan ' (Byron) ; Devilshoof, in ' The Bohemian Gyurl ' (Byron) ; and Mephistopheles, in ' Little Doctor Faust ' (Byron). On Mon- day, September 2, 1878, at the Gaiety Theatre, Mr. Terry played the leading role in Burnand's comedy entitled ' Jeames ' founded on 'Jeames's Diary' of W. M. Thackeray. TERRY, ELLEN. (MRS. Charles Kelly, a nom de the- atre.) Born in 1848. Towards the termination of Mr. Kean's memor- able 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 1, 1856), making note of the fact, remarks : " Miss Ellen Terry plays the boy Mamilius with a vivacious pre- cocity that proves her a worthy relative of her sister, Miss Kate." On Monday, October 18, 1858, she acted the part of Arthur in the second revival of ' King John,' under Mr. Kean's superintendence, at the Princess's. "The part of Arthur is played with great sweetness, clearness of enuncia- tion, and delicate light and shade, by Miss Ellen Terry. The pride, the terror, and the love are all thoroughly childish and affecting, from the sim- plicity with which they are portrayed." — Daily News, Oct. 19, 1858. In March 1863 Miss Ellen Terry made, what may be termed her professional debut, at the Hay- market Theatre, in the part of Gertrude, in ' The Little Trea- TERRY, ELLEX. 307 sure '—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-emi- nently useful. Revived at the Adelphi, it enabled Miss Marie Wilton to dis- play talent for a wider range of im- personation 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 repre- sentation of the most juvenile cha- racters; and now she is matured into one of the happiest specimens of what the French call the ingbiue 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 pre- sented in her natural shape, free and uncontrolled as her long back-hair. Particularly excellent is her assump- tion of that perfect confidence which arises from complete innocence of evil. Well may poor Captain Mayden- blush be stricken with terror when she makes him an offer of her hand, with an audacity that the most im- pudent citizen of the demi-monde might strive in vain to acquire." — Times, March 25, 1S63. 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 "I Rose dc Beaurepaire. From the last mentioned date down to Miss Ellen Teny seems to have accepted no protesbiomd engage- ments in the metropolis. 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 Hen.' " Playgoers need not severely tax their memory in order to revive agreeable recollections of the grace and vivacity of Miss Ellen Terry, whose professional career seemed to terminate with the retirement of her accomplished sister. The reappear- ance of this young actress 1 in Saturday night was welcomed with a cordiality fairly expressive of the value attached to these pleasant remembrai ces ; and the position vacated bj Mrs. John Wood, through the claims of oilier engagements, could not have been more satisfactorily tilled. Mis^ Ellen Terry possesses exactly the qualifica- tions demanded by such a character as Philippa, and the undiminished brightness and buoyancy of her style became at once apparent in the - when the hoyden dwells with such delight on her love of boyish pas- times, yet shows how much she retains of girlish modesty and sim- plicity. Hardly le^s effective when the action is transferred to America, and Philippa appears in male attire, was her generous devotion to the interests of James Anncsley ; . . . . while the Straggle under masculine garb to veil repeated signs oi strong womanly affection was most artist 1- cally indicated. M r. • harli ' drama of the 'Wandering li which highly interesting story wrought out with remarkable ingenuity, has thus be© ■ end with an additional element ol at I don, and the prospi roi !, iving a peculiar sign I the present time promises to 1"- pro- , fai beyond the hundred nights it has already nearly attained." i , W cha, 1874. In the same year, on Saturday, Apnl 18, at Asuey'i Th< atre, x ^ 3°S THE DRAMATIC LIST. played a leading role [Susan Merlon) in Mr. Charles Reade's drama, ' It is Never Too Late to Mend.' " The dramatic adaptation of Mr. Charles Reade's remarkable story, ' Never Too Late to Mend,' was pro- duced at Astley's on Saturday even- ing with success. The play was well mounted, and the performance was creditable to the actors, the Susan of Miss Ellen Terry deserving especial commendation." — Daily News, April 22, 1874. In 1S75 (April), revival, at the Prince of Wales's Theatre, of ' The Merchant of Venice,' she acted the character of Portia. " Although we are very far from having exhausted the subject of the accessories of this remarkable revival, we have left ourselves but little space to speak of the performers. In truth, excellent as the general effect is there is not much to be said of any individual performer with the single exception of Miss Ellen Teny. 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 harmonious combination. Nor is this delightful actress less successful in indicating the tenderness and depth of passion which lie under that frolic- some exterior. Miss Terry's figure, at once graceful and commanding, and her singularly sweet and expres- sive countenance, doubtless aid her much ; but this performance is essen- tially artistic. Nor is there to be found in it a trace of the 'pedantry and affectation' 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 move- ments 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." — Daily News, April 19, 1S75. In May of the same year, at the same theatre, Miss Ellen Terry sustained the part of Clara Doug- las, in a revival of ' Money,' act- ing with " an emotional power in which she is now unequalled " {The Athenaum, June 5, 1875). "Nothing, however, will distin- guish 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 win- ning and sympathetic, but in a hun- dred little details which would escape the notice of any but an actress of the very highest capacity does Miss Terry prove her power. The expres- sion 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 rare gift of identifying herself with the personage she presents, and neither on our own stage nor on the French do we remember any exempli- fications of womanly self-sacrifice and tenderness which surpasses the Clara Douglas at the Prince of Wales's." — Standard. May 31, 1875. " But if the art of Mrs. Bancroft contains the rare charm of perfect and disciplined expression, that of Miss Ellen Terry is conspicuous for its sympathy and nature. Except Aimee Desclee, we can recall no actress in modern times who has possessed the gift of so absorbing herself in the creation that the actress is lost entirely, or who so thoroughly TERRY, ELLEN. 309 compels her audience to follow the workings and anxiety of her mind. There is a certain thrill caused by the deep-toned voice, and a throb in the modulation of it, which are of the greatest gain. The whole staginess of the picture disappears, the arti- ficiality vanishes when the new Clara Douglas chides her ' noble Evelyn.' We think of nothing but Clara Douglas ; she opens her heart to us, and we understand her nature. The actress paints for us the perfection of gentleness and maiden modesty. A highly nervous and sensitive tempera- ment is suggested by the wringing of the hands and half-concealment of the face. The voice is eloquent with persuasion, and the whole nature of the woman is steeped in tenderness. ' And now that there is nothing unkind between us — not even regret — and surely not revenge, my cousin, you will rise to your nobler self — and so farewell !' These are the words which ring in the ears, and so charm the audience with this creation. The poetry of deeply felt but nnexaggerated grief is here given in all its truth and intensity. But, as we have hinted before, the extreme naturalr. such a performance as this has the effect of making prominent many of the artificial positions of the comedy. It i- not acting, it is nature itself. But then, unfortunately, an inevitable contrast must be cau ed. For instance, the phraseology put into bis mouth prevents a very natural Alfre I and this character, remarkable for its staginess, becomes more so l>y the side of such a (' rhaps the most interesting ami sympathetic that COUld be quoted. '' -•/ r "/ ,t , May 31. 1875. Saturday, August 7, 1875, acting for one night only at the Prin- cess's The. are, she played Pauline in ' The Lady of Lyons.' " The performance at the Prin on Saturday last bj '■'< 1 of the character of Pauline in the 'Lady of Lyons,' gives to ,111 tainment intended fur one night only, and appealing to a very limited section of the public, an interest a similar occasion has seldom claimed. Its effect is to set the seal upon a grow- ing reputation, and to make evident the fact that an actress of a high, if nit the highest, order has arisen in our midst. One of the pleasantest, inas- much as it is one of the rarest, tasks the critic is called upon to fulfil is that of heralding to the world the advent S • vast a space separates, ordinarily, aspiration from accomplish- ment, the critic's duty becomes in in that of the tensor, and the public comes to regard him as one whose sole function is to point out inequali- ties 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 per- formance — some glimpse of me or intention in inplace render- i here i>, ac ordingly, a pleasure of no ordinary kind in announi fact Miss Terry's recent perform have fully established, viz., th '. eloped in whom there is that perception of analogies, that insight into mysteries, and that p of interpretation, on which the « has bestowed the name of genius, cumstances took Miss Terry from the stage at a time when men dimly per- i in her the p which has since been realised. It is probable delay in that inatur. indispensable to perfection in .irt has resulted from this 1 can misspent, how since Miss I ■ ; : . 1 the with ripened powers and with improved method. r two attractive performances in parts winch only of I ry went to the I'm:, Portia in ' The Men hint oi Ven La in ' M 1 ■ is now .1 1 lei a third, the result of the subtle 1 lit • and an admirable exponent of no THE DRAMATIC LIST. phases of passion. Physical advan- tages 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 wonder- ful picturesqueness to the illustrations Miss Terry affords. Her presentation of Pauline comprised a series of pic- tures each more graceful than the pre- ceding, 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 re- vealing it to the public. This, in the cise of Portia, Miss Terry did, show- ing one of the loveliest of Shake- spearian creations in colours in which few, among students even, had dressed it, flooding it, so to speak, with a light of illumination. As interpreta- tion, her Pauline was less successful. Pride, which in the character of Pau- line divides the empire with Love, in the interpretation makes scarcely a fight. Conceding, however, that the conception is wrong to this extent, the impersonation is singularly fine. A score of natural and artistic touches reveal the tenderness and longing of the woman's heart ; while the render- ing of the fourth act, in which Pauline seeks to force herself from the en- vironing arms of her parents and join her departing 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 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, Rosalind, 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 Shake- spearian drama, it will be strange indeed if some manager does not take the opportunity 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 regret- able waste if talent so specially suited to the Shakespearian drama is con- fined to Lord Lytton's facile sentiment and sparkling rhetoric." — Atheineuni, Aug. 14, 1875. In November of the same year, revival, at the Prince of Wales's Theatre, of ' Masks and Faces,' she supported the character of 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 Wake- field,' Miss Ellen Terry played the title role. "To do justice to the tact of the author, to his thoroughly skilful hand- ling of his materials, and to the poeti- cal 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 ap- plied to the acting of the play. Miss Ellen Terry suppresses something of TERRY, KATE. in the pertness and vanity of Olivia's character while giving prominence to her confiding innocence. Her tem- porary hesitation and distrust of her lover's rakish language are neverthe- less distinctly and finely marked. Mr. Wills has introduced a pretty and touching scene, in which she takes leave of her family one by one, be- stowing small presents and many kisses for the little one-; ; and herein the simple feeling of the actress was touching in a high degree. The cr< wil- ing scene, however, is that in the inn, where by an irresistible impulse Olivia is seen to thrust irom her violently, with both hands, the man who has outraged, betrayed, and insulted her. This outburst produced upon the audi- ence a powerful effect." — Daily News, April I, 1878. Miss Ellen Terrv is married to Mr. Charles Kelly,' (Wardell), an actor of established position. TERRY, KATE. (Mrs. Arthur Lewis.) Born in 1842. Made her first appearance on the stage at the Princess's Theatre, during the management of Mr. Charies Kean. Monday, Febru- ary 9, 1852, acted there the part of Arthur, in a revival of ' King John.' <: Hubert, one of the most int ing characters in the piece, wa> played by Mr. Ryder with a gre.it deal of manly pathos, to the e which the clever acting of Mi~> Tei Arthur, greatly contributed Hei 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 per- formers." — Times, Feb, 10, 1S52. Miss Kate Terry's first public performance of importance took place at the same theatre, April 17. 1858, in the character of < ordelia (' King I.' ar 1 ; Mr- ' !harles Kean played the King— one of his most marvellous impersonations — on the occasion. " The meeting between Cm and her reconciled parent was espe- cially pathetic ; and Miss Kate Terry, who supported the character of the good daughter, deserves praise for the simple, beautiful style in which she expressed the natural feelings proper to the situations assigned to her in this wonderful drama.'' — Aiheiurum, April 24, 1858. In 1857 (April) she 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. I has produced three of his Shake- spearian revivals within nine months. . . . . ' The Tempest ' is 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 concen- trated and the whole burden thrown on Ariel. The task which Mr. Kean appears to have set himself i>, to show Arid in the greatest possible variety of situations, keeping up the notion of a spiritual being by the dai light with which he i> surrounded, the suddenness of his appearance, and the swiftness with which he passes from spol to spot The put is taken by Miss Kate Terry, who brings to it youth, grace, and intelligence. In one point alone i> there a departure from the conception oi Shah A rut does not sing." Saturday ■ July 4, 1 In [859 Mil h , towards the Mr. Ch.ulcs Kean's long term of management, lie prod Shakespean 's tragedy of ■ King Henry the fifth,' in whii h Mi-- Terry appeared 1 — " The union ..1 England and France in one king- dom is the ambitious sentiment of the play, .mil the heroism "i the 1 h . bar. u ter the spirit that des tin I In- i emplined in the small, as well as ■ incidents : and 111 D \ . did it come out more 312 THE DRAMA TIC LIST. 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 intelligible in- dication of the wonderful daring by which the battle of Agincourt was won. To men who were once such lads as he, nothing was im- possible. The trait was well brought out ; and that little bit of acting, in regard to its complete- ness, was the gem of the per- formance " {Athenaum, April 2, 1S59). . Having fulfilled various engage- ments in the provinces, Miss Kate Terry joined, in 1863, the com- pany of the Lyceum Theatre, under Mr. Charles Fechter's man- agement, and, on January 15, appeared there as Blanche de Nevers, first performance of ' The Duke's Motto' (John Brougham). On October 31 of the same year, first performance of ' Bel De- monio,' at the same theatre, she sustained the part of Lena, " not only like one who has received instruction, but who has impulses of her own, or which, at all events, seem spontaneous." Saturday, May 21, 1864, at the Lyceum, revival by Mr. Charles Fechter of ' Hamlet,' in which he played the title role, Miss Terry sup- ported the part of Ophelia. The same year she joined the com- pany of the Olympic Theatre, and at the first performance there, Wednesday, November 2, of ' The Hidden Hand ' (Tom Taylor), played the part oi 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 ; in July, the character of the Countess de Maulcon, in Tom Taylor's drama, 'The Serf; or, Love Levels All.' " With the five-act adaptation of the German drama which was pro- duced at Covent Garden Theatre in 1828, called by the same title, 'The Serf,' and which employed the talents of Miss Jarman, Mr. Charles Young, and Mr. Charles Kemble, the Olympic piece has hardly anything in common. Mr. Taylor's drama opens in Paris, where Ivan Khorvitch, a young Rus- sian artist, who has established a great reputation, has the honour of receiving, in his studies the Countess de Mau* Icon, a pretty young widow of two- and-twenty, whose uncle has accepted the embassy to St. Petersburg. The countess constantly coming to sit for her portrait, has inspired the painter with a strong feeling of love, and an accident reveals the fact of its beinj? as ardently reciprocated. Ivan has been fortunate enough to be the lady's champion, when a Russian noble, in- flamed by wine and ignorant of her rank, has offered her some indignity at the opera. The artist and the count are about to meet in a duel growing out of this act of chivalry, when Ivan is pronounced to be a serf who has been sent to Paris for his education, and the count, by the death of a rela- tive, is declared to be his lawful owner, so that the artist is compelled to acknow- ledge his antagonist his master in a sense for which he was wholly unpre- TERRY, KATE. j'j pared. The humiliation of Ivan before the countess is his bitterest affliction ; but in the second act, when the scene is changed to a serf village in Southern Russia, he is made to appear under yet more unfavourable circumstances in the eyes of the aristocratic lady, who has followed him to the estate where he belongs, and to which he has returned with the hope of obtaining his promised freedom. Galled by the personal indignities to which he is subjected, and fired by the petty tyrannies to which he sees the serfs exposed under the dominion of their new lord, Count Karateff, Ivan rebels against authority, and is menaced with the knout, a threat which, when the second act terminates, seems likely to be carried into execution before the shrinking countess. In the third act, which takes place in the Campanile of the neighbouring chateau of Sitovka, I van shows the heroism of his character and his devotion to the countess, whose love is proof against his apparent de- gradation, by saving his sister Acou- lina from the insults of Count Karateff, and, risking his own life to secure the safety of his beloved .Marguerite. Ivan's supposed father, Khor, has been seeking to promote an insurrec- tion of the serfs, and has explained to his ; reputed son that the vaults are stored with gunpowder, and that, by a pre-concerted signal, a slow match will be ignited, and an explosion will follow sufficient to destroy the castle and bury their hated tyrant-, in the ruins. As the countess has unex- pectedly returned to the chateau, Ivan knows her position to be one of im- minent peril, and only succeeds in frustrating the terrible scheme of ven- geance at the risk of his own \. He prevents the signal being given ; Khor is shot by Ivan's friend in chance medley, and the old man having mur- mured forth a confession that he has murdered his master, claimed a son that lie never had, and that Ivan II not a serf but the real lord of the estate, the curtain falls on the imme- diate prospect of the marriage Of Ivan with the countess, and the probability that the emancipation of the serfs will be the result of the change of owners. 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 de- servedly elicited the wannest recog- nitions of a thoroughly sympathetic audience." — Daily Telegraphy 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 1866 (May, still at the Olympic Theatre, Miss Terry performed the part of Edith Tre- velyan, the heroine, in a play by Leicester Buckingham, entitled ' Love's Martyrdom.' In 1S66, Monday, October 1, she played the leading female role 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 Man- chester, she undertook the part of Mary Leigh. In November of the same year, at the Ad. lphi Theatre, London, she appeared the heroine in a piece call) '1 'A Sister's l'cnanri ,' by Messrs. Tom Taylor and A. \V. Dubourg. " An unqualified BUCCeSS, merited alike by the interest of the situations and the excellence ofthe acting, was 1 [light achieved at this theatre, when a new and original three-. u t diama, en- titled ' A Si • Penance,' kept a irded house for more than tin hours in that position of sustained at- tention whii h in lively indi- 1 ated tf ed upon an audience than the most demonstrative applause. ... Itf Mh, K ai ting in this interesting drama il impossible to ipeak too highly, and the situation in the third act is espc- 3H THE DRAMATIC LIST. cially 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 perform- ance was throughout greeted with the warmest plaudits and the most un- equivocal signs of admiration ; and for real pathos, deep sensibility, and true feeling, her achievement has never been surpassed." — Daily Tele- graph, November 27, 1866. In 1S67, Saturday, June 1, first performance, at the same theatre of Charles Reade's adaptation of Mr. Tennyson's ' Dora,' she sus- tained the title role. " The second act .... is remark- able chiefly for the variety and ingenuity of the touches of true life with which Miss Terry proceeds in her embodi- ment of Dora. Still thoroughly a country 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 lovingkindness 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 ut- most toll is taken for the sustenance of the unhappy outcasts. How touch- ing 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." — Ex- aminer, June 18, 1867. 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 extra- ordinary ovation : — " It is under- stood that Miss Terry, having thus gathered in her laurels, will retire into private life. She is certainly a charming actress. Without much physical power, she could nevertheless give, without osten- sible 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 mo- desty of nature. Her strength, however, was tried in original parts, which she invested with grace and tenderness. Accord- ingly, 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. Tenny- son'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, Paul- ine, Julia, and Juliet. In all these parts Miss Terry was re- markable 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 01 more robust physique are capable ; but there was in all a fine poetic appreciation and a subtle judg- ment which satisfied the taste ot the more refined among the audi- ences which she was now capable of commanding. These were both numerous and fashionable." {Athenceum, September 7, 1867.) 'Juliet.' — "Miss Terry's acting has always seemed to us to be more TERRY, KATE. J'3 intellectual than emotional — to have more head than heart in its com- position. There has been a want of blood, of vitality, in many of her clever and highly-elaborated imper- sonations. 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 Juliet is one of her best impersonations. Nearly 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 Millie. Stella Colas made it. In elo- cutionary grace and power it was equal to Miss Helen Faucit's recent per- formance of the same character."- — Daily News, August 28, 1867. 'Beatrice and Julia.' — "In ' Much Ado about Nothing ' she misfitted herself with the part of Beatrice. Beatrice i- of a robust na- ture — generous, frank, joyous in the very exuberance of life and health. She has Benedick much in her mind, out of much liking, and girds at him with hearty and maidenly good- humour. When she think- 1 suspected of disdain and scorn bj women whom she loves an I 1 and i- assured also that Benedii k loves her, as she hi ' better than reportinglv,' she frankly ires to throw aside the humour that had been misconstrued, ' taming her wild heart to bis loving hand.' To this frank generosity of character belongs the warm indignation of Bea- trice- at Claudio's insult to Hero. One feels throughout — but nowhere more than in her dialogue with benedick after the cruel wrong done to her cousin — that she is a noble, open- hearted, healthy woman. That this fine scene, in which the honest anger of Beatrice, showing her whole cha- racter in emotion, is poured out be- fore her lover in words blended with a wholesome, unartificial sense of the relation between herself and him, should have been played as it was in those farewell performances by .Miss Terry and Mr. Neville, is almost in- credible. We hardly trust our dis- tinct memory of the fashion in which it was perverted to little better than another comic scene of banter between Beatrice and Benedick, for the an nient of the gallery — and stalls. It was evident from this that Miss Terry had made a double mistake. Her nervous temperament is unsuited to the realisation of a Beatrice : it would seem also to have untitled her for a perception of the character she had to 'lit. "In the ' Hunchback,' on the con- trary, the acting of Miss Kate Terry was, in the country-bred phase of the part of Julia, full of charming touches, and without straininj points, but rather an avoidant strain, hail a true pathos in the ilose of the third art which drew many tears. The failure in thi a the fourth act, with < Clifford as a set ntar\, :. 1 failure of c onception, but a want of strength t" cover with th< art the tediousness of th< writing by which an attempt made to pile up the agonies of the situation. The long argument with I .if Julia, b will look at tli' rv who ha- < lit: remained with her as dull on ige a- m the hook." / , 1 ' Juliet.' " it i, seldom that the 1 liroiiH ler ha- t" i like that at it tdelphi on Saturday, when Mil. took 3'6 THE DRAMATIC LIST. her farewell of the stage as Juliet. Suc- cesses, demonstrations, and ovations of a kind, may be made to order ; but the scene of Saturday was one of those genuine, spontaneous, and irrepres- sible outbursts of public recognition which carry their credentials of sin- cerity along with them. The wide- spread 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 ex- cept 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 sum- mons from every part of the house, and, almost overcome with the com- bined excitement of the part and the occasion, 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 dis- hevelled ,hair of Juliets death-scene, as she used to look in Ophelia — was the audience satisfied. Again Miss Terry was recalled, and again she ap- peared 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. One 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 stolidity 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 hesi- tating words, evidently the inspiration of the moment, but more telling than any set speech, to this effect : — ' How I wish from my heart I 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 uproarious- ness, the young actress, almost over- powered by the feelings of the mo- ment, 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 flatter- ing tributes to the actress whose last appearance had drawn them together. " This remarkable manifestation of popular favour and regard is worth recording, not only as a striking theat- rical 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 evi- dent to demonstration, if other evi- dence had been wanting that Miss Terry had wrought her spells over the TERRY, MA RIO X. 3'7 frequenters of pit and gallery, as well as of boxes and stalls. In the interests of refined dramatic art this is a cheer- ing 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 dis- criminate nicely between diamonds and paste, and so take a good deal of coarse glassware for real stones, they are, nevertheless, susceptible to the influ- ence 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 epithet* 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, refinement, intelligence, and feeling she has put into her acting, but through the whole of a career ex- tending from four years old Io four- an 1-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 Julid on Saturday. It was striking to observe the marked improvement on her first performance <>f the part last Tuesday. On Saturday her finest scenes were, unquestionably, those ol fiercest (not ol lendere-ti passion, beautiful as were the latter in them- selves. Perhaps the excitement of the occasion wrought most in unison with the feeling of Juliets more violent passages of emotion. Perhaps the actress wished in this closing per- formance to assert her power in the point in which alone it had been questioned by fair and com; critics. But whatever the the scene where Juliet 1 banishment, in her agonised pleading with her parenN, in h [uent interview with Friar Lawrence, and crown of the series in the [•draught, Terry rose on Saturday to a height she never touched before, and left us more than ever under the im- pression that the stage is losing in her more than even her warmest admirers have hitherto been content to believe."— Times, Sept 2, 1S67. Following her retirement from the stage, Miss Kate Terry mar- ried Mr. Arthur Lewis. TERRY, MARION. Made her professional debut at Man- chester, in July 1873, as Ophelia, in Shakespeare's ' Hamlet,' ar- ranged by Mr. Tom Taylor. The same year. October 4, appeared for the first time on the London boards, at the Olympic Theatre, in a revival of a piece entitled ' A Came of Romps.' The following year, at the same theatre. Marion Terry played Hero, in a revival of Shakespeare's ' Much Ado About Nothing.' Subsequently she joined the company of the Strand The- atre, and appeared there in various plays of H. |. Byron— as Clara Mayfield in 'Old Sail Lilian Gat home in 'Weak Wo- man,' ccc. At the Haymarket, in September [876, first per- formance of W. s. Gilbert's drama, • Dan! Druce, Blacksmith,' Marion Terry played the part of Dorothy. At the same theatre, on January 20, 1.S77, in a revival of the same author's play, ' '' malion and < ralatea,' she sustained the latter character, apt which performance the. Uhem January j\ i -. published the following : " Mis, Terry p what Mr. Ruskin call uity sion has purity and in combination. Thi charm win. h is her distinj attribute is no nieie 111.1 .:;.. I lepth and lei of feeling .m- di . behind it. and the manner in which p 3iS THE DRAMA TIC LIST. 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 representa- tion." TERRY, FLORENCE. Made her debut on the London stage Wednesday, June 15, 1870, at the Adelphi Theatre, as Louison, in an English version of Moliere's 'Le Malade Imaginaire,' entitled 'The Robust Invalid. Has ful- filled various engagements at Lon- don theatres since that time. Was the ' original ' Little Nell, of Hal- liday's play of that title, first per- formed at the Olympic, Saturday, November 19, 1870. "Much interest was manifested in the appearance of Miss Florence Terry as Nell. She has evidently been sub- jected 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. THOMPSON, LYDIA. (Mrs. Alexander Henderson.) Born in London, 1838. At the out- set of her stage-career earned a considerable reputation as a skilful and accomplished dancer in fairy- spectacle and burlesque. Made her professional debut as a prin- cipal dancer in the ballet at Her Majesty's Theatre in 1852. The following year (December 26) began her career in that line of dramatic " business " in which, afterwards, she took the lead in London, in acting Little Silver- hair, in the Christmas piece pro- duced at the Haymarket Theatre, entitled ' Little Silverhair ; or, Har- lequin and the Three Bears.' In 1854 she played Little Bo- Peep, in the Christmas piece of that title produced 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 that "persons who miss from the pantomime ballets that popu- lar and promising artist (Miss Lydia Thompson), may be ap- peased by hearing that she is dancing her way through the theatres of Germany with pleasant success." In 1859 (November 16), Miss Thompson appeared at the St. James's Theatre in a fairy spectacle which was received with much favour by the play-going public, entitled ' The Swan and Edgar' — Cygnetta, Miss Lydia Thompson, " by whom the dancing, of course, was exquisitely exe- cuted." At the same theatre, the following year, in a ' hsllet-cum- burlesque,' entitled ' My Name is Norval,' she played the part of Young Norval. 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, subsequently, No- vember 5, i860, as Eanc/iette, in ' The Pets of the Parterre,' written by Stirling Coyne. In 1861, Au- gust 19, first performance at the same theatre of Falconer's play, ' Woman ; or, Love against the World,' she acted the character of Norahj and in an after-piece by the same author, entitled ' The Fetches,' &c, the part of Mary Brady. But Miss Lydia Thomp- son will be best remembered as a sparkling and extremely clever actress in burlesque, in which, for THORNE, SARAH. 319 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 visted the United States with her so-called burlesque troupe. At present (October 1878) she is per- forming at the Folly Theatre, London, of which her husband is proprietor and manager. THORNE, SARAH. Born in London. Entered the dramatic profession when a child, playing in pantomime, and various chil- dren's parts, at the Pavilion The- atre, London, during the time it was under the management of her father. Made her professional debut in London at the Surrey Theatre under the management of Messrs. Shepherd and Cres- wick. 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 Thome during this engagement, and the "starring" tours in Ire- land and Scotland immediately succeeding it, may be ment the following : — Desdemona in 1 Othello ' : "The part of ia, ' the gentle lady loved by the Moor,' waa impersonated with grace and taiteful- by Miss Sarah Thome, who evinced the possession of talent, ud proved herself to be a child of genius by adapting herself so admirably to the acting of Mr. Brooke."— Dublin Freeman's Journal, OctoberS, 1S61. Pauline in ' The Lady of Lyons,' Portia in 'The Merchant of Venice,' Mrs. H alter in ' The Stranger,' the Duchess de Torre- neuva in' Faint Heart Never Won Fair Lady,' Helen Macgregor to Lady Don's Diana Vernon in the operatic play of ' Rob Ro " Miss Thorne, who played / Macgregor, once more confirmed the high estimate we long since formed of her. She is one of the most con- scientious actresses on the stage. No matter what may be the character she has to portray, it is never hastily presented to the audience. Her con- ception of it is the result of intelligent Study, which is alike creditable to herself and gratifying to the public, who thus perceive that she has I been spoiled by their favour." — Dublin Evening Mail, May jo, 1863. Margaret Ay Inter in ' I .< >v< 's Sacri- fice,' and Juliet in ' Romeo and Juliet.' At the Brighton Thea- tre, August 1863, Miss Thorne played Lady Audley in the dra- matic version of ' Lads AudlcvS Secret,' and Zoe, the Octoroon, in the melodrama of that name. April [865 she app - Leah and Juliet at the Paisley Theatre Royal, subsequently enacting the same characters at tin !'• Wales's Opera House, Edinburgh. In the summer <>| 1865 MlSS Thorne accepted an 1 ng igemi nt at the Jersey New Theatre Royal October 1805 to Man I be was engaged at the Royal Stan- dard 1 In 1 1 1 1 , London, p rform- the more popular <>t Shak plays with M Creswick and Ryder. Attn the retirement of Mr. Thome from the management of the Margate The itre, Miss Sarah I hoi came the lessee, conducting its 320 THE DRAMATIC LIST. affairs with more or less pros- perity, and to the great advantage of the visitors to that popular watering-place, for a period of seven years. Retiring from the lesseeship of the Margate Theatre, Miss Thorne undertook the man- agement of the Worcester the- atre until it was destroyed by tire in November 1877. More re- cently she formed a company for the purpose of supporting the late Mr. Charles Mathews on his pro- vincial tours. THORNE, THOMAS. 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 The- atre, 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. Monta- gue and James, he entered upon the management of the Vaude- ville Theatre, and produced there on the opening night, ' For Love or Money ' (Andrew Halliday), and a burlesque entitled ' Don Carlos ; or, the Infante in Arms.' Saturday, June 4, 1870, first per- formance at the Vaudeville The- atre of Albery's play ' Two Roses,' he acted the part of Cabel Deecie. On Saturday. September 9, 1871, first performance at the same the- atre of Albery's play ' Apple Blos- soms,' he sustained the part of the Great Baggs. 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 un- precedented " run " of 412 nights, and he acted in it the part of Crabtree. On April 1, 1874, first performance at the Vaudeville of Albery's comedy entitled ' Pride,' Mr. Thorne played the part of Barnabas Smith. On Saturday, January 16, 1875, first performance at the same theatre of H. J. Byron's comedy ' Our Boys,' Mr. Thorne sustained the part of Tal- bot Cliampneys. This piece was still being performed nightly at the Vaudeville Theatre in Oc- tober 1878, having reached con- siderably more than its thousandth representation. THORNE, THOMAS WILSON. Entered the dramatic profession in October 1872. Dur- ing the following year, in Sep- tember, appeared at Drury Lane Theatre as Lepidus in a revival of ' Antony and Cleopatra.' Sub- sequently at the same theatre ap-- peared as Lennox (' Macbeth ') and Walter Raleigh (' Amy Rob- sart'). Has fulfilled engagements in London since at the Adelphi (1874), Covent Garden (1876), and Princess's Theatres (1875 and 1877). TITHERADGE, GEORGE SUTTON. Born at Portsmouth December 9, 1848. Entered the dramatic profession in October 1866, at the Theatre Royal, Ports- mouth, under the management of H. Rutley. From 1867 to 1872 was engaged at various theatres in the provinces, viz.: at the The- atres Royal, Stockton-on-Tees, Bath, Croydon, Glasgow, South- ampton, and at the Lyceum The- atre, Sunderland. During a part J. L. TOOLE. TITHERADGE, G. S. of this time travelled with Charles Dillon, personating juvenile parts in Spakespeare's plays, and sub- sequently became engaged as leading actor " at the Theatres Royal, Bradford and Newcastle- on-Tyne. In 1874 Mr. Titheradge played in the provinces 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 Mat- thew Elmore, Mas/a- Walter Rob Roy, &c. Was "leading actor " at the Theatre Roval, Bir- mingham, 1875-6. In 1876 be- came stage-manager and " lead- ing actor" of the Chippendale comedy company, acting the 1 parts of Dr. Cantwell, Dr. Pan- gloss, Joseph Surface, f laugl Times, Oct At the same theatre, the same Y appie- 322 THE DRAMATIC LIST. year, Mr. Toole played Pierre, in a piece entitled ' Honour before Titles.' From the St. James's The- atre Mr. Toole went to the Lyceum, and in September 1856, played there, with considerable success, the part of Fanfarrona.de in ' Bel- phegor ' (Mr. Charles Dillon act- ing the title role), and of A utolyats in a burlesque by William Brough, en titled ' Perdita ; or, the Royal j Milkmaid.' Subsequently, at the same theatre, he appeared in a farce entitled ' Doing the Han- som,' in which he increased his reputation by his spirited eccen- tricities. 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 lei on parle Francais,' 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 i860, first per- formance at the same theatre of Watts Phillips's drama, ' Paper Wings,' Mr. Toole sustained the part of William Kite. The same year, at Drury Lane Theatre, in a drama by the same author en- titled 'A Story of '45,' Mr. Toole acted the character of Enoch Flicker, " a character that stands out from the rest, and is so well performed by the excellent come- dian to whom it is confided, that it is likely to be the main attraction of the drama." — {Athenaeum, November 17, i860.) March 1, 1862, first performance at the Adelphi of ' The Life of an Actress,' he played Wapshot j 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.' " Best of all is the Cabel Plummer of Mr. Toole, which is a piece of really good acting, in which none of the pathos of the part is either sacrificed or caricatured, while every touch of Mr. Dickens' genial humour that still clings to it in the dramatic version is well re-produced. Mr. Toole's Caleb Plummer is an advance upon every- thing he has yet done above the range of burlesque and farce." — Examiner, April 19, 1862. " Mr. Toole's Caleb Plumtner is finished to the highest degree, with a greater depth of humour and pathos than, perhaps, this clever actor ever yet displayed." — Times, April 16, 1S62. " Nothing perhaps was more artis- tically conceived and executed than Mr Toole's Caleb Plummer, the ima- ginative toyman. The result attained was the goal of a mental process im- plying the workings of a peculiar aptitude that almost amounts to genius — nay, for what we know, may be genius of the most intense and refined sort. It impresses us with a greater respect for Mr. Toole than all the eccentricities in which he sometimes indulges the lavish humour with which nature has endowed him, and which, by art, he has cultivated to such a point of excellence." — Athe- nceum, April 19, 1862. In 1864, Mr. Toole played the leading character in a farce by Brough and Halliday, entitled ' The Area Belle,' first performed at the Adelphi Theatre, Monday, March 7, of that year. The point of this piece was the singing TOOLE, J. L. 323 by Mr. Toole of an ditty, 'The Horrible Tale,' which attained much popularity. In August (.Monday, 8th) of the same year, he played Mr. Lysimachus Tootles, in a farcical piece entitled ' My Wife's Maid.' The following 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 Pere Goriot ' , Mr. Toole acted the title role : — " Stephen Digges is a serio-comic character, whose peculiarities at first excite laughter, then beget | esteem, and at last the warmest sympathy. A passionate outburst at the end reveals symptoms of tragic intensity, which, notwith- standing the comparative limita- tion of physique, we feel to be capable of being cultivated by Mr. Toole to a high point of perfec- tion." " Mr. J. L. Toole's annual benefit took place last evening, when, in ad- dition to other entertainments, there was produced a new and original drama in two acts, from the | Mr. John Oxenford, entitled 'Stephen Digges,' written, we believe, expressly for Mr. Toole, although, when projected, it might have been intended for Mr. Robson. Few, indeed, would have thought of inditing a piece in- volving ii"t merel) serious bul : incidents fir tin- admirable and highly iw comedian of tin- Adelphi Theatre ; but after the exhibition 1 night no dramatic writer will 1" in entrusting a serio-comic chai t,, Mr. Toole, so decided was bis success in his new part 1 Qi whole interest of the play centres in Stephen Di , •>, if we except tin- old servan : B hngly well-drawn character I i v,i re inimitably sus- tained by Mr. Toole and Mrs. Alfred Mellon. As fir Mr. Toole he has for himself a new fame, and his acting to be thoroughly understood and appreciated must be witnessed." — Standard, Sept. 15, 1S64. " As Stephen Digges, the hero of this interesting story of the vicissi- tudes of life, Mr. Toole had a cha- racter to sustain which made the utmost demand on his powers, and the masterly manner in which he ac- complished 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 per- formance was replete with evidence of the highest kind of art 'I he drama was a complete success.' - — Daily Telegraph, Sept. 16, 1S64. In 1865, January 30, in a re- vival of 'The Hunchback, 1 at the Adelphi .Miss Batemarj as Julia', lie acted the part of Fathom. At the same theatre, July 1865, first performance of ' Through Fire and Water ' Wal- ter Gordon), he sustained the character of Joe Bright. " Although the majority of cha- t«i \\ Inch Mr. J. I.. In..:. votes his talents belong t.. the region nt broad fan ■■. and i..r the most part only derive their reality from the i ability of the ai t< .1 ti 1 deli individual peculiarity, he gem strikes into another line whenever he would make an impression of more than ordinary strength, as i I coi 1 that his proper vocation was tn follow tlie hit. Mr, !•'. Robson in tlietic ilhistra:. pleb( ian h!e. . . . . The ai tion I in a stratum of society w In. h i able, though humble, the | - are simple, and thl all in. H ■ ter, and are all more or less impoi the principal figure in whom the int. I. I n! tli. I ngly marked than tie mand by turn ■ the laughter and com| the .111. line .', .lie I to I nhibil tie violently 1 ontrasted ei I hhi nan, who i, .,! u'Ut i by Mr. I L, 324 THE DRAMATIC LIST. Toole. He is a thoroughly honest follow, who achieves infinite honour and wins innumerable medals by a gallant discharge 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 fore- seen ; 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 ha- bitual drunkenness by which a man endeavours to silence the voice of an evil conscience. But the effect of ardent spirits rapidly imbibed by 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 ever, represented, and Mr. Toole has never more forcibly displayed his faculty for profitable observation than in his terrific exhibition of this pe- culiar phase of human frailty. Honor Bright, Joes hard-headed, good- hearted, and somewhat grimly co- quettish sister, not highly educated, but deeply convinced of the superi- ority of mind to brute force, is a capitally drawn character, capitally played by Mrs. A. Mellon, to whom .Miss H. Simms as the more gentle Ruth is an agreeable contrast." — Times, July 3, 1868. In May 1 866, first performance of ' The Fast Family ' (B. Webster, jun.), adapted from M. Victorien Sardou's comedy, ' La Famille Benoiton,' he acted the part of Prudent. In January 1868 Mr. Toole 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 of Michael Gamer. " The plot of ' Dearer than Life ' is comparatively simple. Its hero, Michael Garner, is an industrious tradesman who has acquired a com- fortable subsistence by long years of honest labour. A strange compound of shrewdness and good-nature, a man whose natural quickness of per- ception is a little clouded by an unusually affectionate and trusting disposition, 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 weak- ness. By the influence of a wily and unscrupulous associate Charles Garner is led into betting and silly specula- tion. He is not deficient in good feeling, but he has ideas above his station. The story commences on the twenty-seventh anniversary of old Garner's wedding. By the ' scratch- ing ' 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 reforming 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. TOOLE, J. L. 3=5 _ " In the meantime, the company in- vited to assist in celebrating the anni- versary of the marriage arrives. Chief amongst these is .Mr. Bolter, an old friend of AfickaeFs, who has gained some small reputation for convivial talents. Young Garner, rather refined by intercourse 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, demands an interview with Michael Garner, and informs him that his son has forged and embezzled. The heart-broken father calls for the reprobate, urges him to fly from justice, and accuses himself of the crime. The last act is in a garret at Lambeth. The whole family have | been reduced from comparative coin- fort to starvation. Old Gamer is a messenger earning a few shillings per week. Lucy is a seamstress ; Mrs. Garner is bedridden, and Gassit is still persecuting Lucy with his suit. True to her old love, the heroine resists all the devices of Gassit, and though her landlady is fighting for rent, bears out patiently to the 1 Ben Garner, in a fit of maudlin re- j pentance, comes up to the garret, begs his brother to forgive him, and ' leaves a bottle of gin, which tin- despairing messenger swallows. In the intoxication which follows, Michael looses all control of himself, and in- dulges in a bitter invective against his worthless son. This is ov< rl by Mrs. Garner, who shrieks out and falls as if dead. This misfortune sobers Gamer ; but at an opportune moment the long-lost son turns up, with abundance of money, t" »ve his starving relatives. The pie-, ends with the defeat of i he - heiner, Gassit, and the reward of virtue in the persons of old Garner, his wife, and Lucy. "Of course, the burden of the drama rests ; shoulders of Mr. J. L. Toole, for whom it was written. Long ago, in 'Caleb l'lum- mer,' Mr. Toole proved that he not only possessed the quaintest and most genial humour, but that, like i 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 trades- man, the loving husband, the coura- geous and self-sacrificing toiler. The meter 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 dangerous resemblance to the second act of the 'Porter's Knot,' and with any other actor it might have been a failure. Hut Mr. Toole is thoroughly original, and the I .if the pie. e 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 im- personation of the old toy-maker, great as that was. The finest points were in the i lose "t' the ad and the beginning of the third ai is. The intense grief of the lather when his ■ guilt is revealed, the outburst ionate affection when he implores him to fly from justice, and the utter despair which follows, were wonder- fully realised. In the garret scene Mr. 'I'm. >le improved upon himself. His delineation of the brave old man who ( ..id. I endui ' with a pleasant Jace, and could I '!ul under the heaviest burden of mi iily surpass..! by the sudden exhibition of passion when exiited by the drink which his worthless brother has brought him. nt into a denum iation of 1, guilt. Again, on the < on. lusionof the drama, ;i the ..Id man's ready wit, ii by an unexpected good fortune, oh- tailed a fair opportunity, Mi. I contrived to mingle, w ith i onsumn skill, the In u and the ■ Illation." .•;,/, | in i 3-6 THE DRAMA TIC LIST. The following year, at the same theatre, he played JackSnipe, in a drama by Watts Phillips, entitled ' Not Guilty.' The same year, in December, at the Gaiety Theatre, in a play expressly written for him by Mr. H. J. Byron, under the title of ' Uncle Dick's Darling,' he performed the part of Dick Dol- land. " Mr. J. L. Toole has commenced an engagement at this theatre by performing the principal character in a domestic drama, new to London, written by Mr. Henry J. Byron, and entitled ' Uncle Dick's Darling.' Dick Dolland (Mr. J. L. Toole), fa- miliarly called Uncle Dick, is by profession a ' Cheap Jack.' This profession has already been made familiar to playgoers by the Adelphi melodrama ' Flowers of the Forest,' in which an itinerant trader of the kind was represented first by the late Mr. Wright, afterwards by Mr. Toole ; but Mr. Byron seems to have more immediately contemplated the Dr. Marygold of Mr. Charles Dickens than any character previously ex- hibited on the stage. Dick and his friend, Joe Lennard, a blacksmith, have taken charge of Mary Belton, a foundling, and, though she is ex- pected to marry Joe, the ambitious Dick places her in a genteel board- ing-school, kept by Mrs. Torrington. When her education is completed he pays her a visit, taking with him a formal proposal of marriage from Joe, but is considerably perplexed by a remark made by Mrs. Torrington, to the effect that Mary, being now by education a lady, must not marry a person of her guardians rank in society. While he is seated on the steps of his van, meditating on this remark, he is further perplexed by the appearance of Mr. Chevenix, a gentleman of wealth and influence, who has fallen in love with Mary at the house of one of her school-fellows, and offers to make her his wife. On the following morning he is to call for Dick's reply, and in the mean- while the 'Cheap Jack' falls asleep. A considerable lapse of time appa- rently takes place, and when we see Mary in the second act she is the wife of Mr. Chevenix, living in great splendour, but far from happy, for her husband is a cold, austere man, evidently modelled upon Mr. Dombey, and she has imprudently set her affec- tions upon the Hon. Claude Lorrimor, a roue of the genus ' exquisite.' Uncle Dick paying her a visit, is treated with rude hauteur by Mr. Chevenix, and is afflicted by the dis- covery that his darling encourages the dishonourable advances of Lorri- mor. Another apparent lapse of time brings us to the third act, and we find Joe Lennard, working broken-hearted at his forge, and discussing with Dick on old times. From a newspaper the friends learn that Lorrimor has been lost at sea, and it speaks of him as a conspicuous personage in the great ' Chevenix divorce case,' and pre- sently Mary is seen at the window, a wandering outcast. Dick is not inclined to admit her, but at last yields to the persuasions of the more tender-hearted Joe, and she dies in the presence of her old friends. At this point the scene suddenly changes. Dick is discovered on the steps of his van, as we saw him at the end of the first act, and we find that the marriage of Mary and Mr. Chevenix, with the misfortunes consequent thereon, has been merely a dream. As in the case of ' Victorine,' the drama has a practical result, — Mary marries, not Chevenix, but Joe. This is a very pretty and ingeniously constructed drama, here and there a little too prolix, and somewhat too much im- bued with the sentiment that asso- ciates virtue with corduroy rather than with clothing of finer texture. Three of the characters afford good scope for acting. These are Uncle Dick, one of those half-pathetic, half-comic personages, whom for some years Mr. Toole has made his own ; the engaging Mary, very nicely played by Miss Neilson ; and Mr. Chevenix, whose TYARS, FRANK. V-l ridiculous formality is most happily elaborated by Mr. Henry Irving, and who, in the first act, seems to be made up into a resemblance of a cele- brated statesman. The success of the piece is most decided." — Times, Dec. 15, 1869. After a long and very success- ful tour in the provinces, Mr. Toole reappeared on the London stage at the Gaiety Theatre, in November, 187 1, and played in 'Paul Pry' (the title role), 'The Spitalfields Weaver,' ecc. Tues- day, December 26, of the same year, at the same theatre, he played J'licspis, in a Christmas piece by W. S. Gilbert, entitled ' Thespis ; or, the God's Grown Old.' In April 1872, still at the Gaiety." he performed the part of Nee/it, first performance of ' Shilly-Shally ' (A. Trollope and C. Reade) ; and in December 1873, Mawworm, in a revival of Bickerstaffe's comedy, 'The Hypocrite.' In 1874 (April), at the Globe Theatre, first performance of Mr. Albery's comedy, ' Wig and Gown,' lie acted the character of Hammond Cootc. In 1875 Mr. Toole went to the United States, and re- presented his best known im- personations in the principal American cities. His latest, and perhaps one of his most complete successes lor some years past, has been in the part of Cham in Mr. Byron's comic drama, ' A Fool and his Mom TYARS, FRANK. Horn in Kent, 1848. Entered the dramatic profession in 1870, and first ap peared on any Stage at the Stan- dard Theatre, Bishopsgate. Sub- sequently joined the companies of the Pavilion and Portsmouth the- atres, and remained with them for some months. In 1876 was again connected with the " stock " company of the Portsmouth the- atre as " leading man." Appeared at the Theatre Royal. Drury Lane. September 23, [876, as Norfolk in ' Richard III.,' and afterwards as Rosse in ' Macbeth.' "One of the best pieces of acting in the play was the Rosse ol Mr. Frank Tyars. The manner in which the news of his calamity was conveyed by him to Macduff V/SS touching ;unl im- pressive." — Globe, October i s 7''- In January 1S77 played the character of Kinchela in ' The Shaughraun, 1 at the Adelphi The- atre. Reappeared at Drury Lane in the Easter following. May 1 was engaged to perform al the Lyceum Theatre, under Mr-. Bateman's management, a- I ral in ' The Lyons Mail." Si: quently accompanied Mr. Henry [rving on tour through the pro- vinces, playing Claudius {' Ham- let'), Cromwell ('Charles I.' . Richmond (« Richard III. . Reappeared at the Lyceum m December 1877, as Dorval 'The Lynns M.uL , followed l<> ( rom- ivell in ' Charle- i.'. and later April 1878 as Nemours in the u \ iv.il "i ■ Louis XL' •• Mi. Tyan mutt Ik- i omplimenti I on a vigorous and reallj iding of the part of ( Hll shan- in the great si. ii.- we have alluded to was admirably carried out, ami he, loo, had more than 01 come the < urtain in response to the plaudit audi. ii. - Era, January 13, 1 328 THE DRAMATIC LIST. VEZIN, HERMANN. Born at Philadelphia, March 2, 1829. Graduated at the University of Pennsylvania in 1847; being ad- mitted 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 Eng- land by accepting an engagement at the Theatre Royal, York, under the management of John Lang- ford Pritchard. He played there various subordinate parts, in- cluding the character of Bal- thasar in ' Much Ado about No- thing,' during Mr. and Mrs. Charles Kean's representation of that play at the York Theatre. Afterwards accepted an engage- ment at Southampton, during which he had the opportunity of acting with the celebrated Mrs. Nisbett ; and subsequently at the Theatre Royal, Edinbugh. In 1851 Mr. Vezin joined Mrs. Bar- nett's Company on the ' Ryde, Guildford, and Reading circuit,' playing leading characters, — Richelieu, Claude Melnotte, Young Norval, &c. 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 establish- ment. During the season 1852—3, Mr. Vezin played Chalillon, in ' King John '; Rosse, in ' Macbeth,' and Montgiron in 'The Corsican Brothers.' In 1857 Mr. Vezin visited America. In 1859 on his return to England he took the Surrey Theatre, playing Hamlet, Othello, Shylock, King John, Louis XL, &c: "Mr. Vezin per- forms with ease, taste, and genial enthusiasm. His manner is na- tural, unconstrained, and majestic. Not seldom he is warmed by a certain inspiration ; and his con- ception of character is obvious." (Athenaeum, June 25, 1859.) The first most important engage- ment undertaken by Mr. Vezin was in i860, at Sadler's Wells, then under Mr. Phelps's manage- ment. He played, afterwards with marked success, the character of Laertes, to Mr. Fechter's Hamlet, for seventy-three nights at the Princess's Theatre, in 1861. Sub- sequently " 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.. Hermann Vezin married Mrs. Charles Young, an actress of con- siderable reputation. After play- ing various important engage- ments at metropolitan and other theatres, in 1867 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 be inse- parably associated in dramatic annals. " Mr. Hermann Vezin has made an audacious experiment. He has ven- tured, in an era of burlesque, melo- dramas, and great triumphs of carpen- tering, to bring out on the stage a genuine and modern English tragedy, 'The Man o' Airlie,' by Mr. W. G. Wills. ... in which the main interest is of a kind the mass of playgoers neces- sarily cannot appreciate, yet which produces on the majority of them the most overpowering effect. "The writer had strolled, on the VEZIN, HERMANN. 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 unrestrainedly ; 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 mad- dened poet ; agony, no doubt, in part that of a bereaved husband, and there- fore common to mankind, but in part also that of a blasted literary and poetic ambition, which might, under other treatment, have seemed ridicu- lous. To make shop-girls care — care to pain — because an ignorant simple- ton in a plaid cannot get his, ' sangs ' published, seems to us a triumph oi art. . "Mr. Hermann Vezin has taken Burns for his model — as, perhaps, tin- only model obtainable — and acts the character well. He looks the simple, not ungainly Scotchman, with a ine independence and a slight trace of vanity, and creates a sympathy for him in the audience which in tl showed itself in the odd ' Oh ! hang it !' said a man near us, 'that's a fine beggar! — what is he saying'? and then, and all thl the piece, extempore translation offered in audible tones in lour or five parts of the pit. His anxiety about his book ; his fear for his wife, who cannot live in towns; his dread oi nden< e ; his i redulous simplicity — simplicity pierced by a vein ol Scotch canniness as silk by a coloured thread— are all admirably brought out ; and so is the uervon sionable nature of the man— the tiveness which may endanger hi son. In the third act the quickens, /fan A// has accepted a situ- ation as private secretary ; his wife has died of the close city air, and the poet, frenzied by her loss, saddened and bewildered by the prostration of his hopes 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 1 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 Hat vanished, by a roar of recall. Every side of an emotion of extraordinary complexity insanity produced by grief, but shot as it were with literary vanity and regret, and tempered by natural sweetness, courtesy, and sim- plicity of nature — had, we are satis- lied, been caught by the least trained audit q< e. "The exit is supposed to be fol- lowed by a suicide ; an interval • ■ of twenty years, during which the 'sangs'bavebi i delight of the people, and the curtain draws up on the preparations for inaugurating, by le of the loch lie loved, a statue to tin- poet of the poor. Under the stone i • the light gleaming on the graven young face ami the living aged one, gj ing and mourning, amid starts ol hall rei ope, 1 1 • .11 -it I the supposed Itti" ( ide, a lie . till the ■ monial includes one of his own ballads. 'I In- well-known sounds dear the i louded memorj ; in- adds thi and dii i at the foot ol the -tattle i brate hi- glory as a | 33° THE DRAMATIC LIST. words can fairly express the dramatic power of the scene to any cultivated mind. The blasted life of a poet cul- minates 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 probability, 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 /Eschylus im- agined, 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 for which, in an English playwright, we were not prepared ; as little prepared as we were for its success. There is nothing whatever 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." — Spectator, July 27, 1867. "Mr. Vezin's acting of the character of James Harebell is justly entitled to very high and hearty praise, and to praise for what is most artist-like and arduous in the undertaking. The chief power of Mr. Vezin's impersona- tion was reserved for the crowning scene .... executed with excellent taste, thoroughly intelligent intention, and most complete absence of exag- geration." — Times, Aug. 5, 1867. Another character which greatly increased the reputation of Mr. Hermann 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 (Doctor 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 in- duce her to accept the lover se- lected 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 per- formance of Lord Lytton's drama 'The Rightful Heir'; and subse- quently the character of Philip Eamscliffe, 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. Hermann Vezin played Murdock Mackane. " Mr. Vezin's representation of Murdock was admirable in all respects. It has those qualities in which our tragic acting is most deficient." — Athenaum, March, 1869. July 4, 1870, at the Gaiety he played Dtibosc and Lesurques in ' The Courier of Lyons.' " Mr. Charles Reade's romantic drama of the ' Courier of Lyons,' which has so often proved a ' drawing ' piece at transpontine houses, has been carefully and effectively put on the stage of one of the most recherche theatres of the aristocratic west. . . . The double impersonation of Mr. Hermann 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 repul- sive 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. Hermann Vezin indulges in no VEZIN, HERMANN. jj 1 such propensity. Even in those pas- sages where the flood of feeling 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 apprecia- tion of the audience to a performance equally powerful, pathetic, and pleas- ing.'' — Examiner, July 9, 1S70. September 9, 1871, Wills's 'Hinko' was performed for the first time at the Queen's Theatre, Mr. Vezin undertaking the princi- pal character. In 1872 he played the part of Martel in ' The Son of the Soil ' at the Court Theatre. " .Mr. Vezin's acting as Martel is probably the best he has yet exhibited. Me was excellent in those passages which required the energetic expres- sion of passion ; and in that subtle and delicate underplay of which he is one of the greatest masters he sur- ed himself." — Globe, Sept. 5, 1872. During 1873 he played Robert Audley'xn ' Lady Audley's Secret,' and Peregrine in ' John Bull.' In 1S74 Sigurd in the 'White Pil- grim,' and Ford in the ' Merry Wives of Windsor.' In 1875, at the Opera Comique, be played Jaques in 'As You Like It.' "The Jaques of Mr. Vezin almost merits to be termed a creation. Evi n the elderly 'make-up' is new, and every line uttered gives evident thought."— Times, Feb.27, 1875. " M r. Vezin's jfaques was admirable. It is difficult to imagine a pre* Qtation of this character according to received theories more ample and more satis- factory." — Athenaum, .March, 1875. At the 1 1. 1> market Theatre, October 2, 1875, he •■< reat< d " the of Percy Pendragon'va Byron's ' Married in Ha I be p ran for a considerable time. ''But by far the most noteworthy performance in the comedy is that of Mr. Hermann Vezin, in the part of the eccentric uncle already referred to. 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-d-brac hunting, which often borders on the ludicrous, add any valuable touch of art to a long familiar creation. The efl 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 everj respect a piece of acting of a very remarkable kind." Da -; Oct. 4, 1N75. During the year [876 hi Macbeth at Drury Lane; Othello z\ the Alexandra Palace; the M Air lie at the Haymarket ; and Don't Druce the first performai Of that play, September II, 1 at the same theatre with very gnat success. ( in the produi tion at the Crj tal Palace, Turn 1 \ 1876, of Sophoi les' ' < l dipus Colonos,' the title rdle was as- i to Mr. Vezin, who won distinction by the performai a declaimer ol English, Mr. Vezin has n,, equal on our narked the Times. •• If be could only have be 1 n per- mitted to speak the lai which Soplio. h , has put into the mouth ol (EdipHSy ue can imagine few performani es ol the ion t" I which we should listen with greater 332 THE DRAMATIC LIST pleasure. . . . We have used the word declaimer in this place ad- visedly, 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 Do Paldi 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. Hermann 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 revelation of his own weaknesses which is afforded him in the story as the supposed writer of the narrative; and, as we have said, he exists in the play chiefly as the father of the injured Olivia. But the figure of the vicar is always impressive, and no more pathetic 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 re- moved." — Daily News, April 1, 1878. Mr. Hermann Vezin is entitled to be ranked among the few re- fined and accomplished actors of the poetic drama now on the English stage. He has from the beginning of his career conscien- tiously 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 re- presentation of these he has been uniformly successful, and has, at once, secured the attention of the critical, and the sympathy and appreciation of the thinking por- tion of the audience in whatever theatre he has appeared. VEZIN, JANE ELIZABETH, (formerly Mrs. Charles Young.) Previous to her appearance on the English stage had gained a repu- tation as an actress in the " legiti- mate " drama in Australia. Made her debit t in London at Sadler's Wells Theatre, on September 15, 1857, in the part of Julia in the ' Hunchback.' " Last night Mrs. Charles Young, a lady entirely new to the London stage, made her first appearance as Julia, in the ' Hunchback.' Of all the female characters in the ordinary English repertory there is none that affords greater room for display than this favorite creation of Mr. Sheridan" Knowles, but on that very account it is one that renders prognostication respecting the future career of an artist peculiarly difficult. Several actresses have made it their especial aim to ' get up ' Julia for a first part, and after producing a great effect in it have disappointed the public in their subsequent impersonations. With respect to Mrs. Charles Young, her performance last night was so pro- mising that, were it not for the pru- dential 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 unexag- gerated, and her delivery throughout is unaffected and natural. The over- whelming grief of Julia in the latter half of the play is most touchingly and truthfully delineated ; but in the VEZIX, J AXE ELIZABETH. force that is required to give some of the great ' points ' of the character the young lady is deficient. The defi- ciency, we should say, is purely physical, for a more thorough appre- hension of the meaning of the part, in all the situations belonging to it, could scarcely be desired." — Times, Sept. 16, 1857. The same month she appeared at Sadler's Wells in the charac- ters of Imogen in ' Cymbeline,' and the Princess of France in ' Love's Labour Lost '; and in the following month as Rosalind in « As You Like It.' "Mrs. Young on the present occasion performs it (Rosalind) on the Islington stage ; 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 aiv. speaking in a high key that the say- ings of Rosalind can be made em- phatic ; there is in such a style of elocution the danger of monotony to be avoided." — Athenaum 1857. In 1858 Mrs. Charles Young accepted a brief engagement at the Haymarket. returning to Sad- ler'sWells for the following se In 1859 (February 24) she ap- peared there as Juliet; and in the month following (March 21. at the Lyceum, as Pauline in the ' Lady of Lyons.' In September of the same year, on the oc< of the opening of the Prim Theatre, under Mr. Augustus Harris's management, she sus- tained the character of Amoret, in a play adapted from thi of I >ctave Feuillet (' Le Roman d'un Jeune I lomme Pauvre ' . by Oct. 31, 333 Phelps's sole management, Sep- tember 8. i860. April 22, 1S61, first performance at the Hay- market Theatre of Mr. Stirling Coyne's play of ' Black Sheep',' Mrs. Charles Young supported the part of Ethel Maynard. In 1S61, August 19, at the Lyceum, first per- formance of Edmund Falconer's drama. 'Woman ; or. Love against the World,' she acted the part of Gerald in e IT A rev. The same year, Monday. September 30. on the occasion of Edwin Booths debut at the Haymarket Theatre in the character of Shy lock, Mrs. Charles Young played Portia ' Merchant of Venice '). At the same theatre in 1862 Monday, March 10), first performance of Westland Marston's drama, 'The Wife's Portrait, 1 she sustained the character of Clara Lindsay. In 1863 Mrs. Charles Young was married to Hermann Ye/in. and thenceforward appeared on the stage under that name. Satur- day, October 8, 1 ■ Drury Lane, under Mr. Phelps's manage- ment, 'Othello' was produced with the strongest cast that the pi fession then afforded. Mr. Phelps played Othello j Mr, Creswick, lagoj Mr.Waltei I 1 .l\<>d,rt_. . Mrs. 1 (ermann Vezin, Desdemona; Mi^s Atkinson, Emilia. In il Mrs. I [ermann Y< zin appeared at I )rury Lane I he itre, in January. Mrs. Oakley ('Tl iUS Wifr' ; and in February as Mrs. Halter («The Strangei . Both impersonations wen- n markably successful. The same yeai Bhe sustained the part ol < ■ rdtlia in m viva! " of ' Kiii 1 ■ .it the same theatre, and of / John Oxenford, entitled' Ivy Hall.' stance in a revival of King John. 1 She repeated her impersonation of Saturday, Octobei 20, 1 Rosalind if As You Like It'i on performance al the same theatre occasion of the opening oi ol Ba L Bernard's English vet Sadler's Wells Theatre under Mr. sion of ' Faust,' Mrs. vczin 5US- 334 THE DRAMATIC LIST. tained the part of Margaret. The following year (1867) at Drury Lane Theatre, on Monday, Janu- ary 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 Prin- cess's Theatre, for the first time in London, Peg Woffington in a revival of Masks and Faces.' " Mrs. Vezin has now attained such a position on the boards that her assumption of a new part is a matter of importance, and the merit shown by her in the versatile character re- ferred to (Peg Woffington) demands notice. Mrs. Vezin is rather an actress of serious and poetic heroines, yet not of so stern a cast as to make it incon- gruous 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 sympathiz- ing audience. Every scene, indeed, was marked by some special beauty ; but in that with Triplet's children and guests in his garret, she was re- markably 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 judi- ciously blended and distinguished, showing ' both in their union and partition ' that as an artist Mrs. Vezin has claims on critical estimation." — • AlhencEum, Aug. 31, 1867. ' On Saturdav, October 3, 1868, at the Lyceum Theatre, Mrs. Vezin sustained the part of Lady Montreville, first performance of Lord Lytton's drama ' The Right- ful Heir,' an amended version of the author's play ' The Sea Cap- tain,' in which Miss Helen Faucit originally sustained the leading female rdle 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. Hermann Vezin sustained the part of Mrs. Min- ion ; and the same year, Sep- tember 9, at the Oueen's Theatre in ' Hinko,' by W G. Wills, the character of Markitta. Since 1 87 1 Mrs. Vezin has appeared in various Shakespearian revivals at Drury Lane (September 1876 as Queen Elizabeth in Cibber's version of Shakespeare's Richard the Third), and at other theatres, with her usual success. On Satur- day, September 28, 1878, at Drury Lane, she acted Paulina in a re- vival of ' The Winter's Tale,' in which she " stood out among the rest by her perfect elocution and good acting "( Times, September 30, 1878). " 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 Shake- spearian 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. Hermann 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 enuncia- tion 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 over- whelmed Leontes is most true and touching. No warmer praise could YOKES, JESSIE. 335 be given than to say, as may justly be said, that perfect justice was done to the noble speech which Shake- speare puts here into Paulina's mouth : — " ' I am sorry for 't ; All faults I make when I shall come to know them do repent. Alas ! 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 exhibition of re- pressed joy, excitement, and triumph, aided greatly to produce the due effect." — Standard, Sept. 30, 1878. VOKES, FAWDON, Made his professional debut In London as one of 'The Vokes Family,' December 26, 1868, at the Lyceum Theatre, in the pantomime of ' Humpty Dumpty.' {See a/so, Frederick, Jessie, and Vic- toria Vokes.; VOKES, FREDERICK MORTIMER. Born in London, January 22, 1848. 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, made his professional dibut in London, at the Lyceum Theatre, as one of ' The Vokes Family,' in the pantomime of 'Humpty Dumpty.' The most suco pieces pi ge by ' The Vokes Family ' have the following, viz., ' The Bell the Kitchen," Phcebus's Fix,"The Wrong Man in the Rigbl PI ' Fun in a Fog," Bum h of B< 1 It is worthy (if note that the p in 'which ' I he Vokes Family ' appear are for the mosl part in- vented and written by themselves, and many of the incidents pre- sented are simply illustrations of droll events and adventures that have been met with during their travels. {See also, JESSIE, and Victoria Yokes.) VOKES, JESSIE. Born in London. Was educated to the stage from childhood. At the age of four 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 I career played the following parts, viz.: Teddy in ' Dred,' with Mr. Creswick in the leading t Florence in 'The Dumb Savo- yard,' with Mr. Flexmore ; Ma- millius in ' The 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. B Sullivan. Her first laurels ■• won as one of the children in • Masks and Faces,' in win. h . h 1- racter she dan. . d with b a jig with Mr. Benjamin W< b and the late Mrs. K. I [onor, (hiring a performance of that play at the Standard Theatre. In • irted hi r can \ ith her brothers and sisters as ' The V Childi equently 1 hangi dto • The Yokes Family,' at tl retta I louse in 1 )dinbui ;h. I he- success of that combination is well known. and has ; so widely cin ulati d, that it is unnecessary to enumerate in de- tail it, hi riod now in 1 ovei ten ■ I he \ ■■;.' - I amily ' made their dibut in London at the Lyceum 1 in tin- pantomime of ' Humpty Dumpty.' The ti 336 THE DRAMATIC LIST. of the " family " have taken them over half the world. The Vokes's have crossed the Atlantic ten times, and the Rocky Mountains 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 sheltering the Bay of San Francisco. They have played in every city of importance 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. Perhaps the most successful on the whole of the pieces in which the Vokes Family have appeared has been ' The Belles of the Kitchen.' {See a/so, Frederick and Victoria Vokes.) VOKES, ROSINA. (MRS. Cecil Clay.) Appeared on the stage as one of the ' Vokes Family.' Retired from it on her marriage. {See Frederick, Jessie, and Victoria Vokes.) VOKES, VICTORIA. Born Began her career at in London. the Royal Surrey Theatre, London, when scarcely two years old, ap- pearing, with Mr. Creswick, in a drama entitled the ' Avalanche.' She subsequently shared there with her sisters all the children's characters, making her first de- cided " hit " as the Duke of York in ' Richard the Third.' She afterwards played the same cha- racter with Mr. Barry Sullivan at the St. James's Theatre, and became popular in such charac- ters as Albert in 'William Tell'; Henri in ' Belphegor ' ; and in such pieces as ' The Four Mow- brays,' ' Little Pickle,' &c. In 1861, with her brothers and sisters she first appeared at the Operetta House, Edinburgh, as one of ' The Vokes Children,' afterwards changed to ' Vokes Family.' Vic- toria Vokes won her earliest laurels as a vocalist ; but she has also dis- played some proficiency as a dra- matic artiste, as was exhibited by her excellent performance of ' Amy Robsart ' at Drury Lane, Monday, February 27, 1871, and her later assumption of Margery in 'The Rough Diamond.' During eight years she has been a special attraction in the Christmas An- nuals, at Drury Lane. {See also, Frederick and Jessie Vokes.) WALLIS, ELLEX. 337 WALLIS, ELLEN. Made her first appearance on the Lon- don stage at the Queen's Theatre, Long Acre, September 28, 1872, as Marguerite de Montcalm, in Sir Charles Young's drama, en- titled ' Montcalm.' " Attached to the story in a loose way is Marguerite, the sister of Mont- calm, a little part performed with intelligence and grace by a young lady named Wallis, who thus makes her first appearance at this theatre." — Daily News, September 30, 1872. At the same theatre, on October 19 of the same year, Miss Wallis played the part of Mildred Vaughan, first performance of Watts Phillips's drama, ' Amos Clark.' In September 1873, at Drury Lane Theatre, in Shake- speare's ' Antony and Cleopatra,' arranged by Andrew Halliday, she sustained the part of Cleopatra. On January 31, 1874, in a revival at the same theatre of Halliday's romantic drama of Amy Robsart,' Miss Wallis represented the he- roine. "Miss Wallis, who now takes the place of Miss Xeilson, as the repre- sentative of the heroine, endows tin- assumption with a power and pathos completely controlling the sympathies of the spectators, and the most en- thusiastic plaudits follow the strongly- marked situations in which the ability of the actress bas most scopi foi dis- play. Especial effect is given to the appeal to the qu ien foi prote 1 from the designing Varney, while still refusing to reveal the which imperils the life of 1 .• an 1 the graceful eai i of the impassioned utterances, the statuesque charm of the attitude in which she fling , bi fore the jealous Eliza- beth, exhibit the histrionic powers of | Miss Wallis in the strongest light." —Daily Telegraph, Feb. 4, 1S74. In September 1874, at Drury Lane Theatre, Miss Wallis enacted the character of Edith Planta- genet, first performance of Andrew Halliday's drama, ' Richard Cceur de Lion.' " The new grand military drama in four acts, entitled ' Richard Cceur de Lion,' produced on Saturday night before one of those enormous and eagerly-expectant assemblages annu- ally collected on such occasions, is another of those dramatic versions of Sir Walter Scott's novels with which .Mr. Chatterton is accusti tempt the town at this period of the year The dramatic interest of the present piece is very properly centred in I mtagenet, who is personated by Miss Wallis in a highly effective manner. With a command of expression in tone and feature, giving the fullest meaning to every line, the actress unites a gracefulm of demeanour, which becomes espe- cially 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 Iter own embroidery with the im- passioned ejaculation, 'Oh 1 that I were a man to wear a sword; and her interview with Sir Kenneth when he appears as the mute Nubian slave, 1 u nn >i ied available oppoi tuniti to Miss Wallis of confirming the audience in a high opinion ol ability." — Daily 28, 1874. In February i ; :;. in by Colonel K i< hards of the drama of • Norma,' produced in Edin- burgh, Miss Wallis played the heroine. Saturday, September 2K, 1878, in a revival at Diuiy Lane Z THE DRAMATIC LIST. Theatre, of Shakespeare's 'Win- ter's Tale,' she sustained the part of Herniioic "Miss Wallis as Hermione prac- tised so skilfully the perfect repose of statuary with which she begins the scene and the gradual transition as she wakes into life, like Pygmalion's Galatea, that the human interest van- quished all the archaisms and scene- shakings of the representation, and the audience were moved by a genuine feeling of sympathy with the fictitious woes of the persons in the drama. Thus the reproduction, the fate of which had trembled in the balance in the pastoral scene, came to a success- ful end ; and the principal actors, followed by Mr. Chatterton, the manager, appeared before the cur- tain." — Times, Sept. 30, 1878. "Asa reciter of blank verse Miss Wallis lacks light and shade, and especially when it is necessary to be emphatic, contents herself too often with a monotonous delivery of mea- sured monosyllables with an extra pause regularly at the end of every line. To some extent this probably arises from a fear of not being heard, for the young actress's intelligence frequently asserts itself unmistakably, and she usually suits ' the action to the word, the word to the action,' with much discrimination. Her ges- tures are, indeed, as a rule, particularly expressive, and the statue scene was especially well played, the movement coming precisely at the right mo- ment." — Statidard, Sept. 30, 1878. WARREN, ALBERT H. Prior to June 1, 1876, had fulfilled various engagements at provincial theatres in studying the rudiments of his profession. On that date first appeared in London, at the Queen's Theatre, in the charac- ter of the Duke of Exeter in Shakespeare's ' Henry V.' Re- mained at that theatre for six weeks, and afterwards went to the Amphitheatre, Liverpool, to " create " the part of Walter Temple in Paul Merritt's drama, ' Stolen Kisses.' Returned to London, and for a brief season played the characters of Sir Leicester Dedlock and Lambki7i ('The Tailor Makes the Man') with Miss Jennie Lee and the Globe company, at the Standard Theatre. Easter Monday, 1877, appeared as the Spanish admiral Don Diego de Valdez in ' True to the Core ' (revival), at the Ad el phi Theatre. Subsequently entered upon an engagement at the Aquarium Theatre to play in ' Inconstant '; and on September 22 of the same year commenced a three months' engagement at the Globe Theatre, London, to appear in his original character of Walter Tetnple in ' Stolen Kisses.' On January 3, 1878, 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 Sit -John Brydges. March 11, 1878, started on tour through the provinces to play the leading role in ' Stolen Kisses.' 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, sang successfully in Italian opera at Havanna. Miss Ward made her first appearance in England as a tragic actress at the Theatre Royal, Manchester, October 1, 1873, m the character of Lady Macbeth. "Perfect ease and a most scrupu- lously exact knowledge of her part must be conceded to the debutante. Miss Ward has a voice of great power ; she has besides a good accent and a fluent utterance ; her features are expressive, and she gesticulates WARD, GENEVIEVE. 339 with ease and grace." — Manchester Guardian, October 3, 1873. The character of Constance in ' King John ' was played by .Miss Ward at the same theatre during her first engagement. Went to Dublin the same year as " a star," appearing at the Theatre Royal in the principal parts of Medea, Lucrezia Borgia, Adrienne Le- couvreur, Actress of Padua, Juliana in the ' Honeymoon,' &c. First appearance in London at the Adelphi Theatre in ' The Prayer in the Storm,' March 28, 1S74. Miss Ward undertook the double parts Blanche de Valois and Unarita in this drama, which ran for 162 nights. "The lady [Miss Ward] displays an amount of power, a command 1 iver attitude, and a mastery of elocution which warrant the belief that our stage has received a valuable addi- tion." — Times, March 30, 1S74. "Miss Ward has genuine power, and some of her pantomime in the situation in the third act in which she- is represented as meeting her friends after a fifteen years' residence with savages, and complete forgetfulness of her native tongue, is fine and expres- sive." — Athenamm, April 1S74. In October of that year she commenced a series of perform- ances at the Crystal Palace as Julia in 'The Hunchback,' and in the year following played Re- becca at Drury Lane. Afterwards entered upon a provincial tour, beginning April 1875. producing in Dundee, Lewis Wingfield's play. • I lespite the World.' and in Hub- benefit of the Philadelphia Centen- nial Fund. In the same year she appeared in a series of mat at the Gaiety Theatre. Went to Paris in 1877, and studied with Regnier, of the Comedie Franchise, all the French classical repertoire and much of the modern. Ap- peared at the Porte-Saint-Martin. February 1 1, 1877, as Lady Mae betli in Paul Lacroix's French translation of the tragedy. " Dans la scene du somnambulisme du quatrieme acte, elle a ete posi ment admirable, jamais le ren ni les terreurs de ('hallucination n'ont ete interpreted d'une facon aussi poi- gnante ; la salle toute entiere etait siis- pendue a ses levres et frissonnail elle." — Revue Britanniqtit, March 1S77. Au :ust 29, 1877, Miss Waul appeared as Queen Katharine in Charles Calvert's revival of*] lenry VIII.' at the Theatre Royal. Man- chester. Played this char there, and in Liverpool, fifteen weeks, appearing also at the same places in the characters of Lady Macbeth, and Beatrice in ' Much Ado About Nothing.' 1' ayed Emilia r I Ithello ' at the Queen's Theal idon, March 2. 1878. Fulfilled a farewell engagement, previous to her departure August 1 878 1 tor Amerii 1, in Dublin and in Manchester, ( ing the character of Meg Me) 1 to Suns Reeves's Henry Bertram at the Theatre Royal of the i city. " Miss Ward is entitled to 1 that by identifying herself with the linJuiK^.W. C.\\ il] pphcV p ar t ,1 , t abo dram !. In her hands certainly both written for her. September 20, 1875, she commenced another tour through Scotland. December 25, 1875, Miss Ward played A nti- gone at theCrystal Pala< e ; and on 'February 4, '876, played . Macbeth at Drury Lane fur the the dramatii feature of the perform Man- Chester I: \,i -inner, April I, 1S7N. "Miss Ward, bj 1 m 1 . make-up, magnil am.i- and a death 340 THE DRAMA TIC LIST. ghastly power, placed her Meg Mer- rilics in the highest category of dra- matic performances."- — Liverpool Post, April I, 1878. WARDEN, J. F. Born in Hull, December 12, 1836. Entered | the dramatic profession in August , 1854, at the Theatre Royal, Scar- borough, then under the manage- nient of Mr. Samuel Roxby. First appearance as Lemuel in the ' Flowers of the Forest.' After remaining in Roxby's company for about eighteen months, joined Charles Gill's circuit, playing dur- ing the season all the principal juvenile and light comedy charac- ters. Was engaged, 1856, for the York circuit, under the manage- ment of the late Mr. Addison, playing Evelyn in ' Money,' and other important leading charac- ters. Mr. Warden's next engage- ment was at Edinburgh, at the Queen's Theatre and Opera House, where, during the season of ten months, he played Romeo, Claude Melnotte, with the several lady " stars " who visited the city. Joined the Theatre Royal, Plymouth, August 1858, and afterwards ac- cepted an engagement at the Exeter theatre, undertaking im- portant parts, such as Hamlet, Othello, Romeo, Richard III., Macbeth. Entered upon manage- ment at Torquay, Easter i860. Joined the Jersey and Guernsey company in the May following. Married at Guernsey, July i860, Miss Jenny Bellair, comedy and burlesque actress of the same company. September 1861 first appearance in London at the Surrey Theatre, under the man- agement of Messrs. Shepherd and Creswick. May 1862 accepted engagement at the Queen's The- atre, Dublin, playing there for over two years the entire range of the leading business, legitimate and melodramatic. Entered as lessee and manager of the old Theatre Royal, Belfast, in September 1864. Built a new theatre on the same site, opened in September 1871. Built the Londonderry theatre, opened in August 1877. During Mr. Warden's lengthened manage- ment in Belfast he has played several " starring " engagements at Dublin, Cork, Londonderry, Sunderland, Liverpool, Halifax (Yorkshire), Bolton, Glasgow, Edinburgh, &c. WEBSTER, BENJAMIN. Born at Bath, September 3, 1798, As early as the year 18 18 Mr. Webster was acting in London, at the Regency Theatre, with Gough and Santer, and Strick- land, Osborn, Lewis, Mortimer, and the Beverley s. He made his first London success in ' Measure for Measure.' He was one of the leading actors of the Olympic Theatre during its man- agement 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 The- atre. Was in the original cast of Douglas Jerrold's play of ' The Housekeeper; or, the White Rose,' first performed there Wednesday, July 17, 1833. In October of the same year, at the same theatre, 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 CHARLES WARNER J J 'EBS TER, BEN J A MIN. 341 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 the Fourth ' — Mac- ready as the King, Blanchard as "Justice Silence, Farren as Justice Shallow — Mr. Webster acted the character of Bardolph. In July of the same year, at the Hay- market Theatre, he played with Mr.Buckstone in Douglas Jerrold's three-act comedy, ' Beau Nash.' In 1835 (June), at the same the- atre, 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 ap- pearance at the old Adelphi The- atre, in a piece entitled ' The Yellow Kids,' and " displayed so much original humour as, in our opinion, clearly to entitle him to be taken by the Press out of the class of ' useful actors,' and to be placed among the attractives " (Athenceum, October 31, 1835). 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 Valliere,' at the Theatre Royal, Covent Garden ; Messrs. Macready and Vandenhoff and Miss Helen Faucit were of the original cast. In June 1837, Mr. Webster entered upon the management of the Hay- market Theatre, and produced, on the opening night of the season, a tragedy, entitled ' The Bridal ' (adapted from ' The Maid's Tra- gedy ' of Beaumont and Fletcher), with Mr. Macready and Miss Hud- dard in the principal parts. In October 1837, Sheridan Knowles's play, 'The Love Chase,' was first performed at the Haymarket The- atre ; Mrs. Nisbett supported the character of Constance ; Mr. B. Webster undertook that of Wild- rake. This play was, from its first performance, perhaps the most suc- cessful of Mr. Sheridan Knowles's works, and soon became a per- manent favourite at the theatre. " We must enquire of Mr. Webster what on earth could have induced him to cast himself into Mr. Wild- rake ? It is as great a piece of in- sanity 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." — At/ieiuEiim, Oct. 14, 1837. In October 1838, the anniver- sary of the first performance of ' The Love Chase,' another of Mr. Sheridan Knowles's plays was pro- duced at the Haymarket Theatre, ' The Maid of Mariendorpt.' The season 1839-40 was a very suc- cessful 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 this company were Messrs. Macready, Warde, and S. Phelps, Mesdames Glover, Warner, Miss Helen Fau- cit, and Miss P. Horton. During the season Talfourd's play, ' Glen- coe ; or, the Fate of the Mac- donalds,' was produced ; and on Tuesday, December 8, 1840, the late Lord Lytton's play of ' Money.' Mr. Webster sustained the part of Graves in the original cast. In 1841-2 Shakespearian and other revivals of the poetic drama were produced at the Haymarket The- atre ; and it was remarked in a 342 THE DRAMA TIC LIST. contemporary journal (May 1842), that it remained the only place in London where the banners of the national drama still waved — Co- vent Garden had ended disas- trously for Charles Mathews and his wife, Drury Lane for Mac- ready - " the minor rallying points for the scattered troops being merely outposts for the skirmish- ers." On Saturday, June 4, 1842, S. Knowles's play, ' The Rose of 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 1S43, he performed, for the first time, with Madame Celeste, in a piece called ' Louison,' an adapta- tion from the French ; and, subse- quently (November 1843), with the same actress, as Victor in ' Victor and Hortense,' a French vaude- ville. The same year Mr. Webster offered, for the encouragement 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, Jfune 18, 1844, and was received with uproar and ridicule. In his farewell address of the season, 1843-4, 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 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 Sep- tember 1844 Mr. Webster be- came proprietor of the old Ad el- phi Theatre, at the same time continuing his lesseeship of the Haymarket. At the latter the- atre, Monday, November 18, 1844, 'Old Heads and Young Hearts ' (D. Boucicault) was pro- duced — Littleton Coke, Mr. Chas_. 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 the- atre, Douglas Jerrold's comedy, ' Time Works Wonders ' — " a genuine and legitimate piece of dramatic writing, thoroughly up to the mark, rich in wit, and over- flowing with talent " — was per- formed 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 Tucker, Mrs. Glover ; Clarence Norman, Mr. H. Holl ; Olive, Mr. Tilbury; Goldthumb, Mr. Farren ; Felix Goldthumb, Mr. Charles Mathews ; Professor Truffles, Mr. WEBSTER, BENJAMIN. 343 Strickland. On January 6, 1846, Mr. Webster produced 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 quali- fied by his talents as an actor. It was genial and touching ; vigor- ous and true ; highly finished in its details, yet natural in its gene- ral impression. The performer was at home in it ; and, in its way, nothing could have been better." The same year, at the Hay- market, Mr. Webster played Cymon Foxall, first performance of Sullivan's comedy ' The LV on Horseback' — a play which proved a satisfactory success ; and the Clown in 'Twelfth 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 Dower ' (J. R. Planchd), an adaptation of the libretto of M. Halevy's 0] ' Les Mousquetaires de la Heine,' 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 Haymarkct of Lovell's play, ' Look before you Lea]),' he performed the part of Jack Sprigg r. The fi Mowing year (1847; Mr. Boucicault's comedy, 'A School for Scheming,' and Robert Bell's comedy, - 1 emper,' were produi ed. In the first-men- tioned Mr. Webst( r pi 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. II. Farren, Mr. A. Wigan, Mi . Glover, Mrs. Nisbett, and Miss Helen Faucit, in the cast : Mr. Webster himself played Moses. Wednesday, Oc- tober 20, 184-. Westland Mars- ton's play, ' The Heart and the World,' was first performed at the Haymarket 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 tinuity in construction. The action is of so subtle a kind that it demands performers of nice per- ception 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 ible of enacting such a drama with the requisite On November 15, 1S47. Mr. Webster produced, at the Hay- market Theatre, ' The Ro Lion ' from the French ' Le ReVeil du Lion ' . and played in it the pin of Stanislas i/r Fonblan Tile piece attained an extraordi- nary SUCI 5day, December 7, 1 Mr. Webster took part in the |» r- formances at the Theatre R nt Garden arranged in behalf of the fund for the pun Shakespeare's house at Stratford- (in- Won, and acted the chai of Petru .■■. 1:1 1 1 lection I ' The Taming of the Shrew ' : , i. and i\. . In ' The \\ market Theatre for the first tune, Monday, Januar with Mr. and Mrs. ( h u in in ■ ied th<- pan ted. In April ofth< same ustained the 1 h 1 Michael Bra . in Mori play of ' < >ld Ho formi the Hayma Thursday, th that month 344 THE DRAMATIC LIST. In his customary annual address, delivered on the ioth of July, 1848, at the close of the summer season, Mr. Webster stated, that since January 1847, he had incurred a deficiency of 8,000/. in his annual receipts, which he attributed to the encouragement of a second Italian Opera House. In 1848-9 Mr. Webster took part in the plays produced under the superintend- ence 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 1, with the following among its higher artists, viz., Mr. Macready, Mr. and Mrs. Charles Kean. Mr. Wallack, Mrs. Warner, and Mrs. Nisbett. 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 a la Campagne,' was produced, and was a triumphant success. Mr. Webster played Mr. Charles Torrens in the original cast. Thursday, May 9, 1850, Douglas Jerrold's comedy, ' The Catspaw ' was first performed, Mr. Webster as Coolcard. During the next sea- son (Monday, February 3, 185 1), Macready made his last appear- ance 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 Tartnffe, in a literal version of Moliere's comedy by Mr. John Oxenford. " The power and finish of this perform- ance was excellent." The same month (March 3, 185 1) an ori- ginal piece by Douglas Jerrold, entitled, ' Retired from Business,' was performed, Mr. Benjamin Webster acting the part of Cap- tain 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. On Saturday, November 20, 1852, first performance at the Hay- market of ' Masks and Faces,' he sustained the part of Triplet. {See Stirling, Mrs.) Saturday, Feb- ruary 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. "On Saturday night the produc- tion of 'Not so Bad as we seem,' judging from the loud applause which followed its conclusion, was eminently successful ; and this we must attribute in a great measure to the merits and exertions of the manager and some 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. Web- ster."— Times, Feb. 14, 1853. " It is to be regretted that the dis- tinguished author was unable to be present at the performance of Satur- day evening, as he must have been delighted at the manner in which not only his general design was realised, but every light and shade of his pic- ture brought out with artistic dis- crimination. The character of Sir Geoffrey Thornside, mind-shattered by supposed wrong, and suspicious of everything and everybody, required WEBSTER, BENJAMIN. all Mr. Webster's delicacy of appre- ciation and experienced judgment to preserve it from the appearance of exaggeration. In his hands it was a reality, drawing largely on the in- terest and sympathies of the audience " —Daily News, Feb. 14, 1853. "The purpose of the author, that of bringing out vivid excellencies inherent in his persons, but unsus- pected by ordinary observers, is ac- complished beyond our expectation by the principal actors. To Mr. Leigh Murray, in Lord Wilmot, this species of moral alchemy can scarcely be ascribed, because, as his part now appears, there is nothing but what is bright, gay, graceful, and noble. . . . If this performance was all ' in the sun,' Mr. Webster executed a more difficult task with success in bringing out the deep affection which beats beneath the stern and captious manner of Sir Geoffrey Thomside, in the fond looks, the quivering tones, and rest- less hands of the father who ' doats yet doubts,' not the virtue, but relation to himself, of the girl whom he strongly loves."— Examiner, Feb. 19. 1853. " Never was the full force of pro- fessional acting more cordially hibited, as contrasted with the efforts of amateur histrionism, than on this occasion. Excellent as the latter was in the case of this play, it i-, hopelessly distanced by the former." — At/niueiim, Feb. 19, 1S53. On Monday, March 14, 1853, Mr. Benjamin Webster's manage- ment of the Haymarket Theatre was brought to a close with the performance of ' Thi Lion,' 'A Novel Expedient, 1 and 'The Pretty Girls of Stilberg.' In a review of the period of his management, delivered from the stage on the 1 losing night <>f the on, Mr. \\ 1 bst< r told Ins audience that without the a ance of a single farthing beyond he had saved by rigid economy out of a very small in- come, he had maintained the 3« longest lesseeship on record— one of sixteen years. During that period he had secured theatrical seasons varying from ten to twelve- months. Me had paid £30,000, if not more, to authors ; expended at least £12,000 in improving the theatre, and disbursed more than £60,000 for rent. His most suc- cessful 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 Idstreamj a revival of ' The iniing of the Shrew,' with the simple appointments of the an- cient stage ; and ' The Wil Secret,' with the Keans. He 1 relied almost whoD sion of st.ir ' actors for attracting the public to his theatre- Mr. Macready, Mr. Charles Kean, Miss Ellen Tree, Mrs. War' Mrs. Nisbett, Mrs, Glover, Mi Helen Faucit, Miss Charlotte Cushman, Mr. anil Mrs. Keel I ~!er Monday, [853, Mr. ] jamin Webster inaugurated his new management of the Adelphi Theatre with ' A Novel Ex- pedient,' ' l Pan nts 1 '.r- dians, 1 ' The Pretty ( .iris Stii nd ' Pepine, the Dumb Boy. 1 < »n June x the same year he produi ea al the Adelphi Mr. tult's dram 1 ■ G the Reign of ■.' pla) ii in it the pari ol /. • in. M Mar. I for the first time Tom Taylor a Ch ide'splaj and n which Mr. \\ the put of Father Rod- diffe. " Still mi with thi been di ^appointed in a early youth, U now u holh 346 THE DRAMATIC LIST the interests of the Church and his order. The sacrifice of an individu- ality to an idea, which is implied in a thorough devotion to a large principle, is most eloquently illustrated in the more solemn passages uttered by Father Radcliffe, who is most carefully and impressively personated by Mr. Webster." — Spectator, March 25, 1854. The same year, Monday, May 22, he produced ' The Marble Heart,' adapted by Mr. C. Selby from MM. Barriere's and The- boust's drama, ' Les Filles de Marbre.' Mr. Webster performed the dual parts of Diogenes and Ferdinand Volage. In 1855, Monday, February 5, ' Janet Pride ' (D. Boucicault) was first performed at the Adelphi Theatre, Mr. Webster sustaining the part of Richard Pride. On Wednes- day, June 20, 1855, ' Helping Hands,' by Tom Taylor, was pro- duced, Mr. Webster acting the part of Lorentz Hartmann. In 1858, Monday, January 18, first performance of Mr. Watts Phil- lips'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 performance of a piece adapted from the French by himself, entitled, ' One Touch of Nature.' " Penn Holder is one of Mr. Webster's best assump- tions, and shows more favourably than any other character, except Triplet and Luke Fielding, the eminently artistic gifts he pos- sesses. No living English actor can 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, ap- parently, the words of a written part, is, in reality, claiming his child in anxious and sorrowful earnest. Nor does any actor at- tain his ends by means more simple, direct, and free from exaggera- tion." " The scene is laid in the chambers of Mr. Beaumont Fletcher, a dramatic author, the elegance of whose furni- ture, and whose command over an exceedingly smart footman, must have excited the surprise, not to say the envy, of any member of the London Dramatic Author's Society who hap- pened to be present. This fortunate Mr. Fletcher is so much dissatisfied with the manner in which Miss Con- stance Belmour, an actress, has repre- sented the principal French character in a new drama during rehearsal^ that he is resolved to give the part to some other artiste. 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 Belmour's favour that he abandons his intention, and resolves to give her a rehearsal in his own room. In the meanwhile the excessive interest with which the young actress inspires the old copyist becomes more and more apparent. He has laid out his scanty earnings in the purchase of bouquets, and he is detected by Fletcher in the act of kissing her shawl. At last he con- fesses that Constance, though herself unacquainted with the fact, is his own daughter. The mother abandoned him, with a paramour, after a short term of domestic happiness, and took with her the child, who was but three WEBSTER, BENJAMIN, 347 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 chiei fault is the coldness which she displays on this important occasion. Mr. Fletcher, who has heard Holder's story, gladly avails himself of the offer of the copyist to the place in the critical scene, and the rehearsal commences in due form. The lather is im- passioned in his fondness, and though he cannot follow the words set down by the author, he substitutes others so much more natural that he causi emendation of the text Miss Bel- mour, 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 sugge temporary alteration in the v. 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 work-room in Long Aci . The atten- tion of Constance is fixed ; hi r awakened memory bears witni the fidelity of Holder s descriptions, and the real and feigned recognition takes place at the same instant, with wonderful i (feet There is tins fault about the piece, that in transferring the scene of action from Pari London, Mr. W e ister, who ha, avowedly.: I from the French, has not suffii iently removed thi of it-, nal M '. I '■■ V her \- manifestly a Parisian despot of the stage, exercising a power far bi thatoftlu I dramatist ; and the position of Mr. I ridiculous fop and a jealous admirer of Con- stance, belongs rather to (iallic than to British lite. But til' - conspicuous in the eai of the piece, are forgotten when the grand situation towards which the whole action is directed, occupies the atten- tion of the audience. Never, did Mr. Webster play more finely than in this difficult position. While hurried along by a storm i affection, Holder is constantly ! to think of his merely artificial character, and his out- breaks are checked by a prosaic at- tention to exity is represented with marvellous truth and power by Mr. V. who works at the char.: he liked it, and who. by tin- great applause he received, will doul n his intention ol night only.' " Tim r, At I In November 1859 Mr. Watts 1'hillips's drama, ' The i Heart,' was performed for tin time at the Adelphi, Mr. We acting the put of j .eh a part as this, embi many phases, and presei morabilia of a life, ster that variet) huh ■ • artisti in the present daj with it in its t 19, I- In [867, I 1iuim1.iv, 1 ' ■ Charles Dickens and Wilkie (.'(illiiis's drama of 'N Mr. Web tea playi d the part this i mi the London hoards in .111 of those plays in win. h he had alr< ady se urcd n putation. 1 Mr. Benjamin ter final 1 the : and in th : month a farewell ben< orm- whii h all the pun : trury 1 34S THE DRAMATIC LIST. The amount realised was 2000 guineas, the largest probably ever obtained on a like occasion. WESTLAND, HENRY. Born in London, September 14, 1838. Entered the dramatic pro- fession at the Theatre Royal, Leamington, Easter Monday, 1 86 1. In the winter of the same year joined the company of the Theatre Royal, Dublin, and played there during the " starring" engagements of Mr. Charles Mathews, the late Mr. G. V. Brooke, Mr. Charles Kean, and Mr. John Drew, in the various plays in which those actors played the leading role. For the season 1862-3, was re-engaged for the same theatre. Was at the Theatre Royal, Brighton, under the late H. Nye Chart's management, for the seasons 1863-4-5. In the Autumn of 1865 joined the com- pany of the Lyceum Theatre, under Mr. Fechter's manage- ment. August and September, 1866, at the Hay market, during an engagement of Miss Amy Sedgwick, played the following parts, viz., The Baron (' The Stranger'), Glavis (' The Lady of Lyons '), True-worth (' The Love Chase'). Winter season 1866-7, 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.' Remained at the Holborn Theatre duringpartof Miss Fanny Joseph's management; and in 1869-70 ful- filled an engagement at the Globe Theatre, under Mr. Sefton Parry. Subsequently was engaged on various tours, viz., in 1870, with Mr. Boucicault ; in 1871, with Mr. Arthur Garner's so-called ' Roy- alty Company.' For the winter season 1872-3, was engaged for " leading business " at the Amphi- theatre, Liverpool. November 4, 1872, at that theatre played the part of Macduff, to Mr. Barry Sullivan's Macbeth. "Mr. H. Westland took the part of Macduff, and gave a very careful and well-studied impersonation." Liverpool Daily Post, Nov. 5, 1872. In 1874 was engaged by Mr. John Hollingshead 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. Mr. Westland's engagement with that comedian has continued up to the present date (June 1878). WIGAN, ALFRED. Born at Blackheath, Kent, March 24, 1818. His education was classical, and his early training scholastic. For a time he was a tutor in a pub- lic 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. On November, 4, 1839, he appeared at Covent Garden Theatre as Sir Otto of Steinberg in ' Love.' It was not, however, till the year 1842 that Mr. A. Wigan excited special notice by his acting. On Feb- ruary 12 of that year, in the first performance of Dion Boucicault's play of ' The Irish Heiress,' at the Theatre Royal, Covent Garden, he acted 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 Blague — " captain of the ragged regiment of guides and relic venders on the field," — on the occasion of the first performance WIG AN, ALFRED. of an after-piece of Douglas Jerrold's, entitled ' Gertrude's Cherries ; or, Waterloo in 1835.' " This character [Alcibiades Blague) is personated by Mr. A. Wigan with a closeness to the original, both in appearance and manner, that is evi- dently the result of observation and study; the mixture of politesse and effrontery, of sentiment and scoundrel- ism, and the fine French accent of broken English, are trails that mark the race of chevaliers d Industrie. 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." — Atkenaum, Sept. 17, 1842. Mr. Wigan remained a member of the company of Covent Garden Theatre from 1 84 2 to 1 844, mostly engaged in playing English- French characters. In the season 1843-4 he acted the part of Lawyer Meddle, in ' London As- surance ' (revival). In the latter year he joined Mr. and M Keeley's company at the Lyceum Theatre, where he attracted atten- tion 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 'Taki Possession,' ecc. In 1845, May 12, at the same theatre, in a burlesque piece by Messrs. Albert Smith and Tom Taylor, entitled ' Cindrella,' Mr. A. Wi 1 ained the part of the Prune, as to whi( h .1 1 on- temporary journal remarked that, the intellectual attraction of the performance rested with Mr. Wigan. who in the course of it indicated "some pow< an actor of which he is. perhaps, I generally suspc< ti d." At the same theatre, during 1045, 6, and 7, Mr. 349 ■V\ igan produced various I from his own pen — ' Luck's -\11 ' • A Model of a Wife,' ' /500 Re- ward,' ike, in which he also acted. In the latter year he accepted an engagement at the Haymarket 1 beatre, under Mr. Benjamin Webster's management, "open- ing" there Saturday, October 4, as Sir Benjamin Backbite, in a re- vival of 'The School for Scandal.' During the time he was at the Haymarket he played the follow- ing among other important cha- racters, viz., .<•, first per- formance of Westland Mai drama. •The Heart and the World' >ber 20, 1847 ; Hector Mau- leon, first performance of 'The Roused Lion' November 15,1 Dudley Smooth, in ' Monej viva! : G Id/inch, in '1 to Ruin 'revival ; and /',///. • Love for Low ' revival . Wednesday, July u. 1 the Olympic Theatre, in a mu drama entitled* Monsieui he played the hero. lit ment of the character u wa • touch- ing, true, characteristic, minutely finished in it lities, and in its mure general qualitii ing tn those soui j mpathy b make the whole world kin." The same month he ; I one ofhisownfari at the same theatre. The and following \- acted with Mr. and Mrs i . in Shal ither revivals. it tin- Mas m .. viz., Th 'i, in 'Twelfth Night'; . chant of V< n. Douglas Jerrold's pi tin // 'it nwithMr.B and Mr. Tilbury , in ' Mai b< th.' In < • in ' The First Night,' adapi 35o THE DRAMATIC LIST. the French piece, ' Le Pere de la Debutante.' " Mr. Wigan's personation has suf- ficient 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 sickliness, 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 perso- nation, will establish the claim of the artist who presents it to a place in the foremost rank of comedians." — Athenezum, Nov 3, 1849. 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 Prin- cess's Theatre company, under the Kean-Keeley management, and "opened" there on Saturday, September 28, as Tom Raw lings, in ' Platonic Attachments,' with Mr. and Mrs. Kecley in the cast. On the following Monday he appeared as Osric, in ' Hamlet,' with Mr. Charles Kean as the Prince of Denmark. In 185 1 (February"! he acted the part of Orlando, in ' As You Like It,' with remarkable success. On June 4 of the same year, he played the Due de Riche- lieu, first performance of Mr. Slous's drama, ' The Duke's Wager,' founded on M. Dumas' piece, ' Madlle. De Belle Isle.' On Monday, February 9, 1852, M r. Wigan sustained the character of Faulconbridge, in Mr. Charles Kean's grand revival of Shake- speare's ' King John.' "Faulconbridge, the bluff, straight- forward, ' physical-force ' man, not over scrupulous as to peccadilloes, but endowed with a native horror of crime, and faithful 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, Feb. 10, 1S52. On Tuesday, February 24, 1852, ' The Corsican Brothers ' (adapted from the French ' Les Freres Corses)' was first performed at the Princess's Theatre — Mr. Charles Kean was Louis del Franehi, and Mr. A. Wigan sustained the part of De Chateau-Renaud. On Satur- day, March 6, of the same year, he played Richard Hazard, first performance of ,Tom 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 con- sidered one of the most perfect of Mr. A. Wigan's earlier assump- tions. In a revival of ' The Merry Wives of Windsor,' at the Adelphi Theatre, on Wednesday, May 18, 1853, Mr. Wigan undertook the part of Dr. Caius ; 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, ' Gene- vieve ; or, the Reign of Terror.' In the autumn of 185 ', Mr. Wigan entered upon the management of the Olympic Theatre. On Monday, October 17, 1853, he opened the Olympic with an extravaganza by Mr. J. R. Blanche, 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 lead- ing role. On Monday, May 14, 1855, 'Still Waters Run Deep' WIG AX, ALFRED. 35' was first performed at the same theatre, Mr. Wigan taking the part of John Mildmay. " Mr. Tom Taylor is not to be dis- turbed in his monopoly of supplying the Lout inn stage with original pieces. While others translate or adapt, he still invents, and his new comedy, ' Still Waters Run Deep.' is likely to equal in popularity any of his pn productions The acting of Mr. Wigan as 'John Mildmay exactly cor- responds to Mr. Tom Taylor's dia- logue, in which everything like com- mon-place exaggeration is shunned, and the language is made to approxi- mate as much as possible to that of real life. He does not aim at a violent contrast between the sup dolt and the man of proved intellect, but he allows the impression of supe- riority to be gradually conveyed, and makes his audience feel that he has a right to the position he acquires at the end. Seldom do we see acting so rigidly truthful." — 'Junes, May 16, 1855. "At the Olympic Theatre a new drama, ' Still Waters Run Deep,' has been produced. Its author, Mr. Tom Taylor, has obtained his plot fi French novel. The writing, which is easy and natural, and the dramatic construction of the pice-, which has a somewhat lame conclusion, are his own. The still waters run di the person of a quiel , Mr. !i, who is taken fur a fool by his wife and by others, but who contrives quietly to put down a swindling, rakish captain, to his family from wrong and los , and to his authority at ho Mr. Mildmay, aiiord, Mr. Wigan an unity tor h in .1 n !W character which will rank with In- t complete sui ce ses. 19, 1S55. In 1.S57, in the very mid popularity and prosperity, Mr. A. Wigan announced I of taking leave of the publi nit of the delicate his health. It was stated in the journals of the day that he had realised a fortune of /10.000 by his management of the Olympic. Mr. Wigan retired for sometime from any active part in theatrical matters; but on Monday. Feb- ruary 13. 1S60, reappeared on the London boards at the new Adelphi Theatre. a> Horace Chet- wynd, in a play by Tom Taylor, entitled 'The I louse or the Home.' < He continued t<> appear at the Adelphi in various pieces — • 1 Wings,' 'It's an ill Wind that blows Nobody Good.' &c #J until 1861, when he undertook the management of the St. James's Theatre for a brief . pro. ducing therein April. 'A Scrap of ! adapted from the French ' Les Pal Mouche.' In 1863 May [6 , at the Hay- market Theatre, lie siist mud the part of />/■. Bertrandy in a play by Lady 1 Julie 1111. entitled ' 1- iii' or, Spy and Counterspy.' In in conjunction with his wife, Mr. A. V, • rics ,,| dra- matic readings in London. In 1867, at the opening ol the new i Thursday the pan faitt Ray nal, in •a tied 'The Doubl( lowin I ■ Theatre, Monda he played . / a pn • 1 entitled ' < >l) tin of MM. 1 ■ 'II itcur,' Iclphi I he ; !iout, naturalise the 35^ THE DRAMATIC LIST. give a local colouring to the incidents, he has been compelled to make some considerable changes in the conduct of the plot. The prominent merit of the piece, as it is now submitted to the public, will be found in the opportunity it affords that accom- plished, actor, Mr. Alfred Wigan, of delineating one of those delightful old Frenchmen who stir our sympathies sometimes by the depth of their emotion, and sometimes by the gro- tesque form of its expression. Those who have cherished pleasant memories of Achillc 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 Chavil- lard, professor of legerdemain, who, at first simulating parental affection, afterwards feels it as a reality. The foundation of this drama, as of so manv others, is the circumstance 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 sufficient 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, pos- sesses himself of the secret by the some- what 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 Chil- stone, whose attentions are far from being favourably received, takes ad- vantage of the pecuniary needs of a conjurer, who is engaged at the baronet's mansion for an hour's enter- tainment, 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 fifty pounds, altered by Guy Chilstone so as to re- present one hundred and fifty, and hur- riedly endorsed by the conjurer with a signature which makes him amenable to a charge of forgery. The sinister cousin thus believes he has the con- jurer in his power, and with this advantage proceeds to renew his per- secution of Florence, when she has been taken to a new home ; but in a box, conveyed to her from Sir Gil- bert'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 travelling circus in his better days, and has only turned to legerdemain as a means of livelihood when no longer able to pursue his profession as an equestrian. When he finds the intentions of Chilstone are dishonour- able, and that he has unconsciously been called upon to aid in the abduc- tion of his own daughter, he contrives to foil the scheme of the villain by bringing into requisition 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 lett in the conjurer's lodgings to liberate himself as he best may. IVIGAK, ALFRED. "\Mien the act-drop falls on this distribution of the characters, it need scarcely be added that the enthusiasm of the audience is not suffered to sub- side until Mr. Alfred Wigan, accompa- nied by Miss Madge Robertson as the representative of Florence, appear before the curtain to receive hearty congratulations. Throughout the drama Mr. Wigan, indeed, displays that perfect mastery of his art which always renders his acting so wonder- fully real and so thoroughly enjoyable. The most powerful effects are pro- duced 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 ; former who has taken nature for his model, and acquired the skill of faithfully reproducing every shade of expression."— Daily Telegraph. 1 1 . 24, 1868. . In 1869 (October), at the same theatre, Mr. Wigan sustained the part of Bertram! Alvimar, first performance of ' A Life Chase.' "A new drama in five acts, pro- duced at this theatre last evening, with the title of ' .V kite < as honourably avowed in the playbill, an adaptation from the I 1 h play by M. Belot, entitled ' Le I »rai la Rue di duced at 1 1 .November last The the ' Drame de la Rn< turns on 1 the a- I on- Mauri* e who has i i in his 1 ber before tin- 1 "i 'lit of the drama dead fri ger. Bonval has found strength, receiving the fatal blow, ' few lines callii his death. His hand ' before he has had time to writi name of his assassin ; but lights on a young man ID the English version Bertrand Alvimar. Interrogated before the 1 st ruction, in French fashion, displays a frankness and which remove barged, but thi tion, which has been Madame Bonval and | the French play, a : , the English version, a friend of th the niin two latter a different im] bert has sworn I and Madame B for justice ; the result is induces her reluctantly I carry out . which he ' lor testing For the ac iplisl indispensable that both dame bonval should names. In short, the 1 beautiful wido assumed murderer, and in guarded moment !• '• The int. rest t] in the r< bonsai and / variou ; but 1 ther din. Van B trap. The frankn rtain noble qualil 11 him 1 her that he is entii in him. Finall ful pai i I which 354 THE DRAMA TIC LIST. Bertrand falls by a blow self-inflicted by the very dagger by which the crime of the Rue de la I'aix had been con- summated, and the curtain falls upon the relentless Vaubert, who points to the body, and calls on his unhappy accomplice to confess that his sus- picions were well-founded. . . . The part of Madame Bonval was per- formed by Miss Neilson with a great deal of earnestness and real intensity of feeling ; but her tones were at times unfortunately so low as scarcely to be audible, even in the stalls. Mr. Alfred Wigan played the part of Bertrand with powerful effect, suc- ceeding, however, better in the scenes in which he baffles the curiosity of his accusers than in the more tragic situations of the climax." — Daily News, October 12, 1869. In 1872, Mr. Alfred Wigan finally retired from the stage. A farewell performance for the be- nefit of himself and his wife, in which both took part, was given at Drury Lane Theatre on July 6 of that year. WIGAN, HORACE. Made his first appearance on the London stage at the Olympic Theatre, May 1, 1854, in the character of Paddy Murphy, in a piece entitled 'The Happy Man.' First at- tracted notice as an actor there in 1858. Was the original Mr. Smoothly Smirk of John Oxen- ford's play, 'The Porter's Knot,' first performed at that theatre Saturday, December 4, 1858. April 11, 1859, at the same the- atre, in Tom Taylor's drama, ' Nine Points of the Law,' then first performed, acted the cha- racter of Mr. Cnnninghame. In Madison Morton's play, 'A Husband to Order,' first per- formed at the Olympic, Monday, October 17, of the same year, played the Baron de Beanpre". Monday, April 23, i860, at the same theatre, sustained the part of William Hogarth, in a piece of pathos entitled ' The Christmas Dinner,' from the pen of Mr. Tom Taylor. In 1861 (February) acted the part of the elder Probity, first performance of H. T. Craven's play, ' Peter Probity,' and subse- quently, during the serious illness of Mr. Robson, sustained the leading role in the piece. In 1863 (June), first performance of Tom Taylor's drama, 'The Ticket of Leave Man,' acted the part of Hawkshaw. In September 1864, Mr. Horace Wigan 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). 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 Agnecheek. In July of the same year, Mr. Wigan produced Tom Taylor's drama of ' The Serf ; or, Love Levels All.' 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 per- formance of Mr. Henry Neville's drama, ' The Yellow Passport,' Mr. H. Wigan played the cha- racter of J ouver t. In 1869 he joined the company of the Gaiety Theatre, and enacted the leading role 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, Vaude- ville, and Strand— in parts of more JJ'ILLES, LOUISE. or less importance in the line of Down' . M i n comedy. He is the author of Golden Plough,' , several farces, some of which have land.' Amy ' The attained fair success on the A piece of his, adapted from the French of M. Sardou ; Nos In- times,') entitled 'Our Friends,' produced at the Olympic Theatre. March 8. 1862, was of more than usual merit, very cleverly con- structed, and completely succ. fill, WILLES, LOUISE. Born in Cleveland, Ohio, U.S. Left Ame- rica when quite a child, and \ educated in England for the mu- sical profession. Forsook it the stage, and made her debut at the Prince of Wales's Theal Liverpool, February 10, 186S. Studied the various grades of theatrical work until September, 1870, when Miss \Vii!<_s accepted an engagement at the New Theatre Royal, Bristol, as " hailing lady." Since that time has played that business in all the principal towns of the United Kingdom. Miss Willes's greatest provincial suc- cesses have been in the parts of Edith Dombey, Rosalind, and Lady Clancarty ; " Miss Willes's actinj evidence-- reful stu characterised, not onlj amount of freshness, but her. there by originality. I is perfect, she 'i 1 rably." S h I Sept. S, 1 S 7 5 . First appearan >n at the 1 Hympii I tre, > 1875, m ,lu ' I'" 1 "' ( '•'" ■'■'• a play entitled 'One Hun Years Ago.' Subsequently this actress has fulfilled • at the Criterion, ( ,1 Iphi, and Drury lane Theatres, in the following principal 1 Dedlock, Mary Leigh ('Hu . and / "The revival (' Hun' made in: ■ . in which pan thi an earnestness and pat' they are valuable, 1 li. her children, when she must leave them, and the I and skilful pit ." — . i ■• M the fn ■ N love scenes « it] marriage at the and ti with all tl. WILTON. MAKIK. II . WOOD, MRS. JOHN I in Li Henry Vinm well-known . drama at the ■ the South. in in th' HI tl. The. i- -•eft THE DRAMA TIC LIST. Stoops to Conquer,' and an ope- retta entitled ' Treasure Trove.' Subsequently she appeared at the Princess's Theatre with great success as Pocahontas in a bur- lesque entitled ' La Belle Sauvage.' On Monday, June 20, 1870, at the St. James's Theatre, she played Phcebe in a revival of ' Paul Pry,' and in the following month of the same year fulfilled an engagement at the Standard Theatre, appear- ing in her original character in the burlesque before mentioned. Saturday, October 15, 1870, at the St. James's Theatre, she played the part of Georgette in ' Fer- nande,' an adaptation by Mr. Sutherland Edwards of M. Sar- dou's play of that title. "Few actresses have risen as ra- pidly 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 unknown to English audiences. In the United States she had long enjoyed a high reputation in the field of burlesque ; but her appearances 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 apparently 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 little 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 ver- satility, 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 conve- niences of her visitors, until the St. James's, so long regarded as hope- lessly out of favour with playgoers, 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 pro- priety. She is, in fact, the mistress of a young marquis, who, by an un- fortunate coincidence, has seen and fallen in love with her protegee, in ignorance of her antecedents. Having reason to suspect her lover's infidelity, Clotilde feigns to have lost her affec- tion for him, by which he is induced to confess to her the facts with heart- less coolness. 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 dis- closures 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. WOOD, MRS. JOHN. Both in the English version, and 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 pre- 357 M. Founder's play, ' Tiridate ; ou Comedie et Trag&iie,' entitled 'An Actress by Daylight' After a visit to the United State-. Mrs. John Wood reappeared on the London stage in November i raration for our stage, %oraiderabie at tfl e Queen's Theatrt lippa changes. It is, in fact, the old story ' in Charles Reade's drama, of taking away an objectionable ' The Wandering Heir.' foundation, while the edifice it sup- ported 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 paving 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 hu is its proprietor. Decency i- 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. ... I success of the play was in no small degree due to the acting. Mrs. John Wood's part, though merely inci- dental, is amusing. Her i of her husband, and habit of discovering love letters deposited in his hands the legal adviser of a lady suing for a divorce, and damnatory proofs i I infidelity, were depicted with a sprightliness which gave a decidedly new touch to the typical jealous wife- of the — Daily jo. " Mrs. John Wood plaj - v. ith . archness and spirit the part of gette, the jealous young v. Pomerol. This part has bale to do with the plot, bul [i the audience well a the more for a moment w hile Mi -. W ood the stage." Examin . N 12, I In January ime theatre, in a revival of ' Jenny Lind at Mrs. John V played Jenny Leather lungs ; and, in April following, Anne /■ I girdle, in an Engli h vei ion of produced I " But the representation <>f the personages, on whom the piece mainly depends, are by two well known to the public— Mrs. Seymour, the directress of the theatre, and Mrs. John \\ oo i. The formi i ithful Irishwoman well known stamp, d .! the heart) zeal proper to the part ; the latter perfectly i new cre.i: male attire are Dearly a- common on the . but nary kind. She is i, nan, in the usual sense of the v. og who, und< ; sure of circum anoth ! re- Ultll ; but a with a in.miy mind and with I his Mrs. Wood, who, while light ■ < >n Saturd on the ■ of tl < )n ! ime vival of 'Tl Win.' |ohn i St. | i the I '7. 358 THE DRAMA TIC LIST. period of her management, ' The Danischeffs,' first performed on Saturday, January 6, 1877, ar >d in which she played Princess Lydia, is entitled to special mention. WOOLGAR, SARAH JANE. See Mellon, Mrs. Alfred. WYNDHAM, CHARLES (a nom de theatre). First appeared on the stage, in New York, at Mrs. John Wood's Olympic The- atre, in 1861, as "walking gentle- man." Afterwards did duty in the Southern States as a surgeon during the Civil War. In May 21, 1866, made his debut on the London stage at the Royalty Theatre as Sir Arthur Lascelles in ' All that glitters is not Gold.' Subsequently (April 1867) ap- peared at the St. James's Theatre, during Miss Herbert's manage- ment, as Hugh Stoneleigh, in a play entitled ' Idalia.' Returned to New York in 1869, and on September 15 of that year made his debut 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 pro- duced, on Saturday, March 31, 1 877, 'The Pink Dominos' (adapted by J. Albery from ' Les Dominos Roses ' of MM. Hennequin and Delacour) in which he played the part of Charles Greythome. The English version attained much popularity. YOUNG, MRS. CHARLES. See Vezin, Jane Elizabeth. LONDON: PRINTED BY WILLIAM CLOWES AND SONS, STAMFORD STREET AND CHARING CROSS. 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